Ambient 1: Music for Airports
|Ambient 1: Music for Airports|
|Studio album by Brian Eno|
|Recorded||1978 in London, England and Cologne, Germany|
|Brian Eno chronology|
Ambient 1: Music for Airports is the sixth studio album by Brian Eno, released by Polydor Records in 1978. The album consists of four compositions created by layering tape loops of differing lengths, and was designed to be continuously looped as a sound installation, with the intent of defusing the tense, anxious atmosphere of an airport terminal.
Music for Airports was the first of four albums released in Eno's "Ambient" series, a term which he coined to describe music "as ignorable as it is interesting" in distinction to "the products of various purveyors of canned music." Though it is not the earliest entry in the genre, it was the first album ever to be explicitly created under the label "ambient music."
Eno conceived of the idea for Ambient 1 while spending several hours waiting at Cologne Bonn Airport in Germany in the mid-1970s and being annoyed by the uninspired sound atmosphere. The music was designed to be continuously looped as a sound installation, with the intent of defusing the tense, anxious atmosphere of an airport terminal by avoiding the derivative and familiar elements of typical "canned music". To achieve this, Eno sought to create music that would "accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting." Rather than brightening and regularizing the atmosphere of an environment as typical background music does, Music for Airports is "intended to induce calm and a space to think."
The album marked the beginning of Eno's "Ambient" series of albums, conceived with the intent to "produce original pieces ostensibly (but not exclusively) for particular times and situations with a view to building up a small but versatile catalogue of environmental music suited to a wide variety of moods and atmospheres." Eno had previously created similarly quiet, unobtrusive music on albums such as Evening Star, Discreet Music, and Harold Budd's The Pavilion of Dreams (which he produced), but this was the first album to give it precedence as a cohesive concept.
Music for Airports employs the phasing of tape loops of different lengths. For example, in "1/1", a single piano melody is repeated and at different times other instruments will fade in and out to create a complex, evolving pattern as the sounds fall in and out of sync with each other.
Talking about the first piece, Eno has said:
|“||I had four musicians in the studio, and we were doing some improvising exercises that I'd suggested. I couldn't hear the musicians very well at the time, and I'm sure they couldn't hear each other, but listening back, later, I found this very short section of tape where two pianos, unbeknownst to each other, played melodic lines that interlocked in an interesting way. To make a piece of music out of it, I cut that part out, made a stereo loop on the 24-track, then I discovered I liked it best at half speed, so the instruments sounded very soft, and the whole movement was very slow.||”|
"2/1" and "1/2" each contain four tracks of wordless vocals which loop back on themselves and constantly interact with each other in new ways. Subtle changes in timing occur, adding to the timbre of the pieces. Eno explains of the vocal-only piece:
|“||There are sung notes, sung by three women and myself. One of the notes repeats every 23 1/2 seconds. It is in fact a long loop running around a series of tubular aluminum chairs in Conny Plank's studio. The next lowest loop repeats every 25 7/8 seconds or something like that. The third one every 29 15/16 seconds or something. What I mean is they all repeat in cycles that are called incommensurable — they are not likely to come back into sync again. So this is the piece moving along in time. Your experience of the piece of course is a moment in time, there. So as the piece progresses, what you hear are the various clusterings and configurations of these six basic elements. The basic elements in that particular piece never change. They stay the same. But the piece does appear to have quite a lot of variety.||”|
"2/2" was performed with an ARP 2600 synthesizer.
|The Austin Chronicle|||
|Encyclopedia of Popular Music|||
|The Rolling Stone Album Guide|||
|Spin Alternative Record Guide||4/10|
|The Village Voice||B+|
In a 1979 review for Rolling Stone, Michael Bloom found Ambient 1 self-indulgent and lacking focus. "There's a good deal of high craftsmanship here", Bloom said. "But to find it, you've got to thwart the music's intent by concentrating." In another contemporary review for the Village Voice, critic Robert Christgau recommended its four minimalist pieces as charmingly calming background music, but also stated that "they've fared unevenly against specific backgrounds: sex (neutral to arid), baseball (pleasant, otiose), dinner at my parents' (conversation piece), abstract writing (useful but less analgesic than Discreet Music or my David Behrman record)." In a 1979 interview with Eno for Musician, critic Lester Bangs described Ambient 1 as having "a crystalline, sun-light-through-windowpane quality that makes it even as you half-listen to it," and recounted an experience in which the album induced him into a dream state.
PopMatters journalist John Davidson was enthusiastic in a retrospective review, deeming Ambient 1 a masterpiece whose value "can only be appreciated by listening to it in a variety of moods and settings. Then you are likely struck by how the music allows your mind the space to breathe", Davidson wrote, "and in doing so, adapts itself to your mood". AllMusic stated that "like a fine painting, these evolving soundscapes don't require constant involvement on the part of the listener [...] yet the music also rewards close attention with a sonic richness absent in standard types of background or easy listening music." Slant Magazine described the effect of the compositions as "sheer weightlessness." Q described it as "soothing and sublime, a useful album when you're feeling particulary delicate." In a positive review, Pitchfork Media wrote that the album as "gives the listener nothing to hold onto, remaining as transitory as its location, and added that it "realizes music's capacity to unify contrasting conceptions of time."
Ambient 1 was included in the book 1001 Albums You Must Hear Before You Die. Chuck Eddy from Spin later named it the fourth most essential ambient album, and J. D. Considine wrote in The Rolling Stone Album Guide that the record defined the ambient aesthetic while providing a name for the genre.
The album was installed at the Marine Air Terminal of New York's LaGuardia Airport for a brief period during the 1980s. Resident air cargo journalist and aviation historian Geoffrey Arend, who was responsible for restoring and preserving the WPA-era James Brooks mural at the Marine Air Terminal at LaGuardia Airport, chose to play the album in the lobby of the MAT.
|1.||"1/1" (Acoustic and electric piano; synthesizer.)||Brian Eno, Rhett Davies, Robert Wyatt||16:30|
|2.||"2/1" (Vocals; synthesizer.)||Eno||8:20|
|3.||"1/2" (Vocals; acoustic piano.)||Eno||11:30|
|4.||"2/2" (Synthesizer only. Lasts 9:38 in the "Working Backwards" box edition (1983) and on the CD.)||Eno||6:00|
The track labelling references the album's first release (1978) as an LP, and so the first track means "first track, first side", and so on. The CD pressing adds 30 seconds of silence after every song, including "2/2".
The album's back cover features four abstract graphic notation images, one for each track.
- Brian Eno – synthesizer, electric piano, vocals
- Christa Fast – vocals ("2/1", "1/2")
- Christine Gomez – vocals ("2/1", "1/2")
- Inge Zeininger – vocals ("2/1", "1/2")
- Robert Wyatt – acoustic piano ("1/1", "1/2")
- Brian Eno – producer, engineer
- Dave Hutchins – engineer ("2/1", "1/2")
- Conny Plank – engineer ("2/2"),
- Rhett Davies – engineer ("1/1")
- Brian Eno – cover art
- Recording Location
- London ("1/1", "1/2", "2/1")
- Plank's Studio, Cologne ("2/2")
|Country||Label||Cat. No.||Media||Release Date|
|US||Editions EG||EGS 201||LP||1981|
|UK||Editions EG||EGED 17||LP||1983|
|UK||Editions EG, Virgin||EEGCD 17||CD||Aug 1990|
|US||Editions EG||EEGCD 17||CD||Aug 1990|
|UK||Virgin Records||ENOCD 6,
7243 8 66495 2 2
- Mistaken Memories of Mediaeval Manhattan is a 1981, 47-minute ambient video created by Eno which uses music from both the albums Ambient 4: On Land and this album. This title was later included with his Thursday Afternoon video on the Rykodisc DVD compilation 14 Video Paintings.
- Music from the album has been covered by:
- Arrangements of the album performed by the Bang On A Can All-Stars were made into a video filmed and edited by Frank Scheffer, entitled Music For Airports / In The Ocean
- The first track is used in the PBS special The Creation of the Universe. Eno is the sole music credit, and he also wrote original music for the documentary.
- "1/1" is frequently used as background music on the US public radio program This American Life.
- "1/1" is used as background music in the 1986 film 9½ Weeks.
- "1/1" features prominently in the opening scene of the 2009 motion picture The Lovely Bones.
- Excerpts of Ambient 1 appear in Robert Hughes' documentary on Modern Art The Shock of the New, episode 4 Trouble in Utopia.
- Brian Eno, September 1978, from the liner notes of Music for Airports
- Harriet Baskas, Better branding through music: Original airport theme songs, USA Today, 12-March-2008
- Downbeat — PRO SESSION — The Studio As Compositional Tool
- Michael Chamy (December 17, 2004). "Brian Eno and Harold Budd Gift guide". The Austin Chronicle. Retrieved 2016-11-12.
- Larkin, Colin (2011). "Brian Eno". Encyclopedia of Popular Music (5th ed.). Omnibus Press. ISBN 0857125958.
- "Brian Eno - Ambient 1 Music for Airports CD Album". CD Universe. Retrieved 25 May 2016.
- Brian Eno Ambient 1: Music for Airports
- The new Rolling Stone album guide – Google Books
- Weisbard & Marks, 1995. p.129
- Andrew H. (2005). "Ambient 1: Music For Airports". Sputnikmusic. Retrieved 25 May 2016.
- Christgau, Robert (2 July 1979). "Consumer Guide". The Village Voice. Retrieved 25 May 2016.
- Bloom, Michael (1979). "Ambient 1: Music for Airports Album Review". Rolling Stone. Retrieved 25 May 2016.
- Bangs, Lester (1979). "Lester Bangs Interviews Eno". Musician. Retrieved 29 January 2017.
- Brian Eno: Ambient 1: Music for Airports [reissue] < PopMatters
- Robert Dimery; Michael Lydon (7 February 2006). 1001 Albums You Must Hear Before You Die: Revised and Updated Edition. Universe. ISBN 0-7893-1371-5.
- Eddy, Chuck (2011). "Ambient". Spin (August): 78. Retrieved 25 May 2016.
- Weiner, Matthew. "Brian Eno and the Ambient Series". Stylus Magazine. Retrieved 21 January 2013.
- IMDB link
- Ryko link
- Various – Minimalism: More Or Less (CD) at Discogs
- Makyo Discography at Discogs
- Music For Airports / In The Ocean, 2008
- IMDB link
- IMDB link
- IMDB link
- Weisbard, Eric; Craig Marks (1995). Spin Alternative Record Guide. Vintage Books. ISBN 0-679-75574-8.
||This section's use of external links may not follow Wikipedia's policies or guidelines. (August 2016) (Learn how and when to remove this template message)|
- Ambient 1: Music for Airports at Discogs (list of releases)
- Interview on Ambient 1: Music for Airports
- Liner notes of initial American release
- Interview, Artpress, Sep 2001
- Interview, Keyboard Wizards, Winter 1985
- Interview, Reality Hackers, Winter 1988
- Eno lecture, New Music New York, 1979
- The Wire, Stansted Airport BoaC performance, June 1998