Four subtle, slowly evolving pieces grace Eno’s first conscious effort at creating ambient music. The composer was in part striving to create music that approximated the effect of visual art. Like a fine painting, these evolving soundscapes don’t require constant involvement on the part of the listener. They can hang in the background and add to the atmosphere of the room, yet the music also rewards close attention with a sonic richness absent in standard types of background or easy-listening music. Eno continued to perfect the concept of ambient sound with 1978′s Music for Airports, a record designed to calm air passengers against fears of flying and the threat of crashes
This complex sound sculpture was created by Brian Eno in 1978 and was even installed for a while at the Marine Terminal of New York at LaGuardia Airport. The ambient-minimalist soundscape has been alternately described as background Muzak, a profoundly artificial musical milieu, and a groundbreaking studio creation. Eno designed Music for Airports from a few simple notes and the serial organisation of variable tape loops that didn’t quite match up. It’s a groundbreaking elaboration on the aural/spatial dimension that utilises silence, piano, synthesizer, female voices, and, most importantly, the technology of the studio. Eno’s theory of the “discreet music” he called ambient was far from the modern chill-out room: the idea was that it should function at very low volumes, unobtrusively coloring the atmosphere of a room.
This mix embodies that artistic outlook and sets to soothe the listener into a calm and peaceful place, in Brian Eno’s company for no more than 2 hours.