![]() The difference in tape lengths between loops would cause them to intersect in interesting ways on each repeat, new phrases and variations on existing themes would emerge. To compose the music of Music for Airports, Brian Eno’s experiments focused on using small recordings of music – sustained notes or 3-4 note phrases – and looping them at different rates, determined by the length of tape they are recorded on. Are We Not Men? A: We Are Devo! there too. What I mean is they all repeat in cycles that are called incommensurable - they are not likely to come back into sync again.īrian Eno had previously recorded Before and After Science and Cluster & Eno at Conny Plank’s studio, and would go on to record Devo’s Q. The third one every 29 15/16 seconds or something. The next lowest loop repeats every 25 7/8 seconds or something like that. It is in fact a long loop running around a series of tubular aluminum chairs in Conny Plank’s studio. One of the notes repeats every 23 1/2 seconds. There are sung notes, sung by three women and my self. Music for Airports, at least one of the pieces on there, is structurally very, very simple. At a 1996 talk, Brian Eno described the recording of Music for Airports: Part of it was recorded at the recording studio of Conny Plank, a legendary Krautrock producer, where he started by recording single notes sung by a trio of female singers, which he would later loop via tape machines. Music for Airports was released in 1978, though Brian Eno started working on it while working on David Bowie’s Low, in 1976. ![]()
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