It wasn't called "ambient" at the time (one contemporary review just called it "a haunting minimalist experiment"), but it's still a landmark piece in the development of ambient music, just as much as Music for Airports is.
Eno would likely prefer the title of theorist. The one constant through his forays into pop, rock, funk, ambient and electronic is a relentless intellectualism. Eno is consistently interested in the process as much as the result, constantly adding new variables to his recordings. His career closely resembles a successful visual artist: continuously working, experimenting with new media, learning from collaborators. With his range, Eno has become an ambassador for music itself. When Microsoft needed a six-second piece to sum up the possibilities of Windows 95, they asked Brian Eno. He made 84 different versions before deciding on the iconic startup sound.
1978 Brian Eno Ambient 1 Music For Airports.zip.25
Few artists can claim the invention of an entire genre, but if Brian Eno didn't create ambient music, he certainly gave it a title with 1978's Ambient 1: Music For Airports. True to that second clause, Eno conceived this album as a loop meant to be played on repeat in airport terminals. After suffering through a layover in a German airport besieged by annoying background music, Eno made a more suitable replacement, music "intended to induce calm and a place to think" according to the liner notes. It's more like a sound art installation than a traditional album, each of the four tracks like panels in a large painting. Tracks "1/2" and "2/1" are hypnotic loops of four vocalists, including Eno himself. Each vocal part is a different length, so the looping allows new harmonies to emerge like milk poured into black coffee. "2/2" was recorded on an ARP 2600 synthesizer, and it sounds like Vangelis' elegiac Blade Runner score compressed into six minutes. Opener "1/1" is the longest at over 17 minutes, but it's so soothing that the time passes quickly. The interlocking piano lines were sourced from a session with musicians who couldn't hear each others' playing. Eno chopped out a chance segment of union, played it at half speed, then layered in atmospheric synths at certain moments. In our "lo-fi chill beats to study/chill/relax to" era, where music is so ubiquitous that it can fade into the background, Music For Airports and the rest of Eno's ambient work are a testament to music's atmospheric power.
As David Bowie recovered from cocaine addiction in Berlin, he stumbled upon Eno's 1975 minimalist work Discreet Music, a precursor to his ambient series. Impressed, the strung-out superstar summoned Eno to work on sessions for Iggy Pop's The Idiot and what eventually became Low. The record marked the first part of what was retroactively dubbed the Berlin trilogy, three albums where Bowie abandoned his previous narrative tendencies in favor of more abstract perspectives. The music shifted with the lyrics, from guitar-focused glam rock to enigmatic synth compositions.
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