It’s Friday, baby. It’s pay day, baby. Move those hips. Shuffle those feet. And consider reading this excellent 1981 Brian Eno interview about making this album + his other thoughts on music and collaboration (ty cjenkins for sharing with me.) ā€œThe realities of life aren’t only harsh. Some realities are beautiful, and choosing to concentrate on them shouldn’t be regarded as a mortal sin. One of art’s functions is to present you with the possibility of a more desirable reality. Now some people may regard that as an escapist stance, and, indeed, maybe it is. I can’t deal with the world in a lot of respects, so I want to study other possible worlds. I need to find what it is I want in a world and see if I can move this one towards that. One way I do that is creating, through music, a simulacrum of the world I want.ā€
Nov 15, 2024

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Stripping back the cult of ENO and just looking at the music, Music For Airports has got it all. Forget the Isaac Newton-y backstory (TLDR: Eno is bedridden while recuperating after being hit by a car, friend visits and puts on record, volume too low to ā€œhearā€ properly, turntable too far to reach, the idea of music as room ā€œtintā€ ensues), and the brilliance of the technical execution, the tunes are what matter here. I actually met ENO once, yes, in an airport. I associate this music along with a lot of the ENO cannon as the search for a romantic life. That there is more going on than meets the eye, but only if you look for it. Also the idea of Eno as the consummate ā€œnon-musicianā€ is very appealing/comforting to me. Eno apparently said he sought to create music ā€œas ignorable as it is interestingā€ which is great, and is coincidentally the basis of my personality.
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