I play it, or get someone else to play it, for several minutes. To achieve this, Eno would physically record each looped track in full, repeating the single note at approximate durations. On Thursday Afternoon, the loops are less rigid, and the loops repeat duration varies upon repeats, for example repeating every 16 to 19 seconds. On Music for Airports, Eno was using tape loops to repeat music material, with the length of the tape reel dictating the length of the repeat. If you haven’t already, check out the previous articles on Eno’s Music for Airports and Discreet Music, as this article will expand upon concepts discussed in those articles. Live mixing in this way adds an organic element to Eno’s systems-based approach, as even though the material is made-up of looped tracks, they can be manipulated live to create the illusion of performance. Lanois is a performance mixer, often working on a mixing desk in live takes, and his contribution to Thursday Afternoon was likely the live mixing of all the individual elements. Thursday Afternoon’s credits include Daniel Lanois, who started working with Eno in 1982’s On Land, credited with “live equalisation” on the track Dunwich Beach, Autumn, 1960. As I work at a lot of different speeds, this isn’t enough.
The drawback with digital recording is that it only gives you about 15% range, as far as changing speeds is concerned. It was recorded on a 24-track analogue machine, and then digitally mastered. But then, having no silence in music is like having no black or white in a painting. My music is very quiet silence is very important in my music. “The quality of reproduction you get with Compact Disc eliminates all extraneous noise. The album was still recorded on analog equipment it was 1985 after all, and digital playback warping technology was too far behind for Eno’s use. It was Eno’s first album to take advantage of the then-new CD format, which had a longer running time and lower noise floor than vinyl or tape. The loops are irregular, and were recorded in full rather than looped with tape it also employs drones more than previous releases. Thursday Afternoon adds several layers of complexity to Eno’s systems-based approach. The piece is another step in his exploration of generative music – the creation of music derived from a system, usually incommensurable loops that reconfigure upon repeats. The album consists of a single 61-minute ambient track, which manages to be both discreet and stark, but also stimulating and hypnotic at the same time. Brian Eno’s Thursday Afternoon was released in 1985 as an audio accompaniment to his video installation of the same name.
0 kommentar(er)
