The Black Dog ~ Music For Real Airports

There are some preconceived notions about ambient music. One of them being that the listener must devote a significant amount of time to enjoy it. Another being that an ambient composition must be experienced in its entirety in order to be properly appreciated.

I am not in disagreement with either of these presumptions.

However, this is not a work of ambient music.

Music For Real Airports utilizes its title as a send-up of Eno's early classic, but the core ingredients are ideologically different. The eras that separate the two albums have also contributed fundamentally to the marked divergence, both in terms of the modernization of music and of airports.

The Black Dog might have more aptly titled this Music For Airports: A 20th Century Sequel, since it seems to take on the anxieties and the sublime spaciousness that air-travel has come to symbolize over the past ten years.

It's almost as though The Black Dog were hired as architects to renovate the already remarkable 1978 Eno original. The way a major airport is renovated. Existing in the same space, with the same runways, and a redeveloped terminal, which holds the same echoes.

I want to get excited over this album. The layered synth and the beats come through with impeccable timing on the first track "Burnt Sienna". Though the album sags a bit in the middle, when at one point I wondered if I was listening to new age music on a cassette-tape, as I walked through a concrete tunnel, with vehicles driving overhead.

In any case, the three or four songs after "Burnt Sienna" involve a good deal of naval gazing and less shoegazing than I had hoped for. Though song four: "Soft Color People" seems to make up for lost time with its gentle guitar plucking over a landscape of fuzzy optimism.

The song "Gaberdine" is quite nice.

I can see myself inclined to pay $13
for the used Lp in a couple of years.

The Fall -- Your Future Our Clutter

I got all excited last night because I heard Deerhunter's cover of
"Who Makes The Nazi's".
For some reason I expected this album would blow my mind the
same way that Hex Enduction Hour did or the song "Chicago Now".

The last fifteen Fall albums have followed a formula: opening hooks,
redundant jams, and the softer Mark E. Smith Ballads falling somewhere
in the middle.

Listening to this album oddly reminded me of propaganda,
"Your Future Our Clutter"
"Our Future Your Clutter"

Aidan Baker's Liminoid/Lifeforms

Doesn't this just sound like the most pretentious Aidan Baker album to date?

I'm currently on "Liminoid III", a 27 minute track which is surprisingly only the second longest on this 4 song, 2 1/2 hour album. And though I fancy myself an Aidan Baker/Nadja enthusiast, I wonder every now and then if Baker isn't overproducing.

In fact I cannot remember a month going by recently when I haven't heard of an Aidan Baker related title or some varied collaboration involving him. The best one being his Fantasma Parastasie with Tim Hecker, and his personal achievemets falling somewhere between the earlier Nadja albums. There was of course that diabolical covers record When I See The Sun..

I suppose this album is not an underachievement, though I always found 90% of his solo stuff superfluous. I'd sooner buy the Touched double LP.

Also his Split with Noveller is a nice listen.