A deeper peek at Brian Eno's process of allowing serendipity into his work by focusing on his breakthrough Ambient album, Music For Airports.
Music for Airports, at least one of the pieces on there, is structurally very, very simple. There are sung notes, sung by three women and my self. One of the notes repeats every 23 1/2 seconds. It is in fact a long loop running around a series of tubular aluminum chairs in Conny Plank’s studio. The next lowest loop repeats every 25 7/8 seconds or something like that. The third one every 29 15/16 seconds or something. What I mean is they all repeat in cycles that are called incommensurable — they are not likely to come back into sync again.
I just set all of these loops running and let them configure in whichever way they wanted to, and in fact the result is very, very nice. The interesting thing is that it doesn’t sound at all mechanical or mathematical as you would imagine. It sounds like some guy is sitting there playing the piano with quite intense feeling. The spacing and dynamics of “his” playing sound very well organized. That was an example of hardly interfering at all.“