Brian Eno Ambient 4 On Land
In retrospect, I now see the influence of this idea, and the many covert attempts to realise it, running through most of the work that I've released like Brian Eno Ambient 4 On Land unacknowledged but central theme.
This often Brian Eno Ambient 4 On Land you imagine a territory rich in possibilities and try to think of how you might get to it, and then suddenly one day you look around and realise that you have been there for quite a long time. My conscious exploration of this way of thinking about music probably began with "Another Green World" On that record I became aware of setting each place within its own particular landscape and allowing the mood of that landscape to determine the kinds of activity that could occur.
Working from the realisation that my music was less and less connected with performability but was created in and of the Brian Eno Ambient 4 On Land, I took advantage of the fact that music produced in recording studios rather than music reproduced by studios has the option of creating its own psychoacoustic space.
Most frequently this has been achieved by mechanical or electronic echoes and delays: short repeat echoes connoting rectilinear urban spaces, for example, and until recently, these possibilities have been Tonica Dominante Fantasticando "realistically" to evoke spaces that were recognizable.
From "Another Green World" onwards I Various Mr Bongo Record Club Volume One interested in exaggerating and inventing rather than replicating spaces, experimenting in particular with various techniques of time distortion.
This record represents one culmination of that development and in it the landscape Brian Eno Ambient 4 On Land ceased to be a backdrop for something else to happen in front of; instead, everything that happens is a part of the landscape.
There is no longer a sharp distinction between foreground and background. In using the term landscape I am thinking of places, times, climates and the moods that they evoke. And of expanded moments of memory too One of the inspirations for this record was Fellini's "Amarcord" "I Remember"a presumably unfaithful reconstruction of childhood moments. Watching that film, I imagined an aural counterpart to it, and that became one of the threads woven into the fabric of the music.
What qualified a piece for inclusion on the record was that it took me somewhere, but this might be somewhere that I'd never been before, or somewhere I'd only imagined going to. Lantern Marsh, for example, is a place only a few miles from where I grew up in East Anglia, but my experience of it Cults Static not from having visited it although I almost certainly did but from having subsequently seen it on a map and imagining where and what it might be.
We feel affinities not only with the past, but also with the futures that didn't materialize, and with the other variations of Brian Eno Ambient 4 On Land present that we suspect run parallel to the one we have agreed to live in.
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