Apr 23, 2005 19:36 PDT
Replying to me own mesage here. I thought of another one... well, sort of.
The Belldog: Back in '79 - '80, I was living in a hitherto abandoned farmhouse on Kangaroo Island, off the coast of South Australia. One night, starved of good radio, I decided to rig up an aerial and try to get (at the time AM Sydney alt-music station) 2JJ, over 1,000 kms away. To my amazement, I soon succeeded, and the first song I heard was The Belldog.
Anyone who is familiar with this track will know how perfectly suited it is for listening to via a radio station broadcasting over a great distance. Not only do the lyrics tie in, but the way it goes in and out of phase was mirrored by what was happening to my reception. One of those special moments.
----- Original Message -----
From: Francis D
Sent: Tuesday, April 12, 2005 12:58 PM
I was thinking the other day about a number of situations where I've "test-driven" Eno's music in the field, so to speak, sometimes with miraculous results. I wondered if anyone else had similar stories to relate.
Here are three of my own:
A) Driving up the eastern side of South Australia's Flinders Ranges, the thermometer hovering around 100 degrees, listening to Hassell & Eno's Possible Musics Vol 1, particularly the first three tracks, & "Charm", (the long one on the old 'side two'.)
It described: the quality of heat & distance in arid country, (and the way these two combine,) plus the "ancient" quality of Australia, which has resonances with that of the Sudan.
B) At night, basically anywhere there is a really cracking night sky... no contamination from other sources of light. Again, deserts are one of the best places for this. Islands are good, too, and remote beaches. Listening (again,) to Pos. Musics Vol 1, but this time "Rising Thermal".
It described: The metallic shimmer of the stars, but also, (and this is where only the best night sky will do,) a certain "dusty" quality the sky gets when they're that good. (That was J.H.'s trumpet.) But also, and this really blew me out, the persistant syncopation in the piece picked up exactly on some sort syncopation that was going on in the heavens. And I was straight at the time, I swear!
C) Another driving one. At night, driving from Canberra to the coast, we hit a bank of the thickest fog I've ever been in, just before the big drop-off at the top of the coastal range. So from travelling at a steady 100 kms per hour, suddenly we're crawling along at 15-20 kph, winding steeply down through dripping wet tall timber, with every other car in the same situation. Then, you guessed it, I remembered we had Events in Dense Fog on board.
It described: The dripping dampness, the glistening of drops on the leaves. The sudden stillness. The way that the car lights create a "room" in which "events" occur. The awareness that other things were hiding beyond the "walls" of that room. And, my favourite, the off-yellow quality of the light created by the lights on the fog. I couldn't believe it when I realized that Eno's keyboard (?) had picked up on that one.
End of Nervenet digest
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