The Black Dog ‎– Music For Real Airports

Label:
Soma Quality Recordings ‎– Soma TBD003
Format:
3 × Vinyl, LP, Album, Limited Edition, Numbered
Country:
Released:
Genre:
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Tracklist

A1 M1
A2 Terminal EMA
B3 DISinformation Desk
B4 Passport Control
B5 Wait Behind This Line
C6 Empty Seat Calculations
C7 Strip Light Hate
D8 Future Delay Thinking
D9 Lounge
D10 Delay 9
E11 Sleep Deprivation 1
E12 Sleep Deprivation 2
F13 He Knows
F14 Business Car Park 9

Notes

Hand numbered limited edition to 353 copies, pressed on heavyweight 180g vinyl.

Cat# is Soma TBD003 on labels and sleeve. SOMA TBD 003 in run-outs.

Pressed at MPO.

© 2010 Soma Recordings Ltd.
℗ Northern Electronic Publishing.

Other Versions (5 of 5) View All

Cat# Artist Title (Format) Label Cat# Country Year
SOMA CD083 The Black Dog Music For Real Airports(14xFile, WAV, Album) Soma Quality Recordings SOMA CD083 UK 2010
Soma CD083 The Black Dog Music For Real Airports(CD, Album, Promo) Soma Quality Recordings Soma CD083 Europe 2010 Sell This Version
SOMACD083 The Black Dog Music For Real Airports(14xFile, FLAC, Album) Soma Quality Recordings SOMACD083 UK 2010
OTLCD1364 The Black Dog Music For Real Airports(CD, Album) Octave Lab OTLCD1364 Japan 2010 Sell This Version
Soma CD083 The Black Dog Music For Real Airports(CD, Album) Soma Quality Recordings Soma CD083 UK 2010 Sell This Version

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David68Turner

David68Turner

March 12, 2016
Yeeees...yes! I'm a philosopher. I think very deeply. Fan-dabby-dozy. Fan-fucking-tastic. Oh yeah!
TIM

TIM

May 4, 2011
edited over 8 years ago
Lots of expectations here. If only from the title. A daunting expectation because of the title. Black Dog capable of coming through and no disappointment found here. What I appreciate is the pacing. Singular thoughts well drawn out as the release unfolds. My seventh time listening through everything sounds already like a familiar journey taken long ago. Brilliant digital depth audio wise. A futuristic, mechanical, 2001 space odyssey meets field (airport) recording feel. The powerful moments really balance the waiting periods of intermissions. There is purpose to the pacing that I appreciate. Black Dog have an excellent aggressiveness in their production and sounds choice. Songs 6 and 7 hit u like a lead pipe. And as easily as it slowly built to those tracks it drones off into a slightly sci fi interference. Lots of growling digital transmissions and field recordings set to those singular thoughts with a jet pilots confidence. What should be particularly noted is the attack on the audio spectrum. This cd could easily be a test cd for speakers(tracks 8 and 13 especially) just to see the capabilities of what you can hear to gauge a persons emotional reaction. Many sounds screetch and make the hair stand up on your neck. Bass that passes through you before you hear it. Backgrounds you dont notice till you are transported there. An audio test for sure. And a very enjoyable one at that. A nice balance of all the things we emotionally think about when it comes to traveling and of jjet airports. Waiting. Anticipation. Excitement. Triumph. Futuristic. And lots of nervous anxiety. There is no propellers here. In fact amp this up from standard jet airliners. This must be played with concordes only. An audio landmark.
Headphone_Commute

Headphone_Commute

November 13, 2010
Paying homage to Brian Eno's ambient masterpiece, Music for Airports (Polydor, 1978), which Eno created for the whole purpose of being played in actual airports, to convey calmness and reassurance to the passengers about to set off on an airborne journey, The Black Dog set out to create their own version, designed for real airports. But, unlike Eno's version, this album is "not a utilitarian accompaniment to airports, in the sense of reinforcing the false utopia and fake idealism of air travel". The album is a pristine selection of beautiful tracks, with an overlay of field recordings collected through the three years of the group's tour travels. And instead of conceptual and abstract, The Black Dog delivers a cinematic and very personal album, that will captivate you in any surrounding. To further elaborate on the contrast between the two works, here's a Brian Eno quote from a TV interview: "One day I was sitting in this beautiful airport, Cologne airport. It was a Sunday morning and the sun was streaming in. It was the most beautiful piece of architecture... And the most idiotically stupid pop music playing... You put all this attention into the architecture and the ambience in every respect except the music. What is the music? It's what some person's brought in that morning and stuck in a cassette player... So I started constructing in my mind what would be the right music for the airport." In general terms, Eno's view was that the music should communicate a feeling rather than a narrative, and that it should be soothing. It should help people feel comfortable and resign themselves to the inconvenience and ultimately disconcerting nature of air travel. The Black Dog take a different approach. Based on over 200 hours of field recordings at airports, Music for Real Airports is not a record "to be used by airport authorities to lull their customers." Rather, it embraces the underlying fear and anxiety and revels in it. "Wait Behind This Line", for example, is a gloomy death march, a bottomless pit of despair and hopelessness. In other places, the album swings the other way and captures the excitement and sense of adventure that airports can also evoke. On the whole, it's an engaging album. I'll save my breath in covering the history of the group. I trust you can point your clickers to their Wikipedia entry for all the details. But in case you didn't know, the group was originally founded by Ken Downie, Ed Handley and Andy Turner, and were one of the founding figures of IDM as a genre. Handley and Turner set off to create and focus on Plaid back in 1995, while Downie was joined by Martin and Richard Dust to continue the legacy, that, in my opinion, is only blossoming... If you missed the group's earlier releases, pick up Radio Scarecrow (Soma, 2008) and Further Vexations (Soma, 2009). In contrast to Music for Real Airports the above mentioned are more beat oriented albums, falling into the techno genre, as defined by The Black Dog's original style. Be sure to also check out the mixes that The Black Dog regularly make available on their website. The latest - Drifting Ambient Mix May 2010 - is a doozie. Recommended if you loved the ambiance of Lusine ICL's Language Barrier (Hymen, 2007), Arovane's Lilies (City Centre Offices, 2004), and Autechre's Amber (Warp, 1994). As I'm writing this review, I'm on my fifth listen of the album, becoming more and more convinced that it will go down in history as one of my absolute favorites.