The Black Dog ‎– Music For Real Airports

Soma Quality Recordings ‎– Soma CD083
CD, Album


1 M1 5:12
2 Terminal EMA 5:40
3 DISinformation Desk 5:19
4 Passport Control 3:49
5 Wait Behind This Line 4:10
6 Empty Seat Calculations 3:26
7 Strip Light Hate 3:25
8 Future Delay Thinking 4:21
9 Lounge 0:57
10 Delay 9 4:20
11 Sleep Deprivation 1 4:53
12 Sleep Deprivation 2 6:26
13 He Knows 1:43
14 Business Car Park 9 5:09

Companies, etc.



© 2010 Soma Recordings Ltd. ℗ Northern Electronic Publishing
Manufactured in the EU.

Barcode and Other Identifiers

  • Barcode (Text): 7 96122 00832 0
  • Barcode (Scanned): 796122008320
  • Label Code: LC 12668
  • Matrix / Runout: | SOMACD083-P | *034981 |
  • Mastering SID Code: IFPI LD11
  • Mould SID Code: IFPI 5092

Other Versions (5 of 5) View All

Cat# Artist Title (Format) Label Cat# Country Year
Soma TBD003 The Black Dog Music For Real Airports(3xLP, Album, Ltd, Num) Soma Quality Recordings Soma TBD003 UK 2010 Sell This Version
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



Add Review



May 22, 2010
edited over 4 years ago
I was pretty excited. Especially because Silenced (2005), Radio Scarecrow (2008) and Further vexations (2009) all had some beautiful moments. And now they even made an update from Brian Eno's Music for Airports!
Did they?! Whether you like it or not, Music for Airports has been one of the most important ambient albums up to date. So I had my expectations, but even more important the way of listening to this album was at forehand already influenced.

Track 1: The music starts with some environmental field recordings. Ok.. we're outside.. somewhere.. A car engine starts and not long after that the air is filled with a “meditative urban” synth line (reminds me of Namlook's Music for Urban Meditation) and we can notice a police car is passing by. A deep drone is added and the city environment slowly gets back. The synths slowly fade away while suddenly a voice makes sure that we have arrived at the airport: “Welcome to East Midlands airport”

Track 2: The voice gives us some security instructions and the synth is coming back. Some additional synths and tones let us float away into a dreamland.

Track 3: Okey, back into reality. The dreamy sphere fades away.. Some synth tones remain and percussion is added. Upcoming synth tones and filtered bass bring back the Black Dog style we have started to know since their last three albums.

Track 4: The dreamy sphere continues with high synths a la Brian Eno's Music for Airports. This time with a sort of heartbeat created by an interaction of a synth and bass-drum. A peep-sound together with someone who is breathing brings this track to its climax. The passport control is a heavy experience.

Track 5: Stars with a dark synth and a deep meditative bass. A synth melody starts to play. The background sphere is created with some washes and after a minute or two the environmental “airport” sounds are back for a moment. Little bit on the dramatic side here. Reminds somehow of Jóhann Jóhannsson´s Fordlandia.

Track 6: We are left behind with an emotional and meditative synth line. Electronic percussion tones interrupt the peace. To bring back the dramatic sphere, a cinematic sounding synth line is added and suddenly a typical Black Dog deep bass-line drops in.

Track 7: Ok, they have warmed up on the track before and now we are heading into a more rhythmic direction. Bit more cold abstract feeling, but does not convince again, as it lacks sphere in the background.

Track 8: Another approach. Rhyhm, meditative synth and some dubby bass. In the background another rhythm that reminds of “we are hunted” from Further Vexations. Okay this is nice, especially the variations with the bass. Still I have to admit that it feels like it doesn't belong here. The rhythm is gone and suddenly some field recordings from the airport are thrown in and evolves into track 9.

Track 9: Extends the field recording for a minute. The way it is brought in after the rhythm lacks a bit inspiration. What a disappointment. It's like.. fade in.. bam.. we're on the airport again.

Track 10: Stars with the airport environment as well and a filtered melancholic synth loop. And then.. piano tones come in. Good track, maybe not that original, but nice how the music interacts with the airport environment for the first time.

Track 11: Keeps us at the airport with deep bass and slow evolving synth tones in reverb. Warm organic sound.

Track 12: We begin with the beep tone which is left over from the last track and filtered electronic voice tells us something. The airport environment is back and this time with very deep and dark synth. Finally they capture the environmental sphere in their music as well. Very nice interaction and we are dreaming away again.

Track 13: Deep bass drums and electronic tones make their appearance which give a very mystic feeling. Not necessarily an airport feeling. It has a nice environmental sound captured in the sphere. Totally different than the rest, but very cool and even a little haunting.

Track 14: Continues track 13 and switches back to parts of track 6. Same melody and rhythm, but with more depth. This is nice downtempo techno and reminds of the feelings I got from listening to Bytes or Temple of Transparant Balls. Also: Silenced (drexian city r.i.d.e.), Radio Scarecrow (train by the autobahn) and Further vexations (Later Vexations).

Ergo Conclusio:
First of all, this is a pretty good release. However I'm afraid that without keeping the whole idea of "an update of Eno's work" in your mind, the album could have had a lot more identity. Of course now man can write nice stories about how well this release fits in today's society and what kind of interesting relations there are between this and Eno's album for instance, but when analysing the music itself, then I must conclude that they didn't make a “music for real airports”, since this is not music added to the airport environment (whatever this is), but the other way around. By using field recordings of airports here and there, they try to give their tracks an environmental sphere. This is not necessarily an airport, but could have been a train station as well (apart from the voice sample of the air hostess).
By that, they don't keep and work with the environmental sphere throughout their whole album. There are some nice moments where they partially succeed this mission (track 4, 10, 12), but it's not enough.
Next to that it's not an update of Eno's work. They do not redefine certain musical set of rules. So forget about the title, since it probably was labelled to this work from an commercial perspective.
The new thing from the perspective of the Black Dog is that this album is a bit more ambient than the rest of their works. No big message or a feeling they want to transport (and if it was intended they fail imo), just enjoy :)