και...Τι ακριβώς ξεπατίκωσε ο Eno;
εσεις με εχετε κολασει και εχω και απειρη δουλια
(τραβατε με και ας κλαιω)
τα ειπα στο Δημητρη χτες εκ του προχειρου
αλλα παρτε references, τα αποσπασματα δικα μου
"Borrowing a technique from modern classical composer Terry Riley, Eno developed a primitive tape delay and looping system using a pair of Revox reel-to-reel recorders with a variable speed controller in 1972. Riley had used a similar set-up, minus the additional colorings of guitar effects pedals and variable speed, for his 1963 album Music for the Gift, a tribute to the 19th century French composer Erik Satie.
Indeed, the roots of the ambient and minimalist schools of music run back to Satie, a controversial figure who termed his static, barely evolving themes “music for furniture.” Modern composers Riley, John Cage, LaMonte Young, Steve Reich, and Philip Glass are all part of his creative lineage."
απο:
http://www.gibson.com/en-us/Lifestyle/Features/Infinite Guitar_ Brian Eno, Th/
'During his experimentation with tape techniques, Eno rediscovered Terry Riley's Time Lag Accumulator, a tape delay/feedback system based on two Revox tape machines. In September 1972, Eno invited Robert Fripp over to his studio and presented this system to him. Fripp, who had no knowledge of minimalist music, plugged his guitar in and started to play without much introduction to the system, and without rehearsing. The result was a classical tape delay recording, called The Heavenly Music Corporation, contained on the (No Pussyfooting) LP (1973)."
αντιγραφω απο
http://www.loopers-delight.com/history/Loophist.html
Απο το
http://www.furious.com/perfect/terryriley2.html (καταπληκτικο αρθρο)
"Poppy Nogood and the Phantom Band" was more blockish and slower but hardly moribund. Plainly constructed on a blatantly repeating base for organ and sax, we also clearly see the germinal seed for Fripp & Eno's No Pussyfooting LP, especially in some of the more sharply contrasting loops. In fact, one couldn't be too hastily dunned in at first positing that Mssrs. Robert and Brian had even constructed their whole LP to be an echo of Rainbow in toto: two songs, each side-long, one mellower, one a bit more abrasive (Bobby & Bri shot that over the mountain with "Swatstika Girls"), with repetition and variation the heart and soul of the entirety. Of course, the resemblance was miles from mirrorlike, yet the contours are there and broader than mere suggestion.
Pete Townsend has readily attributed this LP as heavily affecting his "Baba O'Riley" tune (the intro VCS3 synthesizer section) and it takes no more than a single listen to Rainbow to understand that, of all the electronicist canon, this is the disc that had the broadest effect on rock and roll. After all, long before he was futtering around with Fripp, Eno injected all manner of Riley madness into Roxy Music, especially the For Your Pleasure issuance, with "The Bogus Man" and such."
Τελος μια συνεντευξη
http://www.guardian.co.uk/music/2007/nov/09/jazz.urban (Eno για τον J. Hassel)
Ο Jon Ηassel ομως εμεινε στη θεση του εκτεινοντας δημιουργικα τη μουσικη εκει που ο Eno χρειαζεται τρεις ζωες για να φτασει.
Να ενα μετρο συγκρισης: Eno vs Hassel. Ιδια αφετηρια, αλλο ταλεντο, αλλοι στοχοι.
δεν μπορω αλλο,
μεχρι στους Coldplay παραγωγη εκανε ο ανθρωπος, λυπηθειτε με
e
