There's real time and then there's airport time. Try and guess the time without looking at a clock and the chances are you'll get it right, give or take 30 minutes. Then try the same thing in an airport. 4.30 am on a Tuesday morning: Cockney Paul's stag do (as it says on their t-shirts) are p****d and on at least their 4th pint. Kids are eating Haribo, meanwhile I go on a perfume buying spree - as you do in the middle of the night. What time IS it?
"Music for Real Airports" is The Black Dog's attempt to capture the weird vibe of the 21st century airport. Eno used the title "Music for Airports" maybe because it sounded quite smart and back then not all of us used them or, maybe there was an aspirational thing about high-speed, long-distance travel in the 1970s? Not any more.
The Black Dog's rendering is all too accurate: Orb-style ambience only gloomier and more dramatic. The vibe is tense, unsettling, Kubrickian. I'm not sure I'd go as far as to call it depressing, but in a "Selected Ambient Works 2" kind of a way if it caught you in the wrong mood it might well freak you out (check "Sleep Deprivation 1"). Then there's the Richard H Kirk-style sampling (must be a Sheffield thing ): "Welcome to East Midlands Airport". But there's beauty here too - "Delay 9" could have come from a Michael Mann film soundtrack.
The LP plays as one continuous piece of music - is this because once you're in the departure lounge there's no respite, no way out? And when you DO eventually get out, you're not at you destination yet, you're in "Business Car Park 9" - though the album closer is cleverly tempered with just a small dose of optimism and relief.
The music of over-priced bottles of water, packets of crisps that are too big, £10 fried breakfasts and eateries where the staff never clean the tables. A unique piece of work.
Enjoy your summer holidays.