Seems like a while since I did a writing music post, so I’m going to dive back into the back catalogue of Mr Brian Eno, because it is very often so good for writing to.
Never more so, perhaps, than in his Music For Films albums, which were created as possible soundtracks to imaginary films (several pieces later going on to be used in actual soundtracks to real films).
Where Music For Airports, presented longer pieces coming together as a coherent album, Music For Films plays more like a compilation album, consisting of 18 tracks in all, many coming in at under two minutes long, and with no running theme connecting most of them.
As you might expect, there’s a nice selection of mood music to choose from; from the lazy guitar twangs interrupting the ambient synths of From the same Hill, to the eerie Two rapid formations, the downbeat Sparrowfall sequence, the spooky (but largely forgettable) Quartz, and the spacey Alternative 3.
Some of the tracks do share the minimalism of Eno’s previous album, such as in the barely-there opening track Aragon, the pure ambient background sound of Task Force, and the minimal synthesisers of the closing track Final Sunset.
Elsewhere there is more variety to the soundscape, from the melodic synths of Slow Water, to the weird Jaws-esque Patrolling Wire Borders, to the chunkier electronic sound of M386. And Strange Light always reminds me of Gizmo singing in Gremlins.
Because of the varying tone and style of the tracks, Music For Films is not always something I can just put on in the background while I write (although some tracks are certainly ideal for that); rather it has a few tracks that might suit specific moods for something I’m writing at any time.
Stand-out tracks: Well, being mainly a sci-fi kind of writer, the radar blips and general spacey feel of Alternative 3 is probably favourite, but also Sparrowfall and M386 for other kinds of writing.
Oh, and in case any grammar daleks are reading, the inconsistent use of capitals is taken from the CD sleeve.