Enopolis – The Initial Conversation

© Eno, The Green Standard

The year is 2028… Wait, actually; what led to this year, many dozens of months prior, was a period of societal turbulence, related to the policies of those formerly in power. Having taken what was once known as the ‘United Kingdom’ off-piste; their ineptitude in administration, gluttonous mismanagement of the economy and persistent attempts at fostering division gradually turned an apathetic populace against them. Authority withering into disrepair, the ‘Ancien Régime’ stood little chance against the seething mob. Clamouring for new leadership, free from the decadence and limitations of the past, one man heeded the call of the masses. 

Straight away, he got to work, and before long rectified the mischief. The formality of title occurs not with he, whom goes only by the given name and only… the name given. A return to the year of relevance; Vincent is a fellow who, as of late, has been in a coma. Awoken, the society once familiar has long since departed. Numbed with aesthesia and greeted by alienation; he has little grasp on where the tide has swept… with value and purpose each an axis disparate. A figure stands at his side… a doctor, an erstwhile friend, the unassuming harbinger…? Blurred perception receding, an ID tag sighting and a room adorned with ornamental oddities: it looks as though ‘Bill’ is about to say something…

Bill: Ahoy there!  

Vincent: (No response)

Bill: You look well; I suppose you want an explanation?

Vincent: (Looks around cautiously) I don’t even… What…!? The decorum…? That light shining through…? An aged strobe-light…? or just another delusion? (In reference to a colour-shifting light source coming through the window, adjacent to his bed)

Bill: Oh, that’s just another one of those society-scaled generative art installations…

Vincent: Gener…

Bill: I’ll explain, you recall what Brian did for that hospital in Brighton, earlier in the century? Well, now the idyllic luminosity stretches beyond the 4 capacity room, and into the urban cityscape, far grander in scope. Its presence; placating and ever-changing, is here to reassure us Enonians we aren’t blunted ants tarred in the hierarchical pick & mix of before, but relevant entities within a dynamic ecosystem, free from the axe-job of Social Darwinism…!

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Vincent: Brian?

Bill: Oh…? (Slight look of pity) Haven’t you a clue? E…N…O? You know from Roxy Music.

Vincent: (Squints eyes) I recall his production work on that Coldplay album…

Bill: (Nods head) Well, he’s moved onto bigger things, leadership namely.

Vincent: Political?

Bill: You bet, a benevolent dictator of sorts… bit of an oxymoron I know, but in this case he’s the Crisp McCoy! 

Vincent: You’re taking the piss aren’t you?

Bill: Not at all, not at all… You remember all that austerity bollocks; the unemployment, the rising cost of living, the proliferation of poverty, rampant corruption, reactionary-on-deck no.1, reactionary-on-deck no.2…? Well, to simplify things… that all got cast into a giant sinkhole, courtesy of our untitled-in-chief… (Proceeds to smile) 

Vincent: (Gasping for air) Ho… how!?

Bill: (laughs) This sachet of wonder! (Proceeds to drop a pack of cards on the bedside table… they read ‘Oblique Strategies’)

Vincent: (Slumps into his bed) Oh boy…

(A mechanical clock, peculiar in design yet musical in chime… chimes, causing momentary silence)

Bill: (While offering a cup of tea, mug tastefully… bespoke) But the inception Vincent, but the inception…

Vincent: (Collects his thoughts, after observing the clock) What about education? I suppose we’re gonna be whizzing around on egg chairs equipped with florescent wheels, while the professor does some eyeliner?

Bill: (Smirks) Good question my friend, allow me to explain; Brian’s experiences at Winchester College of Art in the late 1960’s had a lasting impact on his worldview. Ironing out a new curriculum from the ground-up with his old tutor, Tom Philips, they have completely broken off from the inadequacies of the past… you know that OFSTED-led tripe? Well, SCENIUS now… SCENIUS tomorrow… and while we’re still on the subject (Bangs fist on the bedside table), SCENIUS for long duration!!! (Regains composure, and continues) They also borrowed from the Finnish system: children are now encouraged to be themselves and focus on what actually interests them. No longer are they cajoled into the generational sausage-maker of that ‘honest vocation’ crap, which seemed only effective at producing unwitting salarymen out of what were once… fledgling minds. (Clenches fist in the air) So far it’s been a gigantic success; I can show you some statistics if you’d li…

Vincent: (Interrupting) Another topic please!

Bill: Sure thing (unclenches fist)… Going back to your eyeliner remark, you recall the discourse about transgender people and the issues they faced from certain elements against their integration into the general fold?

Vincent: (Attentive) Go on…

Bill: Well, owing to Brian’s gender-bending antics in the 70’s, it indirectly afforded him a few qualifications in understanding the plight of the LGBTQ community… plus, his experiences as an ageing man with a lack of hair has…

Vincent: …created a mutual understanding between both gammon and… gammon-not?

Bill: Couldn’t have put it better myself Vince!        

Vincent: (Whispers to himself) He really is the Third Uncle…

Bill: (Inquisitive) What’s that?

Vincent: (Slightly perturbed) Nothing, do continue…

Bill: Hmmm… (Scratches chin) Where next might we traverse…?

(15 seconds elapse)

Vincent: (Breaks the impasse) What of foreign policy? Has the international climate changed that much?

Bill: (Nods with satisfaction) Aha! Brian’s stance against human rights abuses, notably with regard to the Israeli Occupied Territories, has prompted him to break off and embargo all who violate the rights of their own citizens. Other countries followed suit and within months the Likud’s grip on power collapsed.

Vincent: So?

Bill: Odd coincidences aside… an appropriate settlement is now being negotiated, after nearly 80 years, peace is at hand! 

Vincent: Whoa… (Hint of suspicion) As great as this all seems… there has to be a cost to all this…? (Thinking cap attached) Surely anyone with that kind of authority would succumb to… what was the word… ah, megalomania…? As certain “case studies” have indicated?

Bill: (Passively acknowledges) Ah the Cult of Personality thing…? Well to be honest, the only aspects I can think of are… the construction projects he favours, as you have already seen, (whispers) slightly… Yet, the employment opportunities generated from this construction boom and the benefits subsequent… have played a big part in the economy’s defibrillation! In turn, the supply & demand situation buoyed, stabilising the prices of commercial goods and public necessities… which, unbeknownst to you, plagued the preceding ‘system’… To take an objective viewpoint (doesn’t take an objective viewpoint), even if society continues to be moulded in Brian’s image, who cares? Taste will always triumph over practicality! (Looks up at the ceiling momentarily)

Vincent: (Visibly perplexed) …Over practicality? I don’t recall any proponents of that idea? Maybe IT IS time I see those statistics…? 

Bill: (Looks back at his friend) Yeah… gains and losses or something (waves left hand dismissively)… Anyway, to wrap up this subject, don’t expect to see any gaudy statues or 50ft by 70ft posters portraying Brian as yet another striped-sash strongman, for he is not… Although, I hope you don’t mind hearing more of his ever-expanding discography? Take for instance my earlier train journey; they played the entirety of No Pussyfooting through the speakers, surround sound…!

Vincent: (He flinches… followed by faux-enthusiasm) Oh goody, should I expect to hear ‘After The Heat’ while I’m out shopping for garden ornaments? Or maybe his co-credits on David Bowie’s ‘Heroes’, as I skip about on a narrow-boat I’ve just stolen!?

Bill: (Appears unsure) That’s entirely possible, although predictability has never been a word I would dare associate with a man… such as Brian…

Vincent: (Ponders what next to discuss) Slogan…eering… That Scenius thing you were oddly raving about earlier, that’s taken central fiddle?

Bill: Just a bit… Communities are once again being subsidised… and the aspirants of that god awful Neoliberalism ‘experiment’ are being rightly penalised for their former exploitation. Remember Richard Branson? Well, the bearded prick’s assets have been expropriated; take Necker Island for instance, its only purpose now is to house in-transit refugees fleeing from what was once the United States. Even Brian’s old chum, Bono, whom thought he could get off easy owing to their past working relationship, has been made to pay his fair share in tax… for wise-man Brian makes no distinction, friend or stranger. 

Vincent: America’s no more?

Bill: Balkanised, some parts are better off than others…

Vincent: Huh, well… (Sense of satisfaction) Sayonara, Uncle Sam! (Laughs)

Bill: Seems there wasn’t a particular care for that… Laissez-faire! (Joins in on the laughter)

(Laughter ceases after 30 seconds)

Vincent: So… would it be correct to assume Branson and Bono are toiling in a cobalt mine somewhere…? Perhaps shackled together by-foot, as they pickaxe the earth to help fuel the Eno-Bahn or whatever next is on the construction roster?

Bill: Not quite, reprisals and score-settling of that nature would conflict with the tenants and teachings of Brian…

Vincent: (Tilts head) And what might that be? Thou shan’t slapeth thy head? 

(The clock chimes yet again, its Geneva wheels gyrating as ever)

Bill: (Turns to look out of the window) Musings like altruism and egalitarianism were just the ‘speak of the turtleneck folk’ some decades prior, but now, via the Big Here Initiative, they are inveterate to our society, by order of the Eno! (Looks around nervously, before resuming his previous position)

© Eno, obvs

Vincent: (Detached) Swell… I presume Stoicism has been deemed obsolete, owing to the damaging effects it can have on one’s mental health?

Bill: (Turns away from the window, visibly humoured) Been consulting EBSCO while on the drip, eh Vince?  

Vincent: (Inverted smile) But a measured hypothesis, Bill…

Bill: (Visibly impressed) You know, scholarly types are in much demand nowadays… getting your foot in the cupboard would be an easy triumph, I’m sure…        

Vincent: That’s a new one (Snorts)… Actually, what about law and order? How could that old hippie understand such a concept? 

Bill: Well, rather than brutalising his subjects with batons and tear gas, Brian has made rehabilitation and fairness the norm. His vocal criticism of the former United States’ prison system, ya know; lobbyists bending legislation, inmates as penal labour and… the general shoddiness of the whole thing have compelled him away from coat-tailing the stars-and-stripes, as was the norm prior…

Vincent: (Briefly does jazz hands) Most riveting… err, how’s the field of invention looking… any quantum leaps there, during my comatose absence? Permanent hair restoration…? Speech recognition software for pigeons?

Bill: Ah, the technological angle… Well, Eno’s… (Pauses, then clears throat) Forgive me, Brian’s retrospection on the Manhattan Project, you know, what birthed nuclear weapons… Was summed up by him as brilliant in what could be achieved by humanity’s collective efforts, albeit for entirely the wrong reason! Being the egghead he is, Brian has put the entire scientific potential of our nation to work, away from the capital-drainage of that research & development shit, which he always much despised. Investments are now being directed towards things relevant to progress… cures for diseases still ravishing the modern world for instance. How do you think you recovered?    

Vincent: Huh? (Walks over to the mirror and examines where his wounds once were… not a trace)

Bill: (Winks with a thumbs up) 

Vincent: (Pleasantly surprised) I’d buy that for a Brian…

Bill: (Agreeable) You certainly would… (Briefly glances at the clock) Right then, you’ve probably heard enough talk of our bald-headed saviour, go and get yourself ready and we’ll hop on the ENO // RAIL… it makes those old bullet trains look like foil-wrapped rolling pins!

Vincent: (Unsurprised) Nice… how did our Brian manage that?

Bill: (Playfully points at his friend) I believe… (pointing ceases) it had something to do with… an oversized living room, a few soldering irons… and quite possibly a set or ten of those Hornby Railway carriages, not to scale of course (half smiles).

(Abrupt freeze-frame on the Clock)

© Eno and the gang…

40 Years In the Bush of Ghosts

© Classic Album Sundays

By Josh Loynes

Early sampling, World Music, an unread novel from 50’s Nigeria and an angry letter from the Islamic Council of Great Britain. Climb into your DeLorean/police-box/whatever your preferred method of time travel may be and take yourself back exactly 4 decades, to February 1981 and the long-awaited release of what would prove to be a divisive, somewhat controversial and strangely prophetic album- My Life in the Bush of Ghosts (listen below).

Around the turn of the decade, as the collected humans on Planet Earth kicked everything up a notch and threw themselves wholeheartedly into the madcap riot that was the 1980’s, a young Mr David Byrne was already well on his way to being crowned the King of Arty New Wave. His band, Chattering Craniums, had seen critical success with their last two albums (More Songs About Buildings and Food and Fear of Music) at the tail end of the 70’s, and to top it all off he’d met an old, kind-hearted Englishman who was far too polite for anyone to point out he was losing his hair. Brian Peter George St John le Baptiste de la Salle Eno had worked as a producer on both of the aforementioned Babbling Bonces records and during the brief lull between these and the recording of what would become Discoursing Domes’ magnum opus Remain in Light, both he and and the young Mr Byrne found they had some time on their hands. Suggestions of a lengthy game of eye-spy or charades were quickly dismissed and, after a particularly competitive game of scrabble broke out in a fierce scrap over the spelling of the word ‘quixotic’, the dynamic duo decided to hunker down and make something Avant-Guard, exciting and, crucially, quite pretentious. And so, with typical middle class art school zeal, they set about making their masterpiece.

Or that’s how the story supposedly goes. The deeper origins of My Life in the Bush of Ghosts aren’t as clear cut as some would rather make out, with the project originally having started with some collaboration between Byrne, Eno and ‘Fourth World’ cosmonaut Jon Hassell. According to Hassell, who is largely believed to have never told a lie in his entire life, the young Mr Byrne had been ever so keen to help out with “anything that was needed” while recording Hassell and Eno’s catchily titled ambient triumph, Fourth world, Vol. 1: Possible Musics. Unfortunately by that point all the jobs had been given out and everyone already had a brew, so the young Mr Byrne’s melodic magic never graced the studio’s walls. Maybe that’s what Bush of Ghosts really is, a young King David’s revenge? Or perhaps I’ve been watching too much Adam Curtis and began seeing plots and conspiracies everywhere. Either way, Hassell’s continued collaboration with Eno-man and his trusty sidekick Byrne-boy ended with him quitting the project almost immediately as the dangerouslybored (as previously mentioned) duo set off and began twatting about with radios.

In all honesty it can’t really be said for sure how much of the project is the work of Jon Hassell, with him having contributed “sketches” to it and later claimed the album “came out of me”, while also bowing out of the project so early, as it began to move in directions that just he wasn’t there for. His name was removed from any credits, but the influence of Fourth World’s ‘Fourth world’ mix of tribal world music and heavy ambient textures can’t be denied when listening to Bush of Ghosts, as brilliant as all of Byrne and Eno’s nonsense is. There’s also a fair claim to be made that Fourth World’s music captures the spirit of the 1958 Nigerian novel, My Life in the Bush of Ghosts, far more accurately than Byrne and Eno’s effort, with a now old Mr Byrne admitting in the 2006 reissue’s liner notes that neither of them had read the book, and the title just “seemed to encapsulate what the record was about”.

But I digress.

What the unfathomably bored Professor Eno and Head Prefect Byrne did produce was a bizarre, manic and technologically revolutionary mix of funk, world music, droning synths, and spliced and repurposed samples of everything from Algerian chants to political speeches to exorcisms. In the words of “Dr Eno, I presume?”, Bush of Ghosts is his “African psychedelic vision”, something which sounded a bit colonial even to audiences back in ’81.

The first track developed for the project appears second on the album, Mea Culpa. By all accounts this began as an example from Eno as to the kind of thing he was wanting to do with tape loops and samples- using them as the main focus and essentially lead vocals of the tracks while building a driving mix of sounds both defiantly electronic and primally organic beneath. This is what was achieved on the finished song at least. The John Carpenter-esque two chord synth melody drones oppressive in the background, a heavy cloud hanging above frenetic and layered polyrhythmic tribal drumming. The raw and natural feeling to the percussion casts a stark juxtaposition to the synthetic world around it, as dominating the track and taking the lead is a collaged recording stolen off the airwaves by notorious radio pirates, Captain Brian “long-hair” Eno and his loyal first mate David “seasick” Byrne. The bounty in question was a back and forth between a calm politician and a very cross indeed constituent, speaking on a New York radio call-in show sometime in July 1979. The recording is chopped, broken up and distorted beyond comprehension, leaving it as just about recognisable speech sounds dancing to a melody of alternating fury and measured reassurance. What immediately springs to mind for me with this track is the very similar broken speech sounds found on Boards of Canada’s fantastic Telephastic Workshop, from their 1999 album Music Has the Right to Children. More on this later though.

Indeed the story behind a lot of the samples on the album is really one of the most interesting parts of its existence, sometimes even more so than the very nerdy and ridiculously convoluted, pre-digital faffing that went on to make the field recordings actually work as songs. Track 3, Regiment, is notable not only for its absolutely fierce and confident bassline, as played by Michael “Busta Cherry” Jones, but also for the eerily beautiful and ancient sounding singing of Dounia Yunis. The sample originated from a recording session in the office of Iraqi ‘oud legend’ (the string instruments that look a bit like a medieval lute), Mounir Bashir, done in 1972 with the purpose of selecting a local singer for a Traditional Folk Festival. The recording was then found in 1976 and added to a compilation album entitled Music in the World of Islam 1: The Human Voice, and once again uncovered in 1980 by Indiana Eno and his plucky damsel in distress, Marion Byrne. In just 8 years Yunis’ voice had travelled halfway around the world and ended up appearing alongside not only Jones’ sublime bass playing but also terminal weirdo Robert Fripp and the magic of his ‘Frippertronics’, which create all sorts of frippertronic sounds as he plays a frippertronic solo that’s really rather far out. Also noteworthy is the fact that by this point no one had any idea who the woman singing was, and Dounia Yunis heard neither the original recording of her voice, nor David Byrne and his cool stepdad’s 1980 science fair project, until very recently. It goes without saying she saw not a penny for anything; never accept being paid in exposure kids.

© Project Revolver

The crowing jewel of the wide range of samples used on Bush of Ghosts however is the one that also got Misters Byrne and Eno in a spot of hot water- track 6, Qu’ran, also taken from Music in the World of Islam 1. The sample of a recital from the titular book is layered over a heavy, slow, uneasy and almost dub feeling beat, one that today would instantly be thought of as an ingenious hip hop (or trip hop) track. The melody is beautiful and thickly narcotic and appearing as the first track of the second side proudly signals the album’s descent into more pensive and somewhat darker sounds. However this hypnotising taste of the enchantingly exotic (because that’s what world music sort of is really) only appeared on the first pressing of the album, and not long after release had vanished from the tracklist completely. This was as the Islamic Council of Great Britain, who are fairly well known to be massive Roxy Music fans, sent a strongly worded letter explaining why they thought the song was blasphemy, and like teenagers caught with half a joint, Bry and Dave chucked it fast.

Replacing Qu’ran on subsequent versions of the album was the polar opposite, Very, Very Hungry. And this manic collision of rhythmic synths, sounds and beats leads me neatly back to what I was saying earlier when I mentioned Boards of Canada. So much of this album, with its tumbling, hypnotising, layered rhythms complimented by bizarre and obscure samples wouldn’t raise a single eyebrow if found nestled in the early mixes of Aphex Twin, Autechre, or any electronic group from around the early 90’s. When viewed chronologically it seems very easy to draw a straight line of influence from Bush of Ghosts to all number of things, and herein lies the difficulty of assessing the real lasting impact of it. Because while basically everything that self-described ‘fucking geniuses’ Eno and Byrne created was wonderfully ahead of its time, a lot of it had also already been done. Sampling as a way of not just embellishing but creating songs was already being explored, as was the combining of the ultra-modern synth technology with the ancient notion of a powerful beat. When looked at from this point of view, it seems more accurate to describe Bush of Ghosts as ‘prophetic’ rather than ‘influential’, a remarkably accurate exercise in fortune telling on behalf of the pair. Despite this it has also been listed as a key album of inspiration for the famous Victorian ghost Kate bush, the one who played keyboards in Pink Floyd, and Hank Shocklee’s utterly brilliant production for groups like Public Enemy, so maybe I’m being too hard on it.

©  My Life in the Bush of Ghosts by Peter Saville

A fun extra note about Bush of Ghosts is that the original album art was even designed by Factory’s own Peter Saville, by cutting up little paper people and pasting them onto a tv screen displaying a healthy case of video feedback. And with that brilliant little bit of lo-fi design, My Life in the Bush of Ghosts was finished. Almost.

Despite being recorded in 1980, due to the paperwork involved with all the samples used it wouldn’t be until February 1981 that Bush of Ghosts would finally see the light of day. After all, all this using other songs business still seemed most irregular. This left the nation’s favourite double act with a lot of 1980 still to kill, and they’d learned to stay away from board games. Though there was some initial concern from cool uncle Eno that maybe he was spending a bit too much time with his weedy nephew, and that maybe David should make some more friends, he did return to produce on Tattling Têtes’ next album, Remain in Light. With tape loops, sci-fi sounds and more tribal rhythms than Piccadilly Gardens on a sunny day, Remain in Light as much carries on from Bush of Ghosts as it does The Head’s previous album Fear of Music. Like the proverbial Shakespearean ghost at the feast, Jon Hassell even showed up in the studio during the Remain in Light sessions, however after some panic it was quickly established that he wasn’t a spirit warning of their demise and was actually there to lay down a sick chorus of horns and a tasty solo to match on the track Houses in Motion. Great stuff Jon!

Critics were mixed when Bush of Ghosts was finally released, with most of them impressed by what they saw, but not particularly certain what they were looking at. Some gave praise to the level of technological skill involved and the intelligent use of rhythms and field recordings, while others such as Robert “Unimpressed” Christgau were, well, unimpressed. Overall though with records such as My Life in the Bush of Ghosts I always find that it is best enjoyed without searching for deeper meaning. Let it exist as a snapshot in time, when so much which is standard and accepted now was so cutting edge and exciting, a wonderful freeze frame of the joy of trying something new without much of a message or a purpose. Drawing once again from the 2006 reissue’s liner notes, Byrne says “it is assumed that I write lyrics (and the accompanying music) for songs because I have something I need to “express”… I find that more often, on the contrary, it is the music and the lyric that triggers the emotion within me rather than the other way around.”.

Bush of Ghosts exists for the fun of its own existence, and while the early idea that award-winning fantasy novelists Byrne and Eno create a series of recordings based on an imaginary lost culture and release them anonymously was quickly dismissed, the album that did result, with its at once ahead of it’s time and proudly ancient marriage of sounds and an entire mini mythology about the fact of it’s existent, absolutely makes it a timeless project from the pair of them.

Citation Heeded?

Somewhat of an Eno Exposé…

© Brian (Peter George St John le Baptiste de la Salle) Eno, of course

By Angus C. Rolland

Most familiar will know that history, with its tepid reliance on sources; first-hand, second-tense, tertiary-hand?, the fourth wall and oriental-whispering has an evident habit of getting misconstrued and/or tilted in favour of one agenda over an opposing one. This might not seem interesting in general, but actually; if you think about it in terms of your own circumstance as a living organism, we’ve all had friends fall into arguments that can often lead to a kind of informal-factionalism that may convolute what the actual truth is, for example – (try to imagine you are visiting an exhibit):

Subject A: “They stole the gilded, Byzantine-era figurine from the artefact display!”

Subject B: “Aha, they planted stated figurine from late-Antiquity on me so as to incur the wrath of the museum-originated law enforcement investigating!”

…In turn, this will obligate you to take a side, leading to all kinds of transgressive complications that you may very well have had nothing to do with, simply because of a hapless figurine! (Or any other placeholder object you may decide to tack onto this swiftly constructed scenario).

Anyway, through morbid curiosity I edited a Wikipedia page on Pigeon Fancying; the art of tending to a domesticated feather-friend for the typical purpose(s) of sport, food or dispatching messages if (should?) childhood curiosities with the Hanna-Barbera metaverse somehow persist into hypothetical adulthood… By adding a fictional entry under the ‘Famous Fanciers’ subheading, with the entry of salience being none other than producer-musician-all-round-gizmo: (metaphorical drum roll) Brian Peter George St John le Baptiste de la Salle… Eno (RDI). I then proceeded to edit his own page to further construct the lie that he took part in this multi-millennia spanning hobby, (supposedly) around the time of his pre-Roxy, Art College youth; for a number of intermittent months in 2020/21 (check the edit logs) it remained un-rectified by the thinly stretched, overworked and largely unremunerated censor-editors in the employ of that donation craving, smaller-net-worth-than-I-thought entrepreneur, Jimmy ‘this article is semi-protected‘ Wales. Irregardless of their meddlesome tenacity, the editing will continue.

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Yet, by writing about what I have done I risk bringing something along the lines of the Hawthorne Effect into the equation, which of course would be detrimental to my aspiration of tricking internet-goers into thinking this ploy is a *Certified Factoid*, complimented by bibliographic insulation. To loftily project; maybe it will spring up on a message board relating to the aforementioned pastime? Perhaps it emerges in a clickbait article via Consequence of Sound as part of a ‘Celebs Who Are A Bit Odd?’ ad-revenue-over-substance web traffic defibrillator…? Percase (a genuine word) some unwitting fourth-estate operative will bring it up in an interview with Lord Eno himself and make themselves look like a post-chlorinated clown because they thought they were being clever by doing some pre-interview research, only for them to be rebuked as ill-informed and possibly blacklisted from future journalistic ventures… or (judging by the polymath’s perceived demeanour) more likely be corrected and it laughed off, but at least still reference and thereby validate my journeyman attempt at disinformation.