Esto para los que se hacían pajas con los instrumentos y percusiones norte africanas del disco...


Pitchfork: Over the years you've expressed your fondness for African music, and in particular northern African and Arabic music, yet those are elements that rarely explicitly manifest themselves in the music you work on, and especially not in bands like U2 or Coldplay.

Brian Eno: You know what? It's very funny, because on the last U2 album we spent time in North Africa, recording.

Pitchfork: In Morocco, right?

Brian Eno: In Morocco. And the reason none of that really appeared on the record, even though we did quite a lot of stuff there, was because it sounded kind of synthetic. It sounded kind of like "world music" add-on. I'm sure it would have got a few people saying, oh, how interesting, they've broken out into North African music, but actually it just didn't sound convincing. We were very impressed by the music while we were there, but there was no realistic or emotionally satisfying way of marrying it using the music that we were doing, so in the end not very much of it at all showed through. But influences aren't always in terms of sound. As I was saying earlier, they're in terms of how you approach music and what you use it for. I think that was picked up, and it was absorbed.

Dream Out Loud