Pitchfork: In 1994, when SAW II came out, one element of acid house in the UK was this idea of the chill room, where you would be dancing hard and then you would want to go someplace to relax and there’d be a DJ in there mixing sound effects and Eno records. Was this album heard in that kind of context?
MW: Yes—that’s the culture out of which this record was revealed. One of the interesting things about the chill room is how it reflects back on the origins of what we call ambient music, which is the reason [Eno’s] Discreet Music ended up coming to be—ambient music in many ways originated as sickbed music. Eno had been in a car accident, he was laid up, someone brings him a record and put it on, they leave, and the record is famously played at a low volume, and one of the speakers is dead. And rather than seeing this as insult added to his literal injury, he decides, “Wow, this is a beautiful form of listening. When I’m healed I’m going to make music that sounds like this.” So the idea that ambient music would later be used in a kind of sickbed space is interesting, because that’s sort of its origin.
Marc Weidenbaum para a Pitchfork sobre o Selected Ambient Works Volume II.