Apollo - Atmospheres and Soundtracks is an Ambient album released in 1983. It was written, produced, and performed by Brian Eno, his brother Roger and Daniel Lanois. Music from the album appeared in the films 28 Days Later, Traffic and Trainspotting, whose soundtrack sold approximately four million copies.
If you ever wondered what ambient music is all about, you could do worse than listen to the soundtrack by Brian Eno that accompanied the stunning visuals of NASA's Apollo missions to the moon. Created with an intoxicating mixture of acoustic and electronic, the music makes the now-classic space travel images more magical and memorable, introducing a dreamlike element to scenes of cold reality. "An Ending (Ascent)" is about as close to an actual tune as you'll get, but, as with every track, a shining example of what ambient music reveals about itself–slowly and carefully. – Paul Clark
Both Brian Eno and John Cale have always flirted with conventional pop music throughout their careers, while reserving the right to go off on less accessible experiments, which means they've always held out the promise that they would make something as attractive as this synthesizer-dominated collection, on which Eno comes as close to the mainstream as he has since Another Green World and Cale is as catchy as he's been since Honi Soit. The result is one of the best albums either one has ever made. [A 2005 reissue added two bonus tracks: "Grandfather's House" and "You Don't Miss Your Water."]
6 collected Eno tracks from Music from Films III, The Drop and Wrong Way Up. 1/2 Music for Airports track by Bang on a Can + 5 interesting reworks with strings by Popoli Dalpane Ensemble and another 3 reworks by Arturo Stalteri. These latter string reworks include St. Elmo's Fire, By this River, Driving me Backwards, SparrowFall, Another Green World
Passengers is a collaboration between U2 and Brian Eno, so it should come as no surprise that the music on Original Soundtracks 1 is an extension of U2's last album, Zooropa. Under Eno's influence, the group incorporates more ambient electronic soundscapes, which unravel over the course of the album. In fact, Original Soundtracks 1 sounds more like a Brian Eno album than a U2 release, except when the band's knack for anthemic pop songwriting shines through every once and a while.
Music for Films, Vol. 3, is a set of mismatched pieces by Brian Peter George St. John le Baptiste de la Salle Eno (aka Eno). They are from his voluminous works for cinema, installations, shorts, and other related media. The disc contains 15 short pieces (only one is over five minutes). In that regard, there is a distinct similarity to his new wave pop music from the '70s. This CD is, however, all instrumental, largely electronic, and distinctly Eno. Despite their dissimilar origins, these tracks have definite cohesion. Eno injects avant-garde timbres and metallic textures into each composition. The flow is smooth, the atmospheres are vast, and the soundscapes are vivid. This is a very cool montage of Eno's work.
Ever the iconoclast, if there is one thing that Brian Eno has done with any degree of consistency throughout his varied career, it is presenting his art in an array of perpetually "out of the box" forums. All that changed – in a manner of speaking – with the release of two companion multi-disc compilations. Eno Box I: Instrumentals (1994) condenses his wordless creations, while Eno Box II: Vocals (1993) does the same for the rest of his major works on a similarly sized volume. Interestingly – and in his typically contrary fashion – this initial installment was actually issued last. Each of Eno Box I: Instrumentals' three CDs respectively concentrates on a specific facet of the artist's copious back catalog.
Drums Between the Bells is a collaboration by producer Brian Eno and poet Rick Holland. It was recorded just after Eno finished work on 2010's Small Craft on a Milk Sea, his debut for Warp, and it followed on the release schedule less than a year later. In that sense, the timing was good for such a risky project. Music and poetry are often difficult companions, and combining them is best left to experts; fortunately, Eno is just such an expert. Although Holland is an obscure poet, he first came to Eno’s notice back in the late ‘90s (through a university project), and his poetry is very good. Although his words and thoughts are impressionistic, his themes are easier to peg: urban living, science, and the intersection of philosophy and biology. The music is almost entirely Eno’s own, with only a few tracks featuring guest credits – much less so than his previous album. While scattered moments here prove that percussion is still not his strong suit, the production is inviting, innovative, and a larger contributor to the general excellence of the record than the poetry.