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.
In 2016, as he was preparing for the release of Reflection, Brian Eno admitted that he wasn't quite sure what the term "ambient music" even means anymore. It's been used to describe everything from atmospheric techno to tense, foreboding sound sculptures. For him, it's always referred to generative compositions, unrestricted by time constraints or rhythmic structures, and often left to chance. Reflection continues with the type of albums he initiated with 1975's untouchable Discreet Music. The piece slowly unfolds over the course of an hour, with notes calmly being suspended in mid-air, only to drift away and pop up later at their leisure.
Brian Eno brings the first album in three and a half years. This Japanese edition features SHM-CD format, and includes four pieces of art prints and a 8-page booklet. Special packaging. Special Feature - a bonus track for Japan. The Ship marks Brian Eno's first ambient album since 2012's Lux. Work on the album began as a 3-D sound installation in Stockholm, but altered to stereo when Eno realized he could sing in a low C, The Ship's root note. The Ship contains two works, the 21-minute title track, and the three-part "Fickle Sun." The title piece, a reflection on the sinking of the Titanic, recalls a moment in his distant past: he released Gavin Bryars' Sinking of the Titanic on his Obscure Music label in 1975.
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."]
The possibility of Someday World arose when Brian Eno invited Underworld vocalist Karl Hyde to listen to a series of intros he'd been unable to finish. The pair share a love for African horns and rhythms as well as dance music of all stripes. Eno enlisted 22-year-old Fred Gibson as a co-producer, and numerous friends including Andy Mackay and Coldplay's Will Champion. As much as this album is a collaborative venture – Hyde's vocal and lyrics are indeed signatures – its music is impossible to separate from Eno's career. References to his first four solo records are ample, as is his work with Talking Heads, David Byrne, and even David Bowie.
Picking up where such seminal Eno recordings as Music for Airports and Another Green World left off, the inveterate innovator-producer's first recording in four years is a surreal tableau of loping beats and eerie sounds enveloped in dark yet serene atmospherics. With German percussionist Schwalm contributing softly swinging drumming, Eno is free to dabble in sounds ranging from Middle Eastern string quartets to crying machines and Vocoders to happy, babbling babies. One of Life's many highlights is Laurie Anderson's cameo on "Like Pictures Part #2," as she enunciates her words above the song's spooky, soothing ambiance. "Bloom" contrasts happy baby chatter against distorted heartbeats and sinister samples; "Night Traffic" paints an empty urban center at dusk with shifting shapes and '70s jazz percussion and piano. Throughout Drawn from Life, Eno and Schwalm cast a spell of spectral dislocation and foreboding. It's like what dying prostrate in the snow must be like–slow, sleepy, beautiful, and chilling.
Brian Eno will soon issue expanded versions of four of his albums originally released in the 1990s Nerve Net (1992), The Shutov Assembly (1992), Neroli (1993) and The Drop (1997) will each be reissued as a two-CD deluxe editions containing the original album and an additional disc of unreleased and rare Eno work specific to each record. Nerve Net includes the first ever commercial release of lost Eno album My Squelchy Life; The Shutov Assembly features an album’s worth of unreleased recordings from the same period; Neroli includes an entire unreleased hour-long Eno ambient work New Space Music; and The Drop includes nine rarely heard tracks from the Eno archives. Each album comes in deluxe casebound packaging and is accompanied by a 16-page booklet compiling photos, images and writing by Eno that is relevant to each release.
The Drop finds Brian Eno replicating the floating, trancy sound of Neroli, creating a shimmering collection of ambient music. Although The Drop illustrates that ambient doesn't all sound the same – it can be soothing and scary, sometimes both at once – the album doesn't particularly hold the listener's interest, as the shifting electronic soundscapes never reveal any substantial compositions. It's intriguing for a while, but by the time the 74 minutes of The Drop have finished, the album has made little lasting impression.
For the record, Nerve Net was not Brian Eno's first attempt at rock & roll. Not counting his time with Roxy Music, he also made several solo albums in the 1970s that were clearly intended as approaches to pop music – they were sideways approaches, of course, shaped by the intellectual distance he has always kept between himself and the music that arises from the forces that he puts into motion, and they were far from unqualified successes. But this is his most rocking solo album in years, and also his funkiest.