Four subtle, slowly evolving pieces grace Eno's first conscious effort at creating ambient music. The composer was in part striving to create music that approximated the effect of visual art. Like a fine painting, these evolving soundscapes don't require constant involvement on the part of the listener. They can hang in the background and add to the atmosphere of the room, yet the music also rewards close attention with a sonic richness absent in standard types of background or easy listening music.
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.
On Land represented a significant move away from the strategies Brian Eno had employed in earlier ambient releases such as Discreet Music and Music for Airports. Instead of using a specific process to generate music with minimal interference from the composer, he here opts for a more gestural and intuitive approach, creating dreamy pictures of some specific geographical points or evocative memories of them. It's quite easy to imagine these works as soundtracks to mysterious footage of imprecisely glimpsed landscapes.
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."]
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.
Recording Date 1973 - 1992. This box set is a deluxe masterpiece in its creation. It starts off as a box that has a box within it that slides out the open side and inside the middle box there are the 3 cds and a booklet. The discs are a complete overview of Brian Enos' vocal music. The first disc contains the first 2 solo albums he made. It is refreshing to have them both together vurtually untouched(i say vurtually because I dont even know what they omitted to fit them on together). The second disc contains the bulk of Another Green World and Before and After Science. Both Classics in my book. The last disc is the treasure for most people probably have the first 4 albums. The first discs only throw hints of having rare tracks with only a couple per cd. The 3rd disc which has not only Enos projects for outside artists represented but it also contains the unfinshed album of pop songs called My Squelchy Life. As far as i can tell he hasnt made anything like those early vocal albums since he worked on this album back in 91. Consequently the disc is very valuable and with the deluxe packaging of the box it makes a terrific box set.
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.