The basic core of tracks making up Brian Eno's Music for Films was originally assembled in 1976 for inclusion in a promotional LP of prospective cues sent to film directors. In early 1978, a bit before Music for Airports, Editions EG released Music for Films with little more than Eno's cryptic comment: "some of it was made specifically for soundtrack material, (and) some of it was made for other reasons but found its way into films." As with most things Eno, this led to a good deal of speculation and controversy. One filmmaker long ago stated, "All of that is crap – this music was never used in any films," and another film student who had tried out some of the cues: "this is the worst music for films ever.
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.
A listener familiar with the pedigree of the albums of Brian Eno might assume that Virgin/Astralwerks' release More Music for Films is merely a re-packaging of Music for Films II, a bonus album included within the LP boxed set Working Backwards. Such an assumption would be incorrect, as More Music for Films represents a new spin on a variety of soundtrack material made by Eno in the years 1976-1983, including some tracks drawn from Music for Films II, others from Eno Box I: Instrumentals, and at least six selections never made public before. According to Virgin, these are taken from the limited-edition promo LP of Music for Films, a two album set pre-dating the familiar EG release by two years and only circulated to filmmakers and journalists.
Music For Installations’ is a collection of new, rare and previously unreleased music, all of which was recorded by Brian Eno for use in his installations covering the period from 1986 until the present (and beyond). Over this time, he has emerged as the leading exponent of “generative” music worldwide and is recognised as one of the foremost audio-visual installation artists of his time. Eno’s visual experiments with light and video have proved to be the fertile ground from which so much of his other work has grown and they cover an even longer span of time than his recordings, paralleling his musical output in recent decades. These highly-acclaimed works have been exhibited all over the globe - from the Venice Biennale and the Marble Palace in St. Petersburg to Beijing’s Ritan Park and the sails of the Sydney Opera House. Designed by Brian and long-time collaborator Nick Robertson, this beautifully presented, 6CD, limited edition and numbered super deluxe box set comes with a 64-page Plexiglass cover book featuring rare and unseen exhibition photographs and a new essay written by Eno.
This 3CD set gathers the complete work by Luc Ferrari for films from 1960 to 1984 including electronic pieces, concrete music made in GRM and some hybrid including traditional instruments.
On May 4th, Brian Eno will release Music For Installations, an expansive box set collecting new, rare, and previously unreleased tracks. All of the material was recorded by the legendary artist for use in his audio-visual installations from 1986 until the present.
Music for Onmyo-Ji is a two-CD album of music for the books of Reiko Okano. The first disc is by Reigakusya, the second by Brian Eno and J. Peter Schwalm. A double-CD, released only in Japan, which marks the first major team-up between Brian Eno and Peter Schwalm before their widely released Drawn From Life CD. The music on disc one is comprised of 14 tracks of traditional Japanese instruments, which are more appropriate for this CD, which is meant to accompany the Reiko Okano/Baku Yumemakura manga. The second disc leads one to ask what Schwalm actually adds to the mix in this collaboration.