Apple Jack
Footballguy
Good to hear him putting his voice to pop music again.
https://www.youtube.com/watch?v=DhNh2JCv2_w
NSFW vid.
https://www.youtube.com/watch?v=DhNh2JCv2_w
NSFW vid.
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How is there not a Brian Eno thread? (1 Viewer)
- Thread starter Apple Jack
- Start date
wikkidpissah
Footballguy
If he'd have run for president on a platform of keepin the black man down by having spiders bite their ##### when theyre only holding a cellphone, there would have been.
Dan Lambskin
Footballguy
I for one am shocked
Leroy Hoard
Footballguy
Last edited by a moderator:
badmojo1006
Footballguy
Eephus
Footballguy
Bob Magaw
Footballguy
Another Green World, Arena BBC doc (VIDEO 1 hour)
https://www.youtube.com/watch?v=CPOz5-rcIeA
Another Green World album, In Dark Trees 8:22 very atmospheric (AUDIO 40 minutes)
https://www.youtube.com/watch?v=EVCkmIwRrc0
For All Mankind, Criterion doc (VIDEO 80 minutes), Eno (co)composed the score/soundtrack
https://www.youtube.com/watch?v=FJiHAoAru54
Apollo: Atmospheres and Soundtracks (AUDIO 50 minutes), above score taken from here at least in part
https://www.youtube.com/watch?v=M4ltUho8xj0
The True Wheel from Taking Tiger Mountain By Strategy, especially starting 2:15 (AUDIO 5 minutes)
https://www.youtube.com/watch?v=aaF_2l4vRrs
My Life In The Bush Of Ghosts by Eno/Byrne was a seminal album (AUDIO 40 minutes)
https://www.youtube.com/watch?v=JOXbk1GYkxE
Remain In Light by the Talking Heads heavily influenced by the above and Eno (AUDIO 40+ minutes)
https://www.youtube.com/watch?v=GHVBaF0HopQ
Byrne/Eno 2.0 Everything That Happens Will Happen Today, track 3 8:25 (AUDIO 45+ minutes)
https://www.youtube.com/watch?v=855eDSjhgOk
https://www.youtube.com/watch?v=CPOz5-rcIeA
Another Green World album, In Dark Trees 8:22 very atmospheric (AUDIO 40 minutes)
https://www.youtube.com/watch?v=EVCkmIwRrc0
For All Mankind, Criterion doc (VIDEO 80 minutes), Eno (co)composed the score/soundtrack
https://www.youtube.com/watch?v=FJiHAoAru54
Apollo: Atmospheres and Soundtracks (AUDIO 50 minutes), above score taken from here at least in part
https://www.youtube.com/watch?v=M4ltUho8xj0
The True Wheel from Taking Tiger Mountain By Strategy, especially starting 2:15 (AUDIO 5 minutes)
https://www.youtube.com/watch?v=aaF_2l4vRrs
My Life In The Bush Of Ghosts by Eno/Byrne was a seminal album (AUDIO 40 minutes)
https://www.youtube.com/watch?v=JOXbk1GYkxE
Remain In Light by the Talking Heads heavily influenced by the above and Eno (AUDIO 40+ minutes)
https://www.youtube.com/watch?v=GHVBaF0HopQ
Byrne/Eno 2.0 Everything That Happens Will Happen Today, track 3 8:25 (AUDIO 45+ minutes)
https://www.youtube.com/watch?v=855eDSjhgOk
Bob Magaw
Footballguy
Liner notes from Ambient 4: On Land
1986 release
The idea of making music that in some way related to a sense of place - landscape, environment - had occurred to me many times over the years preceding "On Land". Each time, however, I relegated it to a mental shelf because it hadn't risen above being just another idea - a diagram rather than a living and breathing music. In retrospect, I now see the influence of this idea, and the many covert attempts to realise it, running through most of the work that I've released like an unacknowledged but central theme. This often happens; you imagine a territory rich in possibilities and try to think of how you might get to it, and then suddenly one day you look around and realise that you have been there for quite a long time.
My conscious exploration of this way of thinking about music probably began with "Another Green World" (1975). On that record I became aware of setting each place within its own particular landscape and allowing the mood of that landscape to determine the kinds of activity that could occur. Working from the realisation that my music was less and less connected with performability but was created in and of the studio, I took advantage of the fact that music produced in recording studios (rather than music reproduced by studios) has the option of creating its own psychoacoustic space. Most frequently this has been achieved by mechanical or electronic echoes and delays: short repeat echoes connoting rectilinear urban spaces, for example, and until recently, these possibilities have been used "realistically" to evoke spaces that were recognizable. From "Another Green World" onwards I became interested in exaggerating and inventing rather than replicating spaces, experimenting in particular with various techniques of time distortion. This record represents one culmination of that development and in it the landscape has ceased to be a backdrop for something else to happen in front of; instead, everything that happens is a part of the landscape. There is no longer a sharp distinction between foreground and background.
In using the term landscape I am thinking of places, times, climates and the moods that they evoke. And of expanded moments of memory too... One of the inspirations for this record was Fellini's "Amarcord" ("I Remember"), a presumably unfaithful reconstruction of childhood moments. Watching that film, I imagined an aural counterpart to it, and that became one of the threads woven into the fabric of the music.
What qualified a piece for inclusion on the record was that it took me somewhere, but this might be somewhere that I'd never been before, or somewhere I'd only imagined going to. Lantern Marsh, for example, is a place only a few miles from where I grew up in East Anglia, but my experience of it derives not from having visited it (although I almost certainly did) but from having subsequently seen it on a map and imagining where and what it might be. We feel affinities not only with the past, but also with the futures that didn't materialize, and with the other variations of the present that we suspect run parallel to the one we have agreed to live in.
The choice of sonic elements in these places arose less from listening to music than from listening to the world in a musical way. When I was in Ghana, for instance, I took with me a stereo microphone and a cassette recorder, ostensibly to record indigenous music and speech patterns. What I sometimes found myself doing instead was sitting out on the patio in the evenings with the microphone placed to pick up the widest possible catchment of ambient sounds from all directions, and listening to the result on my headphones. The effect of this simple technological system was to cluster all the disparate sounds into one aural frame; they became music.
Listening this way, I realised I had been moving towards a music that had this feeling; as the listener, I wanted to be situated inside a large field of loosely-knit sound, rather than placed before a tightly organised monolith (or stereolith, for that matter). I wanted to open out the aural field, to put much of the sound a considerable distance from the listener (even locating some of it "out of earshot"), and to allow the sounds to live their lives separately from one another, clustering occasionally but not "musically" bound together. This gave rise to an interesting technical difficulty. Because recording studio technology and practice developed in relation to performed music, the trend of that development has been towards greater proximity, tighter and more coherent meshing of sounds with one another. Shortly after I returned from Ghana, Robert Quine gave me a copy of Miles Davis' "He Loved Him Madly". Teo Macero's revolutionary production on that piece seemed to me to have the "spacious" quality I was after, and like "Amarcord", it too became a touchstone to which I returned frequently.
As I made these pieces, I began to take a different attitude towards both the materials and the procedures I was using. I found the synthesizer, for example, of limited usefulness because its sound tended towards a diagrammatic rather than an organic quality. My instrumentation shifted gradually through electro-mechanical and acoustic instruments towards non-instruments like pieces of chain and sticks and stones. Coupled with this transition was an increasing interest in found sound as a completely plastic and malleable material; I never felt any sense of obligation about realism. In this category I included not only recordings of rooks, frogs and insects, but also the complete body of my own earlier work. As a result, some earlier pieces I worked on became digested by later ones, which in turn became digested again. The technique is like composting: converting what would otherwise have been waste into nourishment.
Brian Eno
1982, revised February 1986
* Ambient 4: On Land (AUDIO 45 minutes), the way this was recorded the "acoustic space" seems to have an event horizon that extends to infinity, I preferred side B of the album starting at 22:15, great background music, imo
https://www.youtube.com/watch?v=6nl1_dFV5vk
He Loved Him Madly by Miles Davis, brooding, elegiac, heavily atmospheric tribute/memorial to Duke Ellington (AUDIO 30+ minutes), Teo Macero's brilliant production cited by Eno above
https://www.youtube.com/watch?v=3Fc_-VZlkcM
1986 release
The idea of making music that in some way related to a sense of place - landscape, environment - had occurred to me many times over the years preceding "On Land". Each time, however, I relegated it to a mental shelf because it hadn't risen above being just another idea - a diagram rather than a living and breathing music. In retrospect, I now see the influence of this idea, and the many covert attempts to realise it, running through most of the work that I've released like an unacknowledged but central theme. This often happens; you imagine a territory rich in possibilities and try to think of how you might get to it, and then suddenly one day you look around and realise that you have been there for quite a long time.
My conscious exploration of this way of thinking about music probably began with "Another Green World" (1975). On that record I became aware of setting each place within its own particular landscape and allowing the mood of that landscape to determine the kinds of activity that could occur. Working from the realisation that my music was less and less connected with performability but was created in and of the studio, I took advantage of the fact that music produced in recording studios (rather than music reproduced by studios) has the option of creating its own psychoacoustic space. Most frequently this has been achieved by mechanical or electronic echoes and delays: short repeat echoes connoting rectilinear urban spaces, for example, and until recently, these possibilities have been used "realistically" to evoke spaces that were recognizable. From "Another Green World" onwards I became interested in exaggerating and inventing rather than replicating spaces, experimenting in particular with various techniques of time distortion. This record represents one culmination of that development and in it the landscape has ceased to be a backdrop for something else to happen in front of; instead, everything that happens is a part of the landscape. There is no longer a sharp distinction between foreground and background.
In using the term landscape I am thinking of places, times, climates and the moods that they evoke. And of expanded moments of memory too... One of the inspirations for this record was Fellini's "Amarcord" ("I Remember"), a presumably unfaithful reconstruction of childhood moments. Watching that film, I imagined an aural counterpart to it, and that became one of the threads woven into the fabric of the music.
What qualified a piece for inclusion on the record was that it took me somewhere, but this might be somewhere that I'd never been before, or somewhere I'd only imagined going to. Lantern Marsh, for example, is a place only a few miles from where I grew up in East Anglia, but my experience of it derives not from having visited it (although I almost certainly did) but from having subsequently seen it on a map and imagining where and what it might be. We feel affinities not only with the past, but also with the futures that didn't materialize, and with the other variations of the present that we suspect run parallel to the one we have agreed to live in.
The choice of sonic elements in these places arose less from listening to music than from listening to the world in a musical way. When I was in Ghana, for instance, I took with me a stereo microphone and a cassette recorder, ostensibly to record indigenous music and speech patterns. What I sometimes found myself doing instead was sitting out on the patio in the evenings with the microphone placed to pick up the widest possible catchment of ambient sounds from all directions, and listening to the result on my headphones. The effect of this simple technological system was to cluster all the disparate sounds into one aural frame; they became music.
Listening this way, I realised I had been moving towards a music that had this feeling; as the listener, I wanted to be situated inside a large field of loosely-knit sound, rather than placed before a tightly organised monolith (or stereolith, for that matter). I wanted to open out the aural field, to put much of the sound a considerable distance from the listener (even locating some of it "out of earshot"), and to allow the sounds to live their lives separately from one another, clustering occasionally but not "musically" bound together. This gave rise to an interesting technical difficulty. Because recording studio technology and practice developed in relation to performed music, the trend of that development has been towards greater proximity, tighter and more coherent meshing of sounds with one another. Shortly after I returned from Ghana, Robert Quine gave me a copy of Miles Davis' "He Loved Him Madly". Teo Macero's revolutionary production on that piece seemed to me to have the "spacious" quality I was after, and like "Amarcord", it too became a touchstone to which I returned frequently.
As I made these pieces, I began to take a different attitude towards both the materials and the procedures I was using. I found the synthesizer, for example, of limited usefulness because its sound tended towards a diagrammatic rather than an organic quality. My instrumentation shifted gradually through electro-mechanical and acoustic instruments towards non-instruments like pieces of chain and sticks and stones. Coupled with this transition was an increasing interest in found sound as a completely plastic and malleable material; I never felt any sense of obligation about realism. In this category I included not only recordings of rooks, frogs and insects, but also the complete body of my own earlier work. As a result, some earlier pieces I worked on became digested by later ones, which in turn became digested again. The technique is like composting: converting what would otherwise have been waste into nourishment.
Brian Eno
1982, revised February 1986
* Ambient 4: On Land (AUDIO 45 minutes), the way this was recorded the "acoustic space" seems to have an event horizon that extends to infinity, I preferred side B of the album starting at 22:15, great background music, imo
https://www.youtube.com/watch?v=6nl1_dFV5vk
He Loved Him Madly by Miles Davis, brooding, elegiac, heavily atmospheric tribute/memorial to Duke Ellington (AUDIO 30+ minutes), Teo Macero's brilliant production cited by Eno above
https://www.youtube.com/watch?v=3Fc_-VZlkcM
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timschochet
Footballguy
Everything merges with the night.
mr. furley
Footballguy
Last edited by a moderator:
saintfool
Dead sexy
Bob Magaw
Footballguy
All Saints - Contains MOST of the instrumental tracks from the Bowie/Eno Berlin trilogy (highly recommended compilation)
https://www.youtube.com/watch?v=ceCVakrLqVs&list=PLJNbijG2M7OwRlyp_iBt-aHa6s_jdnlvn
1. Outside - Long awaited reunion with Bowie from '95, Eno co-produced and plays (AUDIO 75 minutes)
https://www.youtube.com/watch?v=FQsXRyEiH40
https://www.youtube.com/watch?v=ceCVakrLqVs&list=PLJNbijG2M7OwRlyp_iBt-aHa6s_jdnlvn
1. Outside - Long awaited reunion with Bowie from '95, Eno co-produced and plays (AUDIO 75 minutes)
https://www.youtube.com/watch?v=FQsXRyEiH40
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Apple Jack
Footballguy
On Land was a tectonic plate shifting record for me.
My brother, the musician who has almost everything ever recorded, has a huge hole in his collection. No Eno. So I've been stocking up on some of his albums and bought his biography. I'll listen to those discs and read the book before Christmas, should be fun. I'm a neophyte but I think I've heard enough to know that I like Fripp over Eno by a lot. If anyone is overdue for his own thread, it's Robert Fripp. I'll hunt for links once I'm on a computer. Seek him out; grow as a person. He's become a role model for me after reading his bio.
Bob Magaw
Footballguy
Another Green World is one of my favorite of his studio albums with other musicians, some prefer Here Come The Warm Jets.
Also the Another Green World (unrelated) and possibly For All Mankind docs.
An Ending (Ascent) is from the latter's score, released as Apollo: Atmospheres and Soundtracks (AUDIO 5 minutes)
https://www.youtube.com/watch?v=It4WxQ6dnn0
I like 2/2 from Ambient 1: Music For Airports (AUDIO 10 minutes)
https://www.youtube.com/watch?v=CJjskjeZkeo
Dunwich Beach, Autumn, 1960 is the concluding track from Ambient 4: On Land (AUDIO 7 minutes)
https://www.youtube.com/watch?v=TH3t3ua68Qg
* My favorite collaborations are with Robert Fripp, David Bowie and David Byrne/Talking Heads (some links above).
Fripp & Eno Paris Live '75 in several parts (AUDIO 10 minutes this excerpt)
https://www.youtube.com/watch?v=ZYvWTx6hQuk
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Bob Magaw
Footballguy
Awesome Dutch!
Let us know your impressions. I will say Eno can be a bit of an acquired taste, in some cases. Some other tying up loose ends type points:
1) He started with Roxy Music.
2) Considered the Godfather of Ambient music.
Ambient music (wiki definition)
https://en.wikipedia.org/wiki/Ambient_music
3) The Ambient stuff can be repetitive, when done well, I find hypnotic in a good way (in the sense of some ancient African, Middle Eastern and Indian musical traditions can be almost trance inducing). Here are some other examples of REPETITIVE music I enjoy (not necessarily Ambient):
Tangerine Dream Live - Encore '77 (AUDIO 70 minutes), I like the first track Cherokee Lane
https://www.youtube.com/watch?v=WiVptLQDY-8
Steve Reich - Music For 18 Musicians (VIDEO 50+ minutes), live concert performance, like a shimmering mosaic of interlocking musical patterns, starts simple, becomes more complex, the interaction changes are subtle and shift at an almost glacial pace, so you may not notice them AS THEY ARE OCCURRING, but as it proceeds from beginning - middle - end, you move through very different passages and "musical terrain".
https://www.youtube.com/watch?v=zLckHHc25ww
4) Eno's Ambient body of work can be excellent background music. One explanation/comparison he used was that because there were no hooks, you could attend to other things while still having sound stimulation. Contrast that with the example I always use, a song like My Sharona by the Knack, which maybe was catchy the first few times but than was brutally, mind numbingly boring after dozens/hundreds of plays (seemingly ubiquitous, couldn't get away from it when it came out on the radio). Even after dozens, possibly hundreds of listens to Ambient 4: On Land, I would continue to discover new sounds and aspects, because typically I wasn't listening intently to it, but doing other things like reading, writing, etc. In fact, even when I did attend closely (say, meditating), the exact same effect would still remain, because there were no hooks, and the deceptively simple sonic constructions had a lot going on in the background.
Eno also did a few Ambient collaborations:
Ambient 2: The Plateaux Of Mirror with Harold Budd (pianist)
https://www.youtube.com/watch?v=j0Sz0lgYhKw
Ambient 3: Day Of Radiance by Laraaji, playing hammered dulcimer and zither (Eno's role restricted more to production/engineering, "sound treatments", etc.)
https://www.youtube.com/watch?v=tMBNKmZgs_Y
Fourth World Vol 1 with John Hassell (avant garde, pioneering World Music trumpet player)
https://www.youtube.com/watch?v=cFig-OiIwDo
* Also The Pearl with Harold Budd
https://www.youtube.com/watch?v=om-iZHrE1S8
Let us know your impressions. I will say Eno can be a bit of an acquired taste, in some cases. Some other tying up loose ends type points:
1) He started with Roxy Music.
2) Considered the Godfather of Ambient music.
Ambient music (wiki definition)
https://en.wikipedia.org/wiki/Ambient_music
3) The Ambient stuff can be repetitive, when done well, I find hypnotic in a good way (in the sense of some ancient African, Middle Eastern and Indian musical traditions can be almost trance inducing). Here are some other examples of REPETITIVE music I enjoy (not necessarily Ambient):
Tangerine Dream Live - Encore '77 (AUDIO 70 minutes), I like the first track Cherokee Lane
https://www.youtube.com/watch?v=WiVptLQDY-8
Steve Reich - Music For 18 Musicians (VIDEO 50+ minutes), live concert performance, like a shimmering mosaic of interlocking musical patterns, starts simple, becomes more complex, the interaction changes are subtle and shift at an almost glacial pace, so you may not notice them AS THEY ARE OCCURRING, but as it proceeds from beginning - middle - end, you move through very different passages and "musical terrain".
https://www.youtube.com/watch?v=zLckHHc25ww
4) Eno's Ambient body of work can be excellent background music. One explanation/comparison he used was that because there were no hooks, you could attend to other things while still having sound stimulation. Contrast that with the example I always use, a song like My Sharona by the Knack, which maybe was catchy the first few times but than was brutally, mind numbingly boring after dozens/hundreds of plays (seemingly ubiquitous, couldn't get away from it when it came out on the radio). Even after dozens, possibly hundreds of listens to Ambient 4: On Land, I would continue to discover new sounds and aspects, because typically I wasn't listening intently to it, but doing other things like reading, writing, etc. In fact, even when I did attend closely (say, meditating), the exact same effect would still remain, because there were no hooks, and the deceptively simple sonic constructions had a lot going on in the background.
Eno also did a few Ambient collaborations:
Ambient 2: The Plateaux Of Mirror with Harold Budd (pianist)
https://www.youtube.com/watch?v=j0Sz0lgYhKw
Ambient 3: Day Of Radiance by Laraaji, playing hammered dulcimer and zither (Eno's role restricted more to production/engineering, "sound treatments", etc.)
https://www.youtube.com/watch?v=tMBNKmZgs_Y
Fourth World Vol 1 with John Hassell (avant garde, pioneering World Music trumpet player)
https://www.youtube.com/watch?v=cFig-OiIwDo
* Also The Pearl with Harold Budd
https://www.youtube.com/watch?v=om-iZHrE1S8
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grateful zed
Footballguy
Leroy Hoard
Footballguy
Putting the grapes back on the vine.
SaintsInDome2006
Footballguy
Long story but I've gotten into Bryan Ferry lately and lo & behold there's Eno in the first couple Roxy albums.
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saintfool
Dead sexy
I love his early solo work. Very distinct.
Totally unrelated but Matt Johnson of The The released his first new single in like 15+ years last month. A new full album is seems likely. They released a documentary about him ("The Inertia Variations") and it's making the usual rounds on festival circuit. I'd love to see what Eno could get out of Matt on an album.
Leroy Hoard
Footballguy
wikkidpissah
Footballguy
Reg Lllama's got some footage of him getting railed from behind by Michael Stipe
