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BRIAN ENO

Progressive Electronic • United Kingdom


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Brian Eno biography
Brian Peter George St John le Baptiste de la Salle Eno - Born 15 May 1948 in Woodbridge, Suffolk, UK

There has never been an artist more mystic (in the prog world, anyway) than Brian Eno. He has had many occupations that have influenced many musicians: he was the founding father of ambient music (though some might give him no small amount of flak for starting new age slop), a glam rocker, an expert at the synthesizer and many other strange electronic devices, a producer of hits for U2 and Talking Heads, an explorer of non-western musical themes and, as he was known to everyone who liked him, a "non-musician."

Growing up in the town of Suffolk (which was close to a American Air Force camp), he became fascinated by music when listening to doo wop and R&B on the Armed Forces radio stations. He later developed an interest towards avant-garde composers like John Cage and Terry Riley. In 1971, he became a member of the seminal rock band ROXY MUSIC. Eno joined them because he knew how to operate a certain synthesizer that none of the other members could. Some rock fans thought that he was gay because he wore makeup and women's clothing. His unusual appearance was offstaging the ROXY MUSIC frontman Bryan Ferry, who began to grow agitated as a result. After several fights with Ferry, Eno quit ROXY MUSIC to record some albums of his own sound.

The first album with Eno's name on it was 1973's "No Pussyfooting", an early ambient venture that he recorded with fellow EG Records recording artist Robert Fripp (most famous as the guitarist of KING CRIMSON). Most of the album was a Gibson Les Paul played by Fripp running through a tape-delay system. This new method would be dubbed "Frippertronics," a system that Fripp would later use in his solo career. (The sampling of sounds later set the stage for electronica and hip-hop.) Eno's first true solo album was 1973's "Here Come The Warm Jets", which managed to make the Top 30 in the UK. This time around, Eno had a glam rock sound that David Bowie and QUEEN had popularized. The album proved so critically popular that Eno (even though he was in poor health) decided to tour. The tour was cancelled shortly because of a collapsed lung.

In 1974, he released "Taking Tiger Mountain" (By Strategy), which was a similar collection of free form rock songs. Shortly after the album was released, a serious car accident left Eno bedridden for several months. While in...
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Another Green World [LP]Another Green World [LP]
Astralwerks 2018
$14.67
$18.99 (used)
Here Come The Warm Jets [LP]Here Come The Warm Jets [LP]
Astralwerks 2018
$15.69
$19.25 (used)
Taking Tiger Mountain (By Strategy) [LP]Taking Tiger Mountain (By Strategy) [LP]
Astralwerks 2017
$15.69
$19.25 (used)
Music For Installations [6 CD]Music For Installations [6 CD]
Astralwerks 2018
$64.27
Discreet MusicDiscreet Music
Remastered
Astralwerks 2004
$10.65
$7.99 (used)
Before And After Science [LP]Before And After Science [LP]
Astralwerks 2017
$15.69
$14.06 (used)
Ambient 1:Music For AirportsAmbient 1:Music For Airports
Remastered · Reissued
Virgin / Astralwerks 2004
$11.99
$3.95 (used)
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BRIAN ENO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BRIAN ENO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.73 | 187 ratings
Here Come The Warm Jets
1973
3.63 | 160 ratings
Taking Tiger Mountain (By Strategy)
1974
3.98 | 296 ratings
Another Green World
1975
3.46 | 104 ratings
Discreet Music
1975
3.79 | 190 ratings
Before And After Science
1977
3.33 | 89 ratings
Music For Films
1978
3.68 | 173 ratings
Ambient 1 - Music For Airports
1978
3.79 | 69 ratings
Eno, Moebius & Roedelius: After The Heat
1978
3.97 | 135 ratings
Brian Eno & David Byrne: My Life In The Bush Of Ghosts
1981
4.02 | 172 ratings
Ambient 4 - On Land
1982
3.78 | 109 ratings
Apollo - Atmospheres & Soundtracks (OST)
1983
2.88 | 26 ratings
More Music For Films [Aka: Music For Films - Vol. 2]
1983
3.36 | 54 ratings
Thursday Afternoon
1985
2.49 | 19 ratings
Music For Films III
1988
2.78 | 43 ratings
Eno & Cale: Wrong Way Up
1990
2.24 | 42 ratings
Nerve Net
1992
2.84 | 32 ratings
The Shutov Assembly
1992
3.16 | 37 ratings
Neroli - Thinking Music Part IV
1993
1.89 | 9 ratings
Headcandy
1994
2.96 | 17 ratings
Eno & Wobble: Spinner
1995
2.69 | 31 ratings
The Drop
1997
2.44 | 9 ratings
Lightness - Music For The Marble Palace
1997
3.25 | 12 ratings
I Dormienti
1999
3.60 | 27 ratings
Brian Eno & J. Peter Schwalm: Drawn From Life
2001
2.00 | 12 ratings
January 07003 - Bell Studies For The Clock Of The Long Now
2003
3.76 | 66 ratings
Another Day On Earth
2005
3.94 | 79 ratings
Small Craft On A Milk Sea
2010
3.64 | 33 ratings
Brian Eno & Rick Holland: Drums Between The Bells
2011
3.40 | 23 ratings
Lux
2012
3.13 | 18 ratings
Eno & Hyde: Someday World
2014
3.09 | 17 ratings
Eno & Hyde: High Life
2014
2.60 | 5 ratings
My Squelchy Life
2015
3.60 | 19 ratings
The Ship
2016
3.75 | 21 ratings
Reflection
2017

BRIAN ENO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.09 | 3 ratings
Dali's Car (with Winkies and 801)
1999

BRIAN ENO Videos (DVD, Blu-ray, VHS etc)

3.96 | 6 ratings
Thursday Afternoon
1984
4.08 | 7 ratings
14 Video Paintings
2005
4.13 | 5 ratings
77 Million Paintings
2006

BRIAN ENO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Working Backwards: 1983-1973
1983
3.58 | 7 ratings
Begegnungen (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1984
2.30 | 4 ratings
Begegnungen II (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1985
2.53 | 5 ratings
Desert Island Selection
1986
3.67 | 3 ratings
Textures
1989
3.08 | 5 ratings
Eno Box II: Vocals
1993
4.12 | 7 ratings
Eno Box I: Instrumentals
1994
0.00 | 0 ratings
Generative Music 1
1996
3.00 | 1 ratings
Sonora Portraits
1999
3.09 | 4 ratings
Curiosities, Vol. 1
2003
3.49 | 3 ratings
Curiosities Vol. 2
2004
3.96 | 5 ratings
More Music For Films
2005

BRIAN ENO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.33 | 3 ratings
Robert Sheckley's In A Land Of Clear Colors (with Pete Sinfield)
1979
3.50 | 2 ratings
Ali Click
1992
1.05 | 3 ratings
Fractal Zoom
1992
3.00 | 3 ratings
Music For White Cube
1997
3.00 | 5 ratings
Kite Stories
1999
4.00 | 1 ratings
Music For Onmyo-Ji
2000
3.00 | 1 ratings
Music For Civic Recovery Centre
2000
2.33 | 3 ratings
Compact Forest Proposal
2001
4.00 | 1 ratings
How Many Worlds
2005
4.00 | 1 ratings
This
2005
4.00 | 1 ratings
Making Space
2006
3.50 | 2 ratings
Panic Of Looking
2011
3.00 | 3 ratings
Sisters
2017

BRIAN ENO Reviews


Showing last 10 reviews only
 Eno & Cale: Wrong Way Up by ENO, BRIAN album cover Studio Album, 1990
2.78 | 43 ratings

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Eno & Cale: Wrong Way Up
Brian Eno Progressive Electronic

Review by TCat
Prog Reviewer

3 stars This is truly an underrated album. It is also very unexpected. When you hear of Brian Eno and John Cale doing an album together, you would expect maybe ambience or at least very experimental music. You would be mistaken. This album has some of the most accessible music either artist has been involved in. But, believe me, it does not make it a bad album. Yes it is lacking somewhat in progressiveness, but the faster songs are so cheery and catchy that you have to sing along. And the harmonies, mostly based on heavy layering, are excellent to the "nth" degree. That is what I love about it most is the harmonies, sort of like a more modern Moody Blues type harmony, but better.

The first track is sung by Eno, but I would imagine it involves auto tune, because I have never heard him sing like this. The violin and keyboards are exiting and catchy. The same feeling melds into the next track "One World", even more upbeat with Eno and Cale both sharing vocals with lots of harmony. "In the Backroom" is a slower tempo and more of what you would expect with the vocals more subdued and no harmonies, just singing by Cale. The rhythm is consistent throughout, but there are some interesting things going on in the instrumentation. "Empty Frame" has a nice mid tempo swing feeling to it. Eno has lead vocals on this and there is some brass involved in the background and there are some harmonies here, but not as choir like as before. The guitar towards the middle is nice, but it's mixed a little deep. Vocals again seem too perfect for Eno, but it still sounds great.

"Cordoba" is a very laid back slow song lead by Cale. This one is more ambient and slightly experimental sounding, but it is not typical enough to be considered pop. It is a lot darker than anything that has come previously, so probably more what you would have expected from these two. Very sparse and the voice is solo with limited harmonics and some distortion in the orchestration towards the end giving it a unsettling feeling. "Spinning Away" is more of a nice, funky feeling with that feeling being provided by a strumming guitar while the keyboards are smooth creating a nice contrast. Eno has lead on this one and the beautifully layered and uplifting harmonics are back. The stings are back on this one too, and give this song great atmosphere. "Footsteps" is a mid-tempo song sung by Cale and is very 80s sounding especially with the synth melodies going on here. This one would have fit well on any Wang Chung album, in other words, I don't care for it as much.

Cale leads again on the next song "Been There, Done That". This one is upbeat and was released as a single and actually had some success. It is decent, but I would have picked one of the other previous upbeat songs for the single. But it has memorable lyrics that are easy to sing along with. "Crime in the Desert" has a nice piano hook that plays though the song, upbeat once again and a return to the layered harmonics that are so appealing. The synths are reminiscent of a more upbeat Vangelis tune. This one is the 3rd in a row lead by Cale. The last track on the original release is "The River" and is lead by Eno. This on has an annoying computerized drum and keyboard loop that changes chords with the vocals. It is more subdued like "Cordoba", but not as experimental. Eno's voice has an echo to it, giving it a slightly mysterious sound. The chorus is nice with the vocals, but it can remind you of sitting around a campfire singing and once you get that visual, it gets a little corny. Since the original had only 10 tracks, by this time it was starting to wear out it's welcome, so it ended at the perfect place.

The remastered version released in 2005 had 2 bonus tracks, but 1 of those tracks was different in the UK and the US. "Grandfather's House" was the UK bonus track. It is a slow ambient song, but the electric piano or vibe is a little annoying and reminds you of the terrible late 70s, early 80s Chicago albums. However, the lyrics are nice. "You Don't Miss Your Water" was the track available in both the UK and US versions. This one is better, but it is still slow with no percussion. It is driven with guitar this time, so it's not tacky like the previous one. It also has the layered harmonics. "Palanquin" was the bonus track in the US that replaced "Grandfather's House". Out of the two different bonus tracks, "Palanquin" is better in that it uses acoustic piano instead of electric, so it's not so dated sounding. It is a beautiful, atmospheric track, all instrumental, and with a new age feel, but still nice.

Overall, I really love this album and I did the first time I heard it. I do admit that it tends to wear itself out towards the end, but the bonus tracks, at least on the US reissue, do breathe life back into the album at the end. I know there isn't much there that is considered progressive, but the harmonics push this far and above any typical pop music out there. I consider it an excellent addition to my collection, but not to my prog music collection. So I have to settle for a "Good" rating, but it's pushing the 4 star rating.

 Discreet Music by ENO, BRIAN album cover Studio Album, 1975
3.46 | 104 ratings

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Discreet Music
Brian Eno Progressive Electronic

Review by aglasshouse

5 stars Brian Eno is often thought of the thinking man of progressive music. Although many thinking men exist in the genre, Eno was the one who thought the hardest, particularly in both the abstract and the minimalist. The way he perceived music as a whole both in how it's psychologically defined and how it exists in space were paramount in bringing a new mindset to the pop music world.

However when you take all this and compress it down into one album, it garners a different look. Specifically, one tagged as "ambient". In recent years this term has a stigma attached to it, and generally will cause a quick dismissal from those who you bring it up to. Sure, countless very simple projects have also called themselves ambient, but as Eno has stated, what ambient really means is practically impossible to pin down these days. Mr. Eno may be a bit forgetful however, as he seems to have forgotten that he practically created modern ambient electronic music back in 1975. Discreet Music is one of the most unadulterated expressions of noise and vibration, a sound that seems disembodied from human thought and is something that just purely....exists. Of course Kraftwerk often experimented with ambient/avant-garde electronics before Eno even began working with Robert Fripp in 1973, but what Kraftwerk either didn't care to or failed to realize at the time that ambient music is what Eno created; sprawling, hour-or-more- long, meandering behemoths of various rhythmic tones and electronic fluidity that do well to not branch off uncomfortably by being overly dynamic. This not only creates a pleasant sound, but also removes the chance of having any slip ups if you go off the avant-garde deep end, which even Eno has done in the past. Kraftwerk understood the meaning of this quite well even before Eno did, with 1974's Autobahn epic replete with vehicle imagery, but it took another year for another musician to perfect it, and that just so happened to be Eno.

The rest of the album aside from the title track epic is three different variations of Canon in D Major by Johann Pachelbel. While not being the centrepiece, Eno's interpretations of the classic 'Pachabel's Canon' which, while being in basic terms the same Canon you've heard for years, are indeed testaments to Eno's mixing of industrial music with the classical. 'Fullness of the Wind' I believe is the best of the three.

What I think Discreet Music represents is a wholesome and unbroken part of Eno's career, which both represents a then stepping stone but also a timeless element in one of the most prolific electronic musician's music. That, and it's a signal for other artists even today to expound on it to find the deepest crevasses the human spirit can travel to. Either that, or I'm just blowing it out of proportion. Part of me, though, thinks I'm right.

 Eno & Hyde: High Life by ENO, BRIAN album cover Studio Album, 2014
3.09 | 17 ratings

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Eno & Hyde: High Life
Brian Eno Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars One of the more enjoyable and accessible of Brian Eno's recent efforts has its roots in the fertile soil he was cultivating with David Byrne in the early '80s, updated to a modern digital vernacular. A few of the songs ("DBF" being the obvious example) could have been outtakes from the "Remain in Light" album sessions, and the artwork itself is a visual echo of Peter Saville's video image on the cover of the Eno/Byrne classic "My Life in the Bush of Ghosts".

But this was 2014, not 1981, and much of the new album sounds like it was composed and performed on laptop computers, with minimal human input on traditional instruments. On the other hand, when the end results are so playful and creative does it really matter how they were generated? For an artist once known as a self-confessed funkophobe (in his immediate post-Roxy Music adolescence), Eno certainly has his groove on here.

Not for the first time, of course. He embraced Funk and Afrobeat rhythms long ago, with the Talking Heads and other kindred spirits, but rarely to such a plugged-in degree. I defy even the clumsiest left-footed Proghead to hear the bouncy "Time to Waste It" or the more upbeat "Lilac" and resist the temptation to oscillate his hips, just a little.

In the end it's a fascinating detour for the otherwise ambient artisan, and definitely a collaboration. Eno's finger (and voice) prints are all over the album, and yet he's often the second banana next to guitarist and Grooveboxer Karl Hyde (yes, the Groovebox is a real thing: part drum machine, part sequencer, part computer hard drive). Not to worry, though: he may have only been along for the ride, but Eno was still the primary navigator, as always demonstrating his unerring sense of musical direction.

[ Consumer endorsement: the vinyl edition of the album is by far the best bargain, and not just for old-time's sake. It includes two songs omitted from the CD, for no apparent reason except, of course, the demands of petty commerce. The first ("On a Grey Day") is a dreamy ballad and soundscape collage, crooned with melodic resignation; the second ("Slow Down, Sit Down & Breathe") presents a more urgent and aggressive electro-pop thing, with deadpan spoken vocals atop a busy rhythm guitar. Both would have fit on the compact disc, with room to spare ]

 The Ship by ENO, BRIAN album cover Studio Album, 2016
3.60 | 19 ratings

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The Ship
Brian Eno Progressive Electronic

Review by Neu!mann
Prog Reviewer

4 stars Brian Eno's best album in years strikes a lopsided balance between his purely ambient abstractions and the more song-centered performances from his feather-boa'd youth, but it definitely leans far closer toward the minimalist end of his musical spectrum. Imagine a typical Eno pop song, slowed down to below 16 rpm and stretched out over 21-minutes in length, and you'll have a pretty good idea of what to expect.

There's a dreamlike lack of clarity to the music, as if The Ship of the album's title (supposedly RMS Titanic, in her final agony) was running at quarter-speed through dense fog. Eno's artfully auto-tuned singing adds just the right touch of maritime angst, resembling the lonesome chantey of an old sea dog on the evening's last watch aboard a four-masted windjammer.

The long title track grows progressively more weird, as the dying ocean liner presumably settles to the North Atlantic sea floor. More accessible melodies then begin to emerge in the three-part "Fickle Sun", but the overall mood remains austere: gray music for an uncertain voyage, perfectly illustrated in the album's monochromatic artwork. So when the faux-brass section suddenly kicks in just beyond the 7:00 mark of "Fickle Sun, Part One" the effect is all the more powerful by contrast.

It's esoteric stuff, but strangely compelling: the poetry of ideas expressed as sound...a goofy description, I admit, but not when listening to Eno. And Part Two of "The Fickle Sun" is in fact an actual poem, recited by actor Peter Serafinowicz (the zombie roommate in the movie "Shaun of the Dead") over a gentle Satie-like solo piano phrase. Which then leads directly into Part Three, "I'm Set Free": an old Velvet Underground song, beautifully rendered into one of Eno's best vocal performances since the 1970s.

A final coda ("Away", once again with echoes of "Another Green World") is only available on Japanese editions of the album...sadly, because it offers an ideal epilogue to an already indelible experience. The whole package is quintessential Eno: subtle yet engaging, calm to the point of immobility but still able to stir the gray matter like nobody's business.

 Reflection by ENO, BRIAN album cover Studio Album, 2017
3.75 | 21 ratings

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Reflection
Brian Eno Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars Well, opposite to what one will suspect, but average in an average Prog world of opinions and tastes, Brian Eno's works, as many other former band members who went solo, are underrated without hesitation by disappointed or offended raters, to be honest it is quiet funny to watch that side of the average listener's school yard.

Anyway, for starters Brian Eno's 2017 "Reflection" advertisement reviews do not stop mentioning "Discreet Music", 1975, which is the easy way out to explain this meditative, yet not symphonic at all as "Discreet Music" was, release.

But let me state that indeed this is a one track , 54 minutes dronescape by one of the "dronescaping" pioneers when the word drone was not even associated with these musical compositions, choosing for the no less iconclastic yet amiable (and mostly misunderstood) term of Ambient music.

So, as you may intuit, this is no speed freak's paradise, maybe their hell. Slow paced transmutation of simultaneous, full or minimalistic, ethereal flowing melody lines, counterpointed by the oncoming and ongoing echoing of bells which are the guiding lights as they are the subtle launching pads to its constantly changing musical structures' detours, making it rich, creative and deep, yet conceptual as a single track.

Vigorous, obscurely fresh, perfectly timed and true to its creator's language, the undercovered diversity of musical composition environments add up for an attractive (even addictive) memorable listening experience.

****4 (This one stays home!) PA stars.

 Here Come The Warm Jets by ENO, BRIAN album cover Studio Album, 1973
3.73 | 187 ratings

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Here Come The Warm Jets
Brian Eno Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars Originally released simply under the name ENO, the debut album of BRIAN ENO finds him recently straight out of Roxy Music after butting heads with the Bryan Ferry on musical direction and after a proto-ambient drone experimental album with Robert Fripp of King Crimson, ENO went solo and since has released decades worth of material. HERE COME THE WARM JETS falls more into the Roxy Music camp rather than the more famous ambient music he would dish out a few years down the road, however ENO shows without a doubt that he's more than capable of conjuring up truly addictive art rock with super catchy hooks all dressed up with his experimental frosting that resonates and reverberates well into the modern day.

In fact i'm beginning to think that all roads modern and musical lead back to the 70s. While this kind of playful art rock owes a lot to the juxtaposition of Bryan Ferry's 50s rock'n'roll fetish mixed with ENO's futuristic surrealism found on the first two Roxy Music albums, there is enough tweaking around the edges to give HERE COME THE WARM JETS a rather unique and innovative sound that echoes well into the 21st century. Think of all those indie rock and indie pop bands that have emerged since the 90s. I swear that tracks like "Baby's On Fire" could fit in undetected on albums by Animal Collective or Of Montreal. In fact i hear all kinds of sounds on this album which lead me to believe that bands like Built To Spill, Modest Mouse and the army of other indie disciples found a lot to latch onto from this early experimental rock phase of ENO's career just like metal bands worship Black Sabbath and progsters cite King Crimson as ground zero and so forth and so on.

The music on HERE COME THE WARM JETS is really nothing more than brilliant. It retains all the melodic catchiness and proto-punk energy of the first two Roxy Music albums and ups the ante for experimentalism which obviously displays the differences between ENO and Ferry as the Roxy Music albums became more mainstream after ENO's departure. This debut album also show's ENO as a fairly entrenched force in the musical world early in his career resulting in an army of guest musicians lending a hand on this one. Not only do we get Phil Manzanera, Paul Thompson and Andy Mackay from Roxy Music helping out, but also Robert Fripp and John Wetton from King Crimson, Simon King of Hawkwind, Bill MacCormick of Quiet Sun and Matching Mole fame as well as Paul Rudolph from The Pink Fairies and still others leading up to quite a diverse and full richness of sounds that gives this album an instant epic feel to it.

HERE COME THE WARM JETS is an excellent blend of art pop mixed with glam rock with sprinklings of avant-garde. While apparent from the get go that this is a branch of the Roxy Music school, ENO was allowed to shine without restraint proving that he had full control of his musical reins that allowed everything to be rationed into a perfect balance. With nasally vocals and screaming guitars mixed with pummeling bass lines and subdued doowop melodies ENO managed to marry some of the more esoteric idiosyncrasies of Frank Zappa into the accessible delivery of glam rock. Quite a feat considering how much is crammed into these tracks. At the end of the day, it's not the technical wizardry that makes this a fun ride, it's the clever catchy hooks that keep you coming back. ENO would put out a couple more art pop albums before venturing into his better known ambient phase however this music is as exciting and dynamic as anything in his other career phases and it's obvious why it was uncovered by all those indie rockers who utilized many aspects of this music that began way back in 1973. 4.5 rounded down

 The Ship by ENO, BRIAN album cover Studio Album, 2016
3.60 | 19 ratings

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The Ship
Brian Eno Progressive Electronic

Review by admireArt
Prog Reviewer

3 stars As always any output under Brian Eno's name or any of his multi-factorial collaborative ways, beholds expectations.

I follow his releases and tend to listen or acquire his latest ones. "The Ship", 2016, is no exception.

Sound engineering wise, this is top of the cream. That mentioned, everything revolves actually around that attribute.

Music composition wise his "advertisers" announce a criss cross between "Ambient 1- Music For Airports",1978, and his super early stuff, lke "Taking Tiger Mountain (By Strategy)"- 1974 and "Here Come the Warm Jets"-1973 a personal favorite. I would have added "Before and After Science"-1977, which exposes to perfection this bi-polar frequency of song writing.

Well "The Ship" is that kind of ENO's multiple musical, slow paced, languages mixed throughly and upgraded with his acute artistic sense for the recorded sound. That and his later acquaintance with Karl Hyde, it shows and can not be "hydden" and a Roger Water's feel (quiet surprising) is also present here and there, by the way.

Having set the court for ruling, I bought this album and I do not think that I have gotten something extraordinary or highly valuable or to put it simply this one, as most of his post "Small Craft on a Milk Sea"-2010 solo releases, can still not compare to the same.

There are of course magnificent moments although somehow diluted by lack of contrasts and some of its proposals may seem new in Eno's world but not that "new" in the outside world. The focus on the lyrical power of the recorded voice be it Eno himself or guests Nuria Homs or Peter Serafinowiczis is truly remarkable.

Like a self set level of mastery in the fields of music composition, he himself has established, this release, beyond its astounding sound engineering, music wise is good to listen to, but not really an unmissable addition to my collection, nor groundbreaking as to become essential.

***3.5 PA stars.

 Small Craft On A Milk Sea by ENO, BRIAN album cover Studio Album, 2010
3.94 | 79 ratings

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Small Craft On A Milk Sea
Brian Eno Progressive Electronic

Review by tarkus1980
Prog Reviewer

4 stars Whee, another Eno collaboration. This one drew a decent amount amount of attention in the run-up to its release, for two main reasons. The first reason was that this was Eno's first project after he'd been signed to Warp records, a longstanding British label specializing in electronic music, and it was interesting to speculate on how one of the forefathers of electronic music would fare upon joining a label focused on the cutting edge of it. The second reason had to do with Eno's collaborators; Leo Abrahams (who had contributed some guitar to Drawn From Life and had worked on a few albums Eno had produced) and Jon Hopkins (who had helped out on Another Day on Earth and had worked with Eno on some other projects) had established themselves as important figures in their own right in the world of electronic music, and these were definitely the biggest non-Fripp names that Eno had collaborated with on a non-song-centric album since his work with Harold Budd and with Cluster (the trio had also recently collaborated on the soundtrack to the Peter Jackson film The Lovely Bones). If Eno was ever going to make another non-song-centric album that "mattered," then this was the best opportunity he'd had in a while.

It took me a few listens to settle on how I felt about this, but I ultimately came to the conclusion that this is one of Eno's better instrumental albums. Unfortunately, my near total ignorance of contemporary (circa the 2010s) electronic music is a hindrance for me in making sense of my feelings towards music of this sort (generally, I get the sense that I would probably enjoy a lot of it if I allocated significant time towards getting acquainted with it, but unfortunately I just don't have the time to go down that road without giving up something else); this lack of context means that I can't make assessments that go much beyond "gee that sounds real good yup." Well, sometimes "gee that sounds real good yup" is all somebody needs in life, and this album satisfies me just fine along those lines. It's hard for me to distinguish which parts belong more to Eno than to the others; a lot of the music on here came from improvisations that were edited down and spliced together, and it's hard to say that any particular member is dominant at a given point. That said, there are some tracks that at least sound like they come from familiar territory for long-time Eno listeners; the opening "Emerald and Lime" (and the later reprise, "Emerald and Stone") is rather pretty (based around a slow rolling piano line over assorted other keyboards), "Bone Jump" sounds a lot like a typical track from The Drop in terms of the various keyboard sounds used, and "Lesser Heaven" doesn't sound that different from something that could have been on Ambient 4 or the like. The closing 8-minute "Late Anthropocene" definitely sounds like it could have been on Ambient 4, thanks to its repeated slowly ascending synth line and all of the various burblings happening underneath it, and it's a highlight as well.

Some other tracks sound vaguely like could have come from Music For Films, but with some unsettling atmospheric wrinkles; my favorite examples of this kind of track (but not the only examples) are "Complex Heaven" (which puts nagging bits of guitar over wandering keyboard plinks and fascinating other noises) and "Calcium Needles" (full of echoey chime-like noises that would work terrifically as a soundtrack in a scene that involved exploration of a misty cave). Much of the rest has a more distinctly modern feel to it, such as "Flint March" (full of jittery percussion loops), "Horse" (which sounds like the backing track to an angrier-than-usual Radiohead song), "2 Forms of Anger" (much the same), "Paleosonic" (all sorts of processed guitar-and- otherwise noise on top of a percussion loop that would sound goofy on its own), and a few others.

It's not really worth it to mention every other track, but they fit in well with the rest of the album, providing both variety and a sense of sheer competence that make them enjoyable on their own and in context. Overall, then, this album strikes me as pretty remarkable, and I'd definitely recommend it to anybody who considers themselves a fan of Eno's instrumental work and even to some who don't. As a "keeping up with the youngsters" exercise, it beats the snot out of (for instance) Nerve Net, and there's enough diversity in sound and style to keep it from getting as monotonous as some of Eno's solo work can sometimes get. Hats off to Eno for working on his game at such a late date.

 Another Green World by ENO, BRIAN album cover Studio Album, 1975
3.98 | 296 ratings

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Another Green World
Brian Eno Progressive Electronic

Review by RussellChap

4 stars Originally starting out as an experiment Brian Eno ended up creating one of his most praised albums. For the first few days the creation of Another Green World was frustrating for Eno as he struggled to produce any workable ideas, compounded by the fact he had nothing written or prepared beforehand. So he turned to his 'Oblique Strategies' for direction. These cards with instructions and prompts allowed Eno to get over his creative block and work the resulting ideas into Another Green Word with the help of guest musicians. Robert Fripp of King Crimson, who had collaborated with Eno on No Pussy Footing and Evening Star (both excellent albums), Ex Velvet Underground member John Cale and Phil Collins on drums! (yes Phil Collins the unlikely eighties pop star who ruined The Supremes wonderful 'You Can't Hurry Love') played on about half of the tracks, while Eno performed solo on the others utilizing such fanciful instruments as the Leslie piano and Snake Guitar.

Eno later said of Another Green World "People tend to think of that as a song record. But it isn't, it's an instrumental record with the odd bit of vocal." The songs are witty with a very English playfulness (check out these lyrics from 'Sky Saw' "Mau Mau starter ching ching da da/Daughter daughter dumpling data/Pack and pick the ping-pong starter") which he shared with contemporaries such as Kevin Ayers and Robert Wyatt. His songs feature characters who seem to be caught in fixed freezes (like the figures on the album sleeve), with the world moving past, as in 'I'll Come Running' "I'm gonna waste the rest of my days/Just watching patiently from the window" or "Several times I've seen the evening slide away" on 'Golden Hours'. While the instrumentals are like the environments the static characters watch, they unfurl slowly like midweek afternoons when there's nothing to do or evenings when sights and sounds are muted. They are imaginary soundscapes with evocative titles such as my personal fav 'In Dark Trees' (as mysterious as the title suggests), 'Somber Reptiles' (that brings up images of disconsolate dying dinosaurs) and the restful title track which was used as the theme for the BBC2 arts series Arena.

Another Green World is interesting precisely because it is the point between Eno the song writer and Brian Eno the ambient composer. His next album would be purely instrumental fittingly titled Discreet Music.

 Ambient 4 - On Land by ENO, BRIAN album cover Studio Album, 1982
4.02 | 172 ratings

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Ambient 4 - On Land
Brian Eno Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars This is clearly the darkest of the four 'Ambient' works from the series, It's a moodier, more organic, darker Eno who plays with a creepy Halloween mask wrapped around his bald egg head. Ready to scare any children who approach his front door.

There's a lot more going on than displayed in the previous three outings. However, it's still very minimal and quiet. There's only hints of melody amongst the sea of bleak tranquility. This is the album where he states in the liner notes that - 'I find the synthesiser to be of limited usefulness due to it having a non organic quality'. Make of that what you will, as I'm sure I can hear many synths used throughout.

Funny little squishes and watery bloops recur on 'Tal Coat' as all the while splutters of analogue tones flitter around like fairies waving wands at the bottom of your garden. This one's on a totally different plane from previous releases. It's more distant and less cosy. In all there appear to be five musicians present which is surprising considering the starkness of sound.

While I much prefer the beautiful 'Ambient 2' with Harold Budd, this reveals a solo Eno, displaying all the talent he undoubtedly had. It's not his best, but I'd have to call it one of the progenitors of 'Dark Ambient'.

The best is left till last with the ultra-bleak 'Dunwich Beach, Autumn' where beautiful decayed piano sounds play a mournful but attractive tune. It's miserable, yet pretty at the same time. I guess most of Eno's work can be described in this way.

Oh and by the way, the frog field recordings are brilliant.

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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