Brian Eno and David Byrne's My Life in the Bush of Ghosts appears downright visionary. With its "found" vocals, cut-and-paste arrangements, funked-up rhythms and embrace of influences from all around the globe, the duo's controversial work anticipated the creative cross-pollination and technological innovation of contemporary dance music, world music, hip hop and alternative rock. You can hear echoes of My Life in the Bush of Ghosts in the anthems Moby built around vintage vocal samples, in th   [ read more ]

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Released in 1981, "My Life in the Bush of Ghosts" is a collaboration between ambient pioneer Brian Eno and Talking Heads frontman David Byrne. On "Ghosts," the two strong-willed musicians manage to come to a meeting of the minds, blending Byrne's herky-jerky funk with Eno's atmospheric sound sculpting. More than anything, this is a large album, intent on pushing itself to the front of the listener's consciousness. Abundant percussion (everything from booming tribal drums to eerie electronics) reverberates i   [ read more ]

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Continuing the twisted pop explorations of Here Come the Warm Jets, Eno's sophomore album, Taking Tiger Mountain (By Strategy), is more subdued and cerebral, and a bit darker when he does cut loose, but it's no less thrilling once the music reveals itself. It's a loose concept album -- often inscrutable, but still playful -- about espionage, the Chinese Communist revolution, and dream associations, with the more stream-of-consciousness lyrics beginning to resemble the sorts of random connections   [ read more ]

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Before and After Science is really a study of "studio composition" whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Despite the album's pop format, the sound is unique and strays far from the mainstream. Eno also experiments with his lyrics, choosing a sound-over-sense approach. When mixed with the music, th   [ read more ]

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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, an   [ read more ]

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A universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound. Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno's growing virtuosity at handling the recording studio as an instrument in itself (a la Brian Wilson). There are a few pop songs scattered here and there ("St. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consist   [ read more ]

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The Drop finds Brian Eno replicating the floating, trancy sound of Neroli, creating a shimmering collection of ambient music. [The album was reissued in 2005 with the addition of two new tracks.] ~ Stephen Thomas Erlewine, All Music Guide

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As beautiful and sparse as anything produced to date, ambient pioneer Brian Eno sets a mood of quiet contemplation that, as he himself states in the liner notes, is a piece to "reward attention, but not (be) so strict as to demand it." Single notes resonate like heavy drops in deep water in a seemingly random but harmonic pattern that shifts quietly for close to an hour. "Neroli" brings a sense of weightlessness; it feels as much like an installation piece as it does an actual song. To that end, {^   [ read more ]

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Eno's solo debut, Here Come the Warm Jets, is a spirited, experimental collection of unabashed pop songs on which Eno mostly reprises his Roxy Music role as "sound manipulator," taking the lead vocals but leaving much of the instrumental work to various studio cohorts (including ex-Roxy mates Phil Manzanera and Andy Mackay, plus Robert Fripp and others). Eno's compositions are quirky, whimsical, and catchy, his lyrics bizarre and often free-associative, with a decidedly dark be   [ read more ]

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Brian Eno's icy ohms and Jah Wobble's din collide on Spinner. It's not a collaborative effort in the traditional sense; rather, Eno shipped off tracks from an aborted soundtrack to the ex-Public Image Ltd. bassist, who in turn mucked about with some of the tracks and left others unmolested. The end result is interesting: ten musical chambers linked together in a continuous stream that range from steamy Eastern settings ("Like Organza") to uber-funk experiments ("Unusual Balance"). Ho   [ read more ]

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If The Shutov Assembly is reminiscent of Brian Eno's earlier "ambient" music projects dating back to Discreet Music (1975), it shouldn't be surprising. Recorded between 1985 and 1990, the atmospheric, slow-moving sound patterns are more, the artist contends, like paintings than music. The Shutov Assembly, dedicated to Russian painter Sergei Shutov, is, like the similar works in his catalog (he cites Music for Films, On Land, Music for Airports, Thursday Afternoon, and Nerve Net   [ read more ]

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