Surprise, indeed. This album, released on May 9, 2006, found Paul Simon broadly expanding his sonic palette through a collaboration with Brian Eno.
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Just as much as the first track from Brian Eno’s forthcoming collaboration with Underworld’s Karl Hyde was girded by a doomy sense of portent, “Daddy’s Car” is a compulsively listenable ride — all scronky keyboard blips, ass-moving beats and late-night promise.
OK, so the sounds delivered by the project you see below don’t exactly reach the heights (or lows, depending on your listening proclivities) of a WTF! But in the case of artist Bartholomaus Traubeck, it was his idea that turned my head.
Slowly at first, and then with a tornadic gush, Brian Eno and Karl Hyde begin this collaborative journey. “The Satellites” begins with an almost imperceptible pulse, then synth and sax tangle and untangle — creating an undulating dissonance, before there emerges from these whispers a canny amalgam of Eno’s ambient ruminations and Hyde’s Underworld electronica.
Peter Gabriel, always one for the theatrical, released a double-album of interpretive music this week in Scratch My Back … And I’ll Scratch Yours, with mixed results.
The celestial tones of “Emerald and Lime,” the opening track on Brian Eno’s Small Craft on a Milk Sea, would fit snugly on Music for Films or Another Green World. It feels like familiar ground
This is the sound of a leaf, tumbling end over end just above the outstretched grass. The sound you hear in between heartbeats. The sound that clouds make as they move across the sky. You’ll hear all of that, and more, if you listen closely enough to Lux
Everybody has their own definition of a “chill” record. But if ever there was a time when one was desperately needed, it would likely be when you are stranded on a faraway island — with nothing but a volleyball to keep you company.
Considering the relative geekiness of some of his music, and you have to admit some of it really is geeky (hello, The Drop), Brian Eno has maintained an aura of cool that is undeniable.
Brian Eno’s first vocal, “pop”-based album since 1990’s overlooked classic (in my opinion) Wrong Way Up with John Cale and also to Nerve Net, Another Day On Earth found Eno in much more ambient territory than one might expect from the description. Comparisons to 1992’s Nerve Net are likely more fitting, but it’s really more like Eno’s work with JahRead More