Brian Eno

The musical reunion between David Byrne and Brian Eno comes with a fair amount of baggage. After all, they produced some of the greatest records in rock history: the trio of Talking Heads records that Eno worked on, culminating in Remain in Light, and followed by the duo's My Life in the Bush of Ghosts, where all manner of Afro-funky beats and freaky sampladelic rhythms were wedded to Pentecostal exorcisms and ceremonial bush chants. Everything That Happens Will Happen Today is a nearly 180-degree turn from the duo's collective musical past…

2 x CD in deluxe casebound packaging with 16 page booklet containing Eno writing and images from the period.
Reissue of Brian Eno’s critically acclaimed 1993 single-track album. Named after the precious sensual oil derived from the flowers of the Seville orange, Neroli is more than any other Eno work intrinsically linked with the idea of perfume and fragrance. The piece is formed from a single Phrygian mode melody which Eno constructs and deconstructs throughout the work with the subtle flair that has become his trademark.
A piece of pure atmosphere that is considered by many to be the ultimate realisation of Eno’s ‘mood music’, Neroli has been played in maternity wards for its soothing effect and organic, natural feel…

Brian Eno & Jah Wobble - Spinner (1995) {All Saints Records}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 268 Mb | MP3 @320 -> 124 Mb
Full Artwork @ 300 dpi (jpg) -> 10 Mb | 5% repair rar
© 1995 All Saints Records / Opal Music | ASCD23
Ambient / Electronic / Avant-Garde / Experimental

Here's the deal: Brian Eno does soundtrack bits for one of British filmmaker Derek Jarman's final productions, "Glitterbug". Then Eno turns over said tracks to dub/world-meister Jah Wobble for further tinkering. Result: amazing! This is one of those instances where the mysterious and elusive 'third mind' that so many have spoken of in quality collaborative work has come out in force and created something that's perhaps a bit beyond the scope of either of the two participants, taken alone. The 'action' here keeps moving, in a very cinematic manner, throughout the tracks that make up this release, and you get the feeling of being drawn along in a complex musical journey through spaces that seem at once familiar and suddenly very alien.

Finally bored with ambient music, a genre he pioneered in the 1970s, pop polymath Brian Eno emerged with Another Day on Earth, his first solo recording of "conventional" songs since Another Green World. From the rhythm track of opening song "This," the sound is unmistakable. A quirky hook covered in layers of atmosphere and a bouncy loop, it's a smart little tune with additional guitars by Leo Abrahams. Lyrically, Eno's process is poetic, employing not only his own strategies, but a computer generating words as well. At three-and-a-half minutes, it's a fine pop song, albeit one that would never get played on the radio. "And Then So Clear" is more evocative of Eno's work with Daniel Lanois, utilizing a very simple loop adorned with sparse guitars while keyboards pulse softly as a completely treated human voice paints a landscape both exterior and interior…

The “Mixing Colours” story continues with “Luminous” adding to Roger Eno & Brian Eno’s first duo album on Deutsche Grammophon, including “Pewter” (former Japan-only bonus track) and 6 brand new tracks.

Brian Eno - Music For Films (1978) {2009 Virgin DSD Remaster}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 201 Mb | MP3 @320 -> 99 Mb
Full Artwork @ 300 dpi (png) -> 27 Mb | 5% repair rar | DSD Remaster
© 1978, 2009 Virgin Records / Astralwerks | 50999 6 84535 2 7
Experimental / Avant-Garde / Ambient

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.

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. These cues don't synch to anything"…