Daniel Lanois Arcadie

Superproducer Daniel Lanois took a rare turn on center stage as a performer on his second solo release, For the Beauty of Wynona. Released in 1993, the album follows his earlier release, Acadie. Unlike that album, which had some superstar appearances, For the Beauty of Wynona is a more low-key affair and has a more subtle impact. Lanois has a limited range as a vocalist, but he possesses a warmth that draws in the listener. Producing himself, Lanois also is an accomplished guitarist, although his protégé, Malcolm Burn, also adds some guitar as well as keyboards. The music is often moody and watercolored, but there are some more upbeat moments like the jaunty melody of "Sleeping in the Devil's Bed," which has a country feel, and the single "Lotta Love to Give," which is wispy but anchored by twang guitar and has a catchy chorus and serrated guitar solo. For the Beauty of Wynona is not an immediately striking album but rather one that slowly grows on the listener. It also proves that Lanois has something to say on his own.

No collaboration is unlikely when the end goals are the same. A meeting of two artists who illustrate different corners of the musical landscape, come together to create a new statement that takes their collective strengths to higher elevations and encompasses new terrains. So it is on the first collaborative journey of Canadian musicians Venetian Snares and Daniel Lanois. What started as mutual respect for one another’s work, led to several years of a creative germination. Recorded live in a former Buddhist temple-turned-studio in Toronto, 'Venetian Snares x Daniel Lanois' travels to new zones in what Lanois describes as “a body of work driven by exploration”…

The mid-'80s proved to be a prolific and exploratory time for the producer/performer team of Brian Eno and Daniel Lanois, who this time out take guitarist Michael Brook under their ambient wing to create an album of considerable beauty and restraint. Taking a "less is more" approach to the project, Brook adapts quite easily as a group member in co-creating these organic pieces (although composer credits go to him alone), and within a few minutes one forgets that he is a guitar player. Hybrid is not an especially dynamic or exciting album, but its depth is nonetheless rewarding. There is substance within the shadows, and the musicians take the necessary time to properly explore them…

Until the End of the World is a definite contender for best motion picture soundtrack of the 1990s. With a lineup that includes Talking Heads, Lou Reed, R.E.M., Nick Cave and the Bad Seeds, Depeche Mode, U2, and others all providing original songs or new covers, it's an absolute joy. Interspersed with Graeme Revell's haunting ambient score, virtually every pop/rock track works perfectly as part of a cohesive whole. "Sax and Violins," recorded during the dying days of Talking Heads, might be the band's most confident moment, as a jazzy background shuffle and keyboards provide compelling momentum underneath David Byrne's sarcastic vocals. Crime & the City Solution could have made an entire career out of the emotional yet existential "The Adversary." R.E.M. and Depeche Mode both contribute touching ballads. "Fretless" is one of the most beautiful tracks to be found in R.E.M.'s discography, documenting a wounded relationship with subtle grace. "Death's Door" is one of those sad numbers Depeche Mode fans have grown to love, with Martin Gore handling the vocals.

We hear juicy, fine and atmospheric jazz from two such unusual imitators, musicians and wonderful instrumentalists. Familiar themes take on completely new colors in their interpretation, especially since the closeness and intimacy of this musical encounter can be heard in their duo.