Opal

Evening rays reach the glades and forest soil. Glowing sun colors leaves and branches into deep orange. Quiet marsh reflects like a mirror tracing specks of light. Whole forest is burning in opal fire.

Brian Eno - Compact Forest Proposal (2001) {Opal Music}
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© 2001 Opal Music / [none]
Ambient / Electronic / Dark Ambien / Experimental

Subtitled: 5 Studies for "010101", San Francisco Museum of Modern Art, 2001. I believe this was limited to 1000 copies. From the cd notes: There are 10 active CD players in this installation. Each is playing a specially cut CD, a single layer of the total music. The CDs have different numbers of tracks, some of which are silent, and each player is set to play these tracks in random order. The final music is therefore an ever-changing combination, unlikely to exactly repeat itself in any individual user's experience.

Brian Eno & Karl Hyde - High Life (2014) {Opal WARPCD255}
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© 2014 Opal / Warp Records | WARPCD255
Electronic / Synth Pop / Electro-Acoustic / Alternative

High Life, the second collaboration between Brian Eno and Underworld's Karl Hyde, began immediately after the completion of Someday World. Its release follows a mere two months later. While some traits of the former are present here – a heavy reliance on African-sourced rhythms, and hypnotically repetitive keyboard and bassline – it is a very different companion. While the pair relied on more formal "song forms" on Someday World, High Life is looser. These six tracks place more value on jamming. The centerpiece is Hyde's guitar. It's front and center throughout, with myriad rhythm tracks close behind. A two-chord reinvention of Chuck Berry's signature riff commences album-opener "Return" before becoming subsumed in sonic treatments and Edge-like sounds.

Fripp & Eno - The Equatorial Stars (2004) {Opal}
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© 2004 Opal / Discipline Global Mobile / RF | DGM0550
Rock / Electronic / Ambient / Experimental Ambient / Art Rock

Almost 30 years on since Evening Star, Robert Fripp and Brian Eno resume their collaboration, and remarkably, they seem to have picked up right where they left off. Remarkably, because Fripp's more recent soundscaping has had a different quality than either his collaborations with Eno or his proper "Frippertronics" albums like Let the Power Fall or the solo side of God Save the Queen/Under Heavy Manners. Surely they're not back to using the old Revox tape machine setup, but having Eno in the producer's chair (not to mention making his own musical contributions) seems to add a warmth that's been missing from albums like 1999.