Making Space This is a revelation after the previous discs. Actual rhythms. Not that I don't appreciate the ambient music, but I was getting a bit worn down by Kite Stories. If the 6CD set had continued on the same, then the later music would This isn't too non-ambient. As mentioned above there are a variety of styles here. It's the guitar that makes certain tracks stand out. And the more ambient/simple tracks such as 'World Without Wind' or the tracks with wandering presumably generative melodies such as 'Light Legs' work better because they have something to contrast with. As opposed to The Drop where there is - to my ears - too much of that. 'Light Legs' also has the simple counter-melody (not quite a bassline) for the wandering melody to contrast against and works better to my ears that some other generative pieces. The guitar work is quite conventional, e.g. on 'New Moons'. This then contrasts well with the (presumably) synthesisers creating, yet again, contrast. Where there are percussion loops, these are often very minimalist such as on 'Vanadium'. This gives this disc a common feel, and makes the tracks different from the other music in the box set without making it too different. Again 'Vanadium' has a wandering generative melody, but this is really part of the backing track to a very simple melody, not the focus of the track. Overall a varied and interesting album, and certainly the people who bought this at the installations would not have been short-changed in my opinion.
Thanks for the discussion everybody. Today we finish the Music for Installations box set with the last disc Music for Future Installations. This hasn't (that I know of) been released as a standalone disc, and hence there is a limited amount of material to put in this post. So, today sort of sums up the box set in some ways. For a Discogs link, here is the box set itself: Brian Eno - Music For Installations Spotify link for whole box set: Music For Installations Not much on Wikipedia. Track listing for disc 6 from Discogs : 6-1 Unnoticed Planet 7:49 6-2 Liquidambar 7:00 (2009) 6-3 Sour Evening (Complex Heaven 3) 8:12 (About 1998) 6-4 Surbahar Sleeping Music 18:09 (About 2012) Here is part 1 and part 2 of a British Library lecture by Brian, titled 'Brian Eno - Music For Installations – Live At The British Library'. But, it doesn't talk too much about the actual releases and the installations. But, about earlier ambient pieces in the large part. Part 1: Part 2: https://www.youtube.com/watch?v=WaheigS9pQo I presume these are excerpts from a longer lecture which might talk about the current release more. In the booklet for Music for Installations, Eno mentions that when he's creating music he often gives himself a reason for doing so, such as making music for a future film that doesn't yet exist, or for a future multi-channel installation. He mentions the age of the pieces (see track listing) 'Sour Evening' is one of a set of pieces where Eno imagines what a complex Heaven with a lot going on. 'Surbahar Sleeping Music' was created to help him go to sleep. The idea dates to the early 80s where Eno would go to sleep in Daniel (and Bob) Lanois' house in Canada soothed to sleep by the sound of water going through pipes etc. Liquidambar is music composed to support readings of short stories by neuroscientist David Eagleman, at the Sydney Opera House in 2009 and then one year later in Brighton. Here's an hour of Eagleman talking to Eno in 2021. I haven't listened to it, so I don't know if the music and stories are mentioned. https://youtu.be/B0tdmOPLZBc And, here is a playlist with readings of the stories, but from my quick sampling without Eno's music. (Though, it's easy to play the music and the stories at the same time.) https://www.youtube.com/playlist?list=PL7Wr1VPtVzqXaggr9ZI9Hmnzlln4obMFF And, ..., that's what I can do for Music for Future Installations.
Tomorrow will be a rest/catch-up/anything day. Looking at the future, and back at the first post, then this is what's in the plan before we get to Another Day on Earth. 43. Smart Not enough Eno for a day - leave for a rest/catch up/anything day. 44. Music for Onmyo-Ji One day as ambient. There's getting on towards two hours of it. 45. Music for Civic Recovery Centre One day as ambient. 46. Drawn from Life One day. Not really ambient, but instrumental. 47. All Saints Not enough Eno, leave it for a rest/catch-up day. 48. Compact Forest Proposal Another installation ambience piece. One day. 49. Long Now I suggest we group this in with 'Bell Studies for the Clock of the Long Now'. 50. Curiosities Volume 1 Instrumental, so one day. 51. January 07003: Bell Studies for the Clock of the Long Now Including 'Long Now'. One day for both. (Can you sense that I'm keen to get to more vocal stuff.) 52. Curiosities Volume 2 Instrumental, so one day. 53. The Equatorial Stars Fripp/Eno. Instrumental, so one day? 54. Another Day on Earth Vocal album. Track by track? Or are we past that and two days? I don't know what Contra 1-2 is. Brian Eno - Contra 1.2 (Untitled 24:53) I'm not really feeling that it should be added to the list and it can be discussed in a rest/catch-up/anything day. Does anyone have it?
"Music for Future Installations" Back to ambient. Really not much to say about it other than that it's a continuation rather than a leap into the future. Pleasant enough, but hardly attention-grabbing, which of course is the point of ambient.
The thread has definitely slowed down a lot. And, we are not yet past what appears to be the most ambient focussed part of Eno's career even though we will be going back to following things in order. Before I post my impressions of yesterday's tracks, I'm going to declare today a rest/catch-up/anything day. Some releases that won't be covered specifically include Smart. By 'New Composers' with Eno as a 'guest'. Discogs: New Composers Sp. Guest Brian Eno - Smart It's on Spotify, and Eno is credited on every track there. But, I can't find out much about it. Smart And, on Eno's Bandcamp. New Composers Sp. Guest Brian Eno - Smart [Extra wide full range stereo], by New Composers I sampled bits of side A, and it sounds quite conventional and not at all ambient. Side B sounds more ambient, but I don't know much about this album and just leave it here. According to this description cue-records.com - Brian Eno,New Composers,Smart Eno's input may be small. There's the compilation album All Saints by David Bowie. This has instrumental works, including quite a bit from Low. I think we covered the tracks not on the original release of Low back when we did the album. So, there's not much new. All Saints (David Bowie album) - Wikipedia Here it is on Spotify. All Saints While it's out of time, we recently covered the Bryan Ferry album Mamouna. On Ferry's later (2002) album Frantic there is a track with writing credits to both Ferry and Eno, 'I Thought'., and where Eno is credited with keyboards, guitar, and backing vocals. The album includes a wide range of writing credits, including to King Richard I of England. Wikipedia link for album: Frantic (album) - Wikipedia 'I Thought'.
Music for Future Installations There is some interesting music here indeed. 'Unnoticed Planet' is perhaps the most 'ambient' piece here, and follows 'the formula' a bit. By disc six I will say that I like it and I find the tracks on this disc sound better produced than the average for the album. 'Liquidambar' is significantly different, being less conventionally melodic. And, it really works for me. I really like the 'rattling' sound, and the less musical/harmonic drone or chord. I can't really say why I like it, but it just has that 'something' that Eno's best work has. I would really like a full album of less conventionally musical tracks like this. Provided that there was significant contrast. 'Sour Evening' comes back more more traditional ambient, but there's just enough here to make it sound a bit different from what has gone before. Again, it's the way in which this track sounds slightly different. Not a lot different from what has gone before, but enough for it to have its own identity. The same applies for 'Surbaha Sleeping Music'. It's ... similar to what has gone before, and the FM Synthesis iciness is here in spades. But, it doesn't sound to me like something I have heard before. And, that's the only quibble I've had with previous pieces in this set. Overall this disc is a good addition to the other discs, and this final disc is probably the one that I will play most in the future. (I predict that I will never in my whole life play all six discs in one go.) It has interesting, enjoyable, and novel pieces of music, and the selection works very well as an 'album' to my ears. For the rest/catch-up day, I will say that I will be buying a number of albums in response to this thread (including I expect in the future as we are past the era when I was most reliably buying Eno product, though I own many albums still to be covered.)
Thanks for the discussion everybody. Today we will cover Music for Omnyo-Ji by Brian Eno and German composer J. Peter Schwalm. At least the second of two disks is by Eno and Schwalm. Released in 2000. Wikipedia link: Music for Onmyo-Ji - Wikipedia Discogs: Okano Reiko, Yumemakura Baku, Reigakusya, Brian Eno With Peter Schwalm - Music For 陰陽師 Here is the second disc with the music by Eno and Schwalm. And, the first disk with the Japanese gagaku music. https://youtu.be/Xq_BEw2FOC8 From Wikipedia, here is a description of the album. Music for Onmyo-Ji (music for 陰陽師) is a two disc image album for Reiko Okano's manga adaptation of Baku Yumemakura's novel series of the same name. The first disc features performances by gagaku ensemble Reigakusya (伶楽舎), the second features performances by Brian Eno and J. Peter Schwalm. And, here is the track listing. CD1 Sojo no Choshi Bongen - 4:52 Shundeika [Togaku Bugaku] - 7:55 Oshikicho no Choshi - 2:39 Jussuiraku [Togaku Kangen] - 4:45 Yoshinso [Biwa Hikyoku] - 3:03 Ichikotsucho no Sugagai - 1:38 Ryo-o Ranjo [Togaku Bugaku] - 9:03 Hyojo no Choshi - 2:51 Bairo no Ha [Togaku Bugaku] - 5:42 Asukai [Saibara] - 4:31 Banshikicho no Choshi - 4:58 Soko [Togaku Bugaku] - 14:28 Taishikicho no Choshi - 2:34 Chogeishi [Togaku Bugaku] - 2:58 Jisei [Roei] - 6:52 CD2 Star Gods - 7:43 Six Small Pictures - 6:08 Connecting Heaven to Earth - 3:55 Little Lights - 4:33 The Milky Way - 2:33 Faraway Suns - 3:21 There are interviews and other media with Schwalm, but they tend to date from the time of the album Drawn From Life, which we will cover soon. Here's the Wikipedia page on Schwalm, which extensively mentions Eno. J. Peter Schwalm - Wikipedia Here's an excerpt. In 1996 Schwalm founded the label Poets Club Records, on which he released a series of 12" singles, as well as compilations of electronica, nu jazz and drum and bass. His first album with Projekt Slop Shop,Makrodelia, was released on the label in 1998, and caught the attention of a number of significant musicians such as Brian Eno, Peter Kruder and Ryuichi Sakamoto. As a result, Eno proposed a collaboration, which resulted, only a few months later, in an appearance together at the Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, also featuring Holger Czukay, bass-player Raoul Walton and drummer Jem Atai. Schwalm and Eno continued to work together on a mixture of projects, including two albums, Music for Onmyo-Ji (2000 JVC Victor) and Drawn from Life (2001 Venture/Virgin Music U.K.).
Music for Omnyo-Ji: Very interesting music on CD2. I love the washes of synth-sounds on the first track and the distorted vocals on the second and third tracks. Almost like baby-whale song on the second and sounding much darker on the third. Very eerie, like the soundtrack of a J-horror flick. I assume this music works really well with the ghost stories theme of the Omnyo-Ji series. We then settle in some nice space music for the last three tracks. "Faraway Suns" is particularly nice with its pulse. Also fascinating to hear the modernized gagaku music on the first CD.
I've always liked this disc that Eno and Schwalm did here. It makes for a nice companion to Drawn From Life and a number of these were performed live in 2001 when the Drawn From Life band undertook their very short (but excellent) tour. There's a sense of structure to many of these pieces which has been missing from some of the contemporary Eno installation tracks.
Music for future installations. A part of me thinks Brian has decided he wants "most prolific artist in the history of the universe" on his headstone.
I love the weirdness that one of Eno's albums is the bonus disc for a set of mostly traditional Japanese music.
I don't think we need to bother with this at all. It's a Bowie compilation album with some tracks involving Eno, all of which have been discussed already. If we have to stop the bus for every Bowie compilation with an Eno song on it we'll never get to our destination!
Music for Omnyo-Ji When Eno works with collaborators, it's always interesting to think about what the input of the collaborator is. Here it's not so clear to me as either composer could have created this - as far as I know. It doesn't sound like just FM synthesis to me, with resonant filters being present (as far as my ear guides me). There are also processed vocals as found on other ambient albums by Eno from about this time. In general, the music here just sounds 'different' to the previous set of ambient pieces that we worked through, and perhaps a bit of a throwback to Eno music from before Eno went full on FM (though there are clear FM sounds here like some bells). The tracks aren't too far, musically, from what we've heard before. There is some very subtle percussion, seemingly synthetic, occasionally. There are a number of different tracks which contrast with each other. It's perhaps unfair that we're considering these tracks separately from the visual aspects that they are intended for. I.e. the installations, or here the manga these tracks are 'image tracks' for. It's interesting that on Wikipedia, the Allmusic.com review is two and a bit stars out of five, while Rolling Stone's album guide gives it five stars out of five. Allmusic.com questions just what Schwalm has added to the music on the second CD. There's nothing I can identify that Eno couldn't have done, but it's a leap from there to credit everything to Eno. Overall, the Eno/Schwalm side is quality ambient music, but I don't feel it really adds anything distinctive. The first CD of more traditional Japanese music is more distinctive and interesting because I haven't heard so much of that. So, it is novel to my ears. For most of the ambient music, I'm struggling to find something really distinctive about it. Even the last track 'Faraway Suns' which is also my favourite track on the disc isn't too far from what has gone before. I feel I just want to hear something a bit different from what I've heard so much of recently. I Thought This is a left-over track from the rest/catch-up day. I am amused by this track as it seems to have a 70s Eno 'Cheesy' (in a good way) backing over which Ferry has created a typical (for him) vocal melody and set of lyrics. Definitely a throwback stylistically, but I'm not sure to exactly which 70s Eno vocal album. It's interesting as it shows what could have happened had Eno stayed in Roxy Music in the 70s, and been allowed to contribute to the songwriting in the way that Manzanera and Mackay were. For the age it was released in, it does sound a bit of an anachronistic curio, but a good anachronistic curio.
Thanks for the discussion everyone. Today we discuss Music for Civil Recovery Centre, which was composed for an installation at the 'Sonic Boom' exhibition at the Hayward Gallery. Unfortunately the music is an extended version of the track 'Ikeburo' from The Shutov Assembly and which has already been used in Kite Stories. So, we have really covered this already. I'm going to post this full introductory post to the album. But, since it contains music we've talked about already. I'll also go straight onto Compact Forest Proposal. Which also helps us get quicker to some music that is significantly different from all the ambient installation music of which we have covered a lot. It's a bit disappointing to me, because I visited the exhibition with my then very young son who was fascinated by some of the installations (but not so much Eno's one, if I remember correctly). YouTube: Discogs link: Brian Eno - Music For Civic Recovery Centre Wikipedia link: Music for Civic Recovery Centre - Wikipedia All the following are from Wikipedia. Track Listing: 1. The Quiet Club - 44:50 Credits: Music: Brian Eno Main Voice: Kyoko Inatome Translation: Charmian Norman-Taylor Description: The music on the album is taken from an Installation—a show featuring music and visuals—that took place at the Sonic Boom exhibition of the Hayward Gallery, London, in April–June 2000. The event, featuring over 30 other artists, was curated by David Toop. Part of Eno's Quiet Club series of Installations, it combined 12 audio elements with 10 visual light-sculpture generative elements, which was, itself, part of a series of multi-dimensional generative music pieces using asynchronous CD players, carousel projectors and video monitors used in other Installation pieces. In a conversation with Toop, Eno's view is of a quiet "recovery area" situated within a city area, a theory which he has spoken of since the mid-eighties; a "critically functioning public space", a (preferably) darkened room containing large-format screens, and many CD players and sculptures.
And, because we'e already covered the music (in a slightly different form) for Music from Civil Recovery Centre, we go straight onto Compact Forest Proposal. Not that this album really takes us anywhere that different from what we have heard recently. YouTube: Wikipedia link: Compact Forest Proposal - Wikipedia Discogs link: Brian Eno - Compact Forest Proposal Track listing (from Discogs): 1 Compact Forest Proposal, Condition 5 6:09 2 Compact Forest Proposal, Condition 3 5:53 3 Compact Forest Proposal, Condition 4 20:04 4 Compact Forest Proposal, Condition 8 5:45 5 Compact Forest Proposal, Condition 7 10:00 The liner notes, from Discogs. 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. The studies on the CD represent possible conditions of the installation piece (i.e. conditions that it might randomise itself into sometime during the several months that it will play), although there are some elements in the studies that were not finally used in the installation itself. My other installation pieces to date have been relatively "steady state" in that they've remained faithful to a specific harmonic palette. In this piece, however, one of the 10 playing CDs carries two quite different harmonic sub-strata. Since these are different tracks on the same single CD, they are never heard together, but alternate with each other. The other elements of the piece float over these backdrops: it's as though the weather changes.
Compact Forest Proposal: This is actually very well crafted as the music does shift in very interesting ways, but I can't escape the feeling that I am listening to very much the same type of music for many days (weeks?) now and am looking forward to something different.
I must admit that I'm looking ahead for when things change. I guess that Contra 1.2, a one-off release by Eno, is going to be similar. There is one copy for sale on Discogs with a price of $6000. Curiosities 1 and 2 have one day each at present. We could merge them. Then we get closer to Fripp/Eno's Equatorial Stars and Another Day on Earth.
Unless some are radically different, I would suggest to lump the remaining generative installation music under one day if someone really wants to check them all out. After all, it is functional music, generated to support a visual installation and not necessarily meant to enjoy on its own. But you are the Thread Host @HitAndRun, so it's really up to you. Would be good to hear opinions from other participants as well.
There are only a few albums now before we get to The Equatorial Stars which is more interesting and then Another Day on Earth. I think we should merge the Curiosities releases into one day. Otherwise stick to the plan as we should be through peak saminess. What do others think?
Compact Forest Proposal This is another ambient installation, similar to those that are in the Music for Installations box set. It is nice ambient music. There are a number of sounds, mostly quite musical and consonant, and they sound to me to be quite typical DX7, FM Synthesis, sounds. This is an album that could have been quite nice if we had covered it among albums of different styles that contrasted with it. But, particularly when the sounds that sound like treated voices return, it's too much of more or less the same good thing. The different studies are I presume from the same generative sources, but they do sound different and provide a bit of contrast within the album. And then about 12 minutes in, we get sounds that have been used before in these. I can't remember which track has been repeated from which previous installation or album. But, I recognise them. Fortunately after going to the toilet and returning without stopping the album it's doing something I don't recognise after I return. But, then the recognisable, re-used from previous works, sounds return. Overall it's more of the same. In some bits of this music in a similar style to what has gone before. In other cases the ambient equivalent of a self-cover.
Thanks for bearing with us, anyone still reading this. I seem to have missed out Drawn from Life by Brian Eno and J. Peter Schwalm. YouTube: Wikipedia link: Drawn from Life - Wikipedia Discogs link: Brian Eno & J. Peter Schwalm - Drawn From Life Track listing including writing credits, from Wikipedia. All tracks by Brian Eno and J. Peter Schwalm except where noted. "From This Moment" – 1:21 "Persis" – 7:41 "More Dust" – 6:01 "Night Traffic" – 8:19 "Two Voices" – 3:59 "Rising Dust" – 7:44 "Intenser" – 5:23 "Like Pictures Part #1" – 1:20 (Eno, Schwalm & Holger Czukay) "Like Pictures Part #2" – 5:48 (Eno, Schwalm & Laurie Anderson) "Bloom" – 7:10 Later releases had a different track order, and the additional track 'More Dust'. Including the YouTube video above. "From This Moment" – 1:21 "Persis" – 7:41 "Like Pictures Part #1" – 1:20 "Like Pictures Part #2" – 5:48 "Night Traffic" – 8:19 "Rising Dust" – 7:44 "Intenser" – 5:23 "More Dust" – 6:01 "Bloom" – 7:10 "Two Voices" – 3:59 "Bloom" (Instrumental Version) – 7:07 Album credits (from Wikipedia) Brian Eno, composing, performing, cover art J. Peter Schwalm, composing, performing, mixing, premastering With: Leo Abrahams, guitar on "Rising Dust", "Intenser" Laurie Anderson, voice on "Like Pictures Part #2" Nell Catchpole, strings on "Persis", "Like Pictures Part #2", "Rising Dust", "Intenser", "Bloom" Holger Czukay, IBM Dictaphone on "Like Pictures Part #1" Darla Eno and Irial Eno, voices on "Bloom" Heiko Himmighoffen, percussion on "Night Traffic", "Rising Dust", "Intenser" Lynn Gerlach, voice on "Rising Dust" Michy Nakao, voice on "Like Pictures Part #1" Here is a radio interview with Eno and Schwalm about the album. It's short, and I don't know if this is an excerpt from a longer interview. Brian Eno and J. Peter Schwalm Radio Interview From 2001 Perhaps even more interesting than the album itself is that Eno and Schwalm went on tour after this album. Here's a lengthy audience recording from one of the shows. This one in Milan, Italy, in 2002. https://youtu.be/s8iq8UvKJO8
And, while we are listening to the actual beats and vocals of various types on Drawn from Life, I'm going to slip Bell Studies for the Long Now in here. It's an album that in my opinion is more interesting to read about than listen to. I sort of insert this here so ... that it's here and not just skipped. January 07003: Bell Studies for the Clock of the Long Now YouTube: Discogs link: Brian Eno - January 07003 | Bell Studies For The Clock Of The Long Now Wikipedia link: January 07003: Bell Studies for the Clock of the Long Now - Wikipedia Track listing (from Wikipedia) Fixed ratio harmonic bells - 23:22 Changes where bell number = repeat number - 03:30 2 harmonic studies - 06:05 Deep glass bells (with harmonic clouds) - 03:17 Dark cracked bells with bass - 01:59 German-style ringing - 03:19 Emphasizing enharmonic partials - 03:01 Changes for January 07003, soft bells, Hillis algorithm - 10:40 Lithuanian bell study - 01:26 Large bell change improvisation - 01:23 Reverse harmonics bells - 02:45 Bell Improvisation 2 - 01:40 Virtual dream bells, thick glass - 03:59 Tsar Kolokol III (and friends) - 03:59 1–14 January 07003, hard bells, Hillis algorithm - 05:09 Credits: Everything by Brian Eno And, here's the full description of the album from Wikipedia. This is an album of studies made for the Long Now Foundation, an organization founded in 1996 that aims to "provide a counterpoint to what it views as today's 'faster/cheaper' mindset and to promote 'slower/better' thinking". One of their projects involves the construction of a clock, designed by W. Daniel Hillis, intended to keep time for 10,000 years. "I want to build a clock that ticks once a year. The century hand advances once every one hundred years, and the cuckoo comes out on the millennium." The first prototype of the clock is working and on permanent display at the London Science Museum. Eno, a member of the foundation, created this album both as a tribute to the project, and as an artistic expression of the vast swathes of time represented by the sheer "long-termness" of the philosophy behind the clock. "When we started thinking about The Clock, we naturally wondered what kind of sound it could make to announce the passage of time. I had nurtured an interest in bells for many years, and this seemed like a good alibi for taking it a bit deeper". The sounds on the album are entirely synthesizer-based, although Eno studied the actual physics of bell tones in order to simulate the kinds of bells familiar to modern ears. He also tried to imagine what bells might sound like in the future, which took him "out of the bounds of current physical and material possibilities .... imagine bells with quite different physical properties from those we now know". To that end, mathematical algorithms were also used to generate some of the sounds; Eno also made use of his generative software. Musically, most of the tracks are also accompanied by a variety of standard, synth-based ambient backdrops and drones. Profits from the sale of this album are donated to the Foundation. Here's an interview with Eno about this work: https://www.youtube.com/watch?v=nvmW4hyccBg And here's a link to the long now foundation. The Clock of the Long Now
Drawn From Life A bit of a downtempo chillout album of which there were many during the 90s and early 2000s. A bit more "artsy" perhaps. And while it is an overall pleasant listen, it underperforms imo given the cast of collaborators. And if you want to do something with children's voices (in this case Eno's daughters from his second marriage), try to do something interesting with it instead of just recording some mumbling, such as "Aquarius" by Boards Of Canada from 1998. My favorite track from the album is "More Dust", which just sounds so Eno-esque from the late seventies and early eighties. January 07003: Bell Studies for the Clock of the Long Now: Ummm. I managed 12 minutes of this. Do I get something?
Drawn From Life. I remember loving this one at the time, it was welcome diversion from endless ambient installation albums which all sounded very similar. Schwalm seemed to have given Eno a boost. Listening to it today it doesn’t seem quite as radical a departure as I’d originally thought. As pointed out above it’s not unlike albums by Boards Of Canada and others (although not quite as disquieting as some BoC stuff!) but it’s a great summer record, it sounds suitably hazy and humid. Like Pictures benefits from added Laurie Anderson but then any track in the whole world would benefit from added Laurie! What is sad, is that the tour isn’t officially documented. The unbelievably poor quality webcast of the Mt Fuji concert shows it was a terrific set. There was a storming performance of No One Receiving played in Japan. I once enquired at the EnoShop (whilst buying one of the Curiosities sets I think) if the Drawn From Life concerts would be released and was told that a gig had been mixed for release. But of course nothing ever happened… pity.
