It's a long time since I have heard the Bell Studies album, but I seem to remember quite liking it. But it is in the same bag as a lot of the Music For Installations material, so it doesn't seem quite so original now.
OMG. That's a webcast, not an audience recording? Reading the description on YouTube it says: This concert was live-streamed by MSN Japan on 29 2001 using Windows Media Player, with a repeat broadcast in . Neither stream was downloadable, so only the audio survives in as-broadcas. (sic) The audio does not sound any better than I would expect from an audience recording. I think the same applies to a number of albums. I was thinking when I was listening to Compact Forest Proposal that it would have made a much bigger impression on me if I hadn't heard so much else in the same ballpark. I'm surprised that there are comments on Long Now. I find the story of what the music is about very interesting. However, I don't find some of the tracks that engaging. I feel that some of the melodies need a bit more interest. Not necessarily that they should be more conventional - but I don't get the idea that a lot of thought has been put into them. Some of them sound to be a bit like they are just demonstrating the bell sounds, without trying to be music. While Drawn from Life is more conventional, I am enjoying it. I'll say more in my typical post in the morning before moving on to the next album.
Well, I like the ambient stuff, and it does seem a bit perverse to try and ignore it or downplay it in an album-by-album thread when it's the bulk of Eno's work post-seventies.
What would you suggest that we do? I don't want to skip or ignore albums. But, the thread slowed down considerably during the ambient installation music section.
You can hear the track without Laurie, but it's not an Eno track, it's a Hoger Czukay track, and it wasn't released until 2015, as 'Breathtaking' on the archival release Eleven Years Innerspace. Same music, but Czukay has no credit on the track on Drawn from Life and there's no mention of Eno or Schwalm on the Czukay album, so I have no idea what the story is here! Czukay does get a credit for part 1, but only for a tape loop, and this is the entire backing track of Part 2.
How many Curiosities releases are there? If not too many we can continue with one each day. After all, we are few left on this thread (the hardcore Eno fans!), so it's unlikely anyone would drop out. Still, once we get back to a better known album, you may wish to alert the broader group, many of whom it seems are skipping the installations / generative music albums.
I think they should all get at least a day apiece, so people can have a chance to track down and listen to them. I think bunching everything from the Installations box up together achronologically has contributed to the exhaustion. In release order, they'd have been broken up by vocal albums, collaborations and quite a few interesting one-offs - a lot of them actual songs, like 'No Orders', 'sim0n3' or 'No Frame'.
The Installations material doesn't lend itself to prolix comment, as it is mostly based on similar sounds and themes. And it is difficult to think oneself into the original installation context.
Regarding Eno & Schwalm, there are some extra tracks from this period for the trainspotters to track down: 'Miscellanea (Epitome)' - credited to Slop Shop / Eno (Slop Shop is a Schwalm alias) from the compilation Inside 02 (1999) 'So Nah' - from Slop Shop's Makrodelia 2 (2000) And Eno did a remix of two tracks from the first Slop Shop album ("Stay . . . and Come") for a single in 2000. Stay... And Come! (Brian Eno Rmx) - YouTube Music All of these tracks are strange / crunchy / non-ambient Eno. Eno also sang the excellent 'No Orders' on Schwalm's 2006 album Musikain, but we'll get to that when the time comes.
LOL, tough job you took on. I'm still a regular "watcher/liker, I just don't have too much to say at times, and others do it better than me anyway. He's SO prolific.. as an album-by-album thread, I think you do a wonderful job. Cheers M8 !
Drawn from Life I'm going to go through this track by track. From this Moment A nice gentle ambient-ish introduction, sounding as if it could come from one of Eno's 70 instrumental albums. This really serves as an introduction to... Persis Surprisingly normal drums start up, and clearly we're not in the ambient world any more. The keyboards take a bit of a back seat but add up to a nice soundscape, which is added to by the strings of Nell Catchpole. The interesting sounds that sound like (or are) fretless bass remind me slightly of Percy Jones though the playing style is very different. Overall all the sounds add up to a very nice effect. The strings build into a lead melody. Nell Catchpole is the most frequently appearing musician on this album other than Eno/Schwalm, and that's a good choice. Nothing that will scare the horses in terms in innovation or musical challenge, but it's all quite nice. There is subtle but nice musical development through the piece. Like Pictures Part 1 This track is co-written by Holgar Czukay, who also performs the dictaphone on this track. I'm not sure I can identify which parts of this are due to the dictaphone, but again this is a nice accessible instrumental track, which really functions as an intro to: Like Pictures Part 2 And, this version of the track features Laurie Anderson. Who, as mentioned above, really really adds to any track she appears on. The beat that starts this track is perhaps a bit generic, but the interesting synth sounds build into something that is simple and accessible. Then Anderson's voice comes in and it's ... oooh. Again, Nell Catchpole's strings really add to this track. There's nothing really innovative here, but the overall effect is accessible, melodic, even catchy, but still I find it interesting. What I interpret to be vocal processing on Anderson's voice work really well for me. They are subtle, but effective. Night Traffic This track sounds like it has Catchpole's strings on it. So, either a mistake in the credits or are they synth strings? This is a bit more laid back than other tracks on the album. While similar music to this had already been done, but this is still a well done album and I'm enjoying every track. Perhaps it's functioning as some light relief after the installation music. At least for me, it's doing that job. Again, this is quite conventional musically, but with interesting subtle touches and nice restrained percussion, and highly processed vocals. Rising Dust This starts out with the processed voice again, and I wondered if it was going to echo some of the ambient tracks. But, the conventional and perhaps a slight touch jazzy piano and the conventional bass pin the track down and make it accessible. But, the rest of the track is interesting and a bit more distinctive. When the full percussion comes in the track becomes even more conventional. But, I like it. There are some interesting sounds mixed in with the more conventional ones. Nice development, and like all the tracks here it easily justifies its length. (Not that any track here is hugely long compared to what we've often heard recently.) This also features some subtle but nice contributions from Leo Abrahams on guitar. Lynn Gerlach is credited on voice, but a lot of what we hear is due to the treatment, not necessarily the original voice. Intenser This again starts out sounding like it will be more challenging, but then it melts into something a bit more conventional. Nell Catchpole's string work again stands out. I'm not sure if some of the chordal work is her, or if it's a string synth. The spoken vocal is interesting, but of course it would be better if it had been spoken by Laurie Anderson. Leo Abrahams is here on slightly funky muted guitar. Again there are many disparate sounds and subtle development through the track. But, it all fits together well, and the result is melodic and accessible. More Dust This is the bonus track on later releases, and I noted it mentioned as a standout in a previous post. From the name I would have thought that this would have more to do with 'Rising Dust' than my ears suggest. I don't like this track as much as others. It's OK, but I think it lacks the subtle magic of some of the other tracks. To my ears, this does go on a bit. The whispered vocals are good - they should be used more in this kind of music. Overall the effect does build nicely I suppose. But, somehow, I find the beginning of the track ... not as interesting as it should be given what it builds into. I'm not sure that the guitar works all that well. Bloom This track is on the album both in this form and as an instrumental. The voices here are spoken, and seem to be largely the voices of the Eno children. It's a nice track with the subtle percussion and simple bass keeping it tied down and accessible. Not that anything in the synths or other sounds is inaccessible or challenging. I find the children's voices just a bit 'there'. They are normal kids voices and I'm not sure they are the best possible choice. But, perhaps this is what Eno wanted. Just everyday speech. More Catchpole violin and less children's voices would have helped. Two Voices The album is quite consistent, and this is another track with fairly accessible instrumentals and the main focus of interest being the processsed vocals. I've read that Eno came back to vocal music on Another Day on Earth because he could use more modern voice processing to Bloom (Instrumental) I think it does work to end the album on something a bit simpler. But, I would prefer that to be a fully new track, not an instrumental version of a previous track. Again, this is aimple and straightforward, and highly accessible. Nice to end the album with what I presume to be Catchpole's violin. Overall Overall this is an album that follows trends not breaks new ground. But, not everything needs to be new and the music here is well conceived and exceuted. And, I find it enjoyable. So: why not.
Thanks for the discussion everybody. The Curiosities compilations will wait for a couple of days, so we are on to The Equatorial Stars by Robert Fripp and Brian Eno. Can't seem to find this on YouTube. Spotify link: The Equatorial Stars Wikipedia link: The Equatorial Stars - Wikipedia Discogs link: Fripp & Eno - The Equatorial Stars Track listing (from Wikipedia): Track listing All songs by Brian Eno and Robert Fripp. "Meissa" – 8:08 "Lyra" – 7:45 "Tarazed" – 5:03 "Lupus" – 5:09 "Ankaa" – 7:01 "Altair" – 5:11 "Terebellum" – 9:40 The credits are just 'Composed by, performer' for Eno and Fripp and nobody else that I can see. Very short description from Wikipedia: The Equatorial Stars is the third studio album by British ambient duo Robert Fripp and Brian Eno.[6] The album was released in 2004, which marked almost 30 years since the two musicians had collaborated on their second album, Evening Star, in 1975.[7] I haven't got anything really interesting and relevant for a +alpha for this post. So, I will post what I have.
The Equatorial Stars: Here we go! This is a beautiful album full of gorgeous soundscapes and Fripp's wonderful guitar tone. Fripp & Eno have come a long way since (No Pussyfooting) and this album is a triumph as far as I'm concerned. Being a complete Frippoholic, "Ankaa" is the standout song for me, but it's all brilliant. A masterclass in how to make ambient music compelling.
I only heard The Equatorial Stars for the first time today and was pleasantly surprised. It's not as good as Evening Star and a couple of the tracks have some dated sounds (even from the perspective of 2005, when I was actively consuming music like this that was contemporary) but on the whole this is a nice understated set. I really like 'Tarazed'. Perhaps someone could have just got a bass guitar out for a couple of numbers to give it some ballast.
Music for Civil Recovery Centre and Compact Forest Proposal - the titles, not necessarily the music - would fit well on Taking Tiger Mountain (By Strategy).
The Equatorial Stars One thing I'll say straight up is that I'm not familiar with the majority of Robert Fripp's work. I probably should be. But, I mainly know Robert Fripp from his collaborations. I've been saying for years that when Fripp collaborates the results are often magical, but I've found some of Fripp's solo and King Crimson work to be a bit ... less immediate. I'm aware that there is quite a lot of very accessible work out there such as his work with the League of Crafty Guitarists. But, I don't know it that well. So, while this album may or may not be so fresh and new sounding to others more familiar with Fripp's ambient work, it does sound fresh and new to me. The pieces are often beautiful. E.g. the two openers 'Meissa' and 'Lyra'. The atmospherics and backgrounds provide a perfect background to Fripp's foreground guitar noodling (and I don't mean 'noodling' in a dismissive or critical way). Like the other tracks on this album, they contain interesting and distinctive sounds in the background such as that slightly strange tremolo modulated (possibly) sound. For 'Lyra', the background chord drone is incredibly simple, but it merges so well with Fripp's overdubbed foreground and background work. And the use of reverb on parts of the 'lead guitar' part (if it can be called that) is excellent. Both these tracks just 'work' for me. Tracks like 'Tarazed' use similar arrangements with Fripp's guitar + synth, with the synth having a larger role on 'Tarazed' (unless I'm mistaking treated guitar for synth - very possible). Thinking back over the past couple of weeks, I enjoy the ambient music, just that there was perhaps a bit too much of it. Here the featured guitar provides something new and interesting (to me), and I'm enjoying this again. And, the variation continues with 'Lupus' putting the guitar in the supporting role (unless what I think are synths are guitar), and providing nice contrast with what has gone before. Some nice distorted sounds, among the big synth (?) sweeps. There's just a touch of rhythm here, which perhaps harks back (a few years in thread time, though only yesterday in real time) to the work with Schwalm. Again 'Ankaa' has its own distinctive sound, and for me is the most 'Fripp' of the guitar lead lines so far. Enough so that I'm not sure that I would call this track ambient. It has a clear lead melody line, which I don't think of as ambient. But, it doesn't matter, I like it. The background again has just the slightest touch of rhythm, and the background provides a great deal of interest, and I think I would enjoy it without the lead guitar line. And the lead guitar line is great. 'Altair' again provides contrast with a strong rhythm and bass line, and funky rhythm guitar from Fripp. Like many albums recently there is no particular structure to this track, just a general subtle variation thoughout the parts of the track. There is a prominent keyboard solo here, which is angular, and interesting. Perhaps less than melodic, but the backing track puts it and the guitar lead sections into an interesting context. 'Terebellum' The first time I listened to this album, I was waiting for this track to start doing what it was going to do. But, this is the most ambient track on the album (to my ears). Interesting sequencing here with a slow build to the strong rhythm of 'Altair' and then the most ambient track on the album to finish. And, once I get used to that, it works very well. I didn't mean to cover this album track by track; it just happened. I think I read somewhere that this is Eno's favourite of the three collaborations with Fripp, but it's probably the least known. A common problem with artists as they age, I think. It really is excellent all round. In particular while the album is low key and ambient (though, certainly not all), there is plenty of variation with each track having a unique nature/feel/sound which contrasts well with the other tracks on the album. Perhaps if the guitar lead lines (where present) were extracted and played without accompaniment the album might be samey, but with the variation in the arrangements and sound design, there's plenty of variation here to maintain interest (and more than just 'interest' really). I'm guessing that I am missing out through not knowing Fripp's body of work better.
Thanks for the discussion everyone. Following discussion, we'll now do the Curiosities albums one by one. So, today it's Curiosities Vol 1. by Brian Eno. Unfortunately this morning I don't have a lot of time. But, there isn't a lot of information about this collection released without (I read) liner notes. At least there is a minimal Wikipedia page for this album, there isn't for Vol 2. Discogs link: Brian Eno - Curiosities Volume I Wikipedia link: Curiosities Volume 1 - Wikipedia Track listing and credits (from Wikipedia). Track listing All songs written by Brian Eno, except "Manila Envelope", by Eno and Robert Fripp. "Select a Bonk" – 5:23 "Draw One Animal" – 3:09 "Ambient Savage" – 3:53 "Circus Mathematics" – 1:38 "Castro Haze" – 4:48 "Groan Wash" – 3:56 "Cheeky Hop" – 3:29 "Work/Wank" – 2:02 "Late Evening in Jersey" – 4:37 "Slow Lump with Strings" – 4:55 "Never Tunneling" – 3:36 "My Lonely Organ" – 3:58 "Weird Bird Call Carnival" – 1:13 "War Fetish" – 2:00 "Manila Envelope" (with Robert Fripp) – 5:27 Personnel Brian Eno – performer Robert Fripp – performer on "Manila Envelope" Richard Bailey – drums on "Castro Haze" Technical Marlon Weyeneth – researching and compilation After Curiosities Vol. 2, there will be a rest catch up where I plan to post on the Long Now EP that got missed a bit, listen to something solo J. Peter Schwalm, and sample some solo Fripp ambient. I have heard Fripp ambient before, but not enough to become properly knowledgeable. Then we start on Another Day on Earth track by track. I will be travelling starting Sunday, and postings may become a bit erratic. Does Jeddah airport have free WiFi? It may be that I can't post until I hit Jakarta.
Curiosities Vol. 1 An entertaining and thoroughly enjoyable collection of instrumentals and musical snippets, ranging from the sublime (Manila Envelope, My Lonely Organ) to the bizarre (Weird Bird Call Carnival) and mundane (Work/Wank - really?). Of course Castro Haze and Manila Envelope we remember from Headcandy, but they fit well here in their remixed versions. Here is a rather glowing review from Peter Marsh from 2003 on BBC Music: BBC - Music - Review of Brian Eno - Curiosities Volume 1
"Late Evening in Jersey" and "Slow Lump with Strings" are really good too. A few of the others are not exactly thrilling. Reminds me in places of some of Cluster's more eccentric offerings (I'm looking at you, "Curiosum"), Moebius in general and even some Bruce Gilbert stuff.
My favorite ambient / soundscape album by Fripp is A Blessing Of Tears (1995 Soundscapes - Volume Two - Live In California) on DGM 9506. He composed it shortly after his mother passed away and it is very emotional music despite the minimalism. I also really like the cover.
That’s a superb album, as you say, deeply emotional too. The recent series of weekly downloads throughout the UK covid lockdowns, Music For Quiet Moments, has a similar spiritual vibe. Frankly I could happily listen to Fripp’s soundscapes all day long. Always lovely, often genuinely uplifting and sometimes utterly beautiful - this is music to soothe and heal and inspire.
Yes. I did the weekly downloads of Music For Quiet Moments as well. Stunningly good stuff. Became a highlight during the many months of lockdown.
Curiosities Volume 1 This certainly starts in a curious fashion with the cut down perhaps slightly juju space jazz style of 'Select a Bonk'. I haven't heard this compilation before, and it certainly starts in a more catchy/accessible manner than I expected. Though, perhaps this does sound a bit unfinished as I keep hoping for new elements to be added. 'Draw One Animal' even less expected with it having vocals. Gosh, I didn't know to post lyrics. So here we go. [Refrain] Write the name -the name -the name -the name -the name Just draw one animal Musically it has a strange little beat, which is what I expect from Brian. I'm not sure that the vocal sounds finished, and it definitely has a juju space jazz piano-ish lead melody line. This album is described as 'Curiosities', and two tracks in it definitely is so far. 'Ambient Savage' keeps up the style of the tracks so far. These are sounding very much like demos for Nerve Net or My Squelchy Life which weren't completed. This is a strange (in a good way) little loop with some synths added. 'Circus Mathematics'. Someone has a sampler and they're going to use it. An interesting curiosity indeed and one which is interesting to hear on a compilation of curiosities as it definitely is curious. Despite it's crude form, I'm disappointed when it fades out so soon. 'Castro Haze' is from Headcandy of course, and it has very conventional drums. It sounds very much of a piece with the previous tracks. Are the previous tracks outtakes from Headcandy or was 'Castro Haze' just another incomplete track lying around. Like th eothers the track is interesting and enjoyable but I feel I'm waiting for a bit more to happen. I wouldn't be if this was ambient, but the beat causes me to expect more. ''Groan Wash' is more what I expected. A nice ambient track with interesting synths and sound design. It contrasts well with the tracks around it. 'Cheeky Hop' is straight back to the strong rhythms, and this is a nice beat indeed which well fits its name. It's a pity that Eno get to use this beat in a more widely distributed fashion. And that this track doesn't make more of it. 'Work Wank' again sounds like a sampler has been used. It is definitely a curiosity, but I find this less satisfying (no pun intended) than the other tracks. Definitely interesting to hear, but more from an intellectual point of view than this being something that I want to hear a lot. 'Late Evening in Jersey'. Again this is juju space jazz, but perhaps a bit more laid back than much of what is on the NN and MSL albums. 'Slow Lump with Strings' sounds to me as if it's intended to have a Percy Jones or similar playing on it, but I presume from the credits that this is all Eno. Interesting, though perhaps this is a good start on a track and it might have been given a bit more if finished. Maybe. It's certainly enjoyable (if a bit repetitive) as it is. The bassline is excellent. And the melodic line that enters later on is very good as well. 'Never Tunnelling' is again very much in the juju space jazz style. Again it sounds like a good basic track to which something could be added but it is enjoyable as it is. Very good - what I interpret to be - lead bass line. 'My Lonely Organ'. This starts out pretty much as I would have expected given the title. A solo piece using an organ sound. I guess this is a synth, not a real organ. There are some nice musical ideas here, but again I sort of interpret this as a work in progress, not a finished piece. Which is one of the points of albums like this. To reveal the bits left unfinished. It 'Weird Bird Call Carnival'. From the most melodic track on the album to one of the weirdest (in a good way). But, very short. I was hoping it was going to go well. 'War Fetish'. This has an interesting beat, and again some Eno vocals. Processed through software. The wandering generative piano melody sound fits here because it's not featured and it's not on an album full of them. In some ways this sounds a bit like a musical joke, but it's an interesting and enjoyable one. Again perfect for inclusion on an album of curiosities. Nice (presumably) drum programming and an excellent bass line. 'Manila Envelope'. And, the second track that we have covered before. As always, Eno and Fripp balance each other, with a lot more Eno than on The Equatorial Stars. I think some of the previous tracks are interesting but incomplete. There's no way that this track lacks sufficient components and interest. But, it also fits very well into the album's sequence and finishes off the album very well. Overall It may look like I'm complaining that the pieces are unfinished but I like hearing things like that. And there is certainly enough consistency but sitill contrast to make this an interesting album by itself. It fits in well with MSL and NN. So, if MSL was a bonus after NN, this album is a bonus again. I did not expect this album to be this consistent nor work this well as an album proper. It definitely deserves its place in Eno's discography, and is in my opinion definitely not just for completists only.
