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Wikipedia

Brian Eno

February 06, 2023

This article is about the English musician. He is not to be confused with Brian Enos.

Brian Peter George St John le Baptiste de la Salle Eno RDI (/ˈiːnoʊ/; born Brian Peter George Eno, 15 May 1948) is a British musician, composer, record producer and visual artist best known for his contributions to ambient music and work in rock, pop and electronica.[1] A self-described "non-musician", Eno has helped introduce unconventional concepts and approaches to contemporary music.[1][2] He has been described as one of popular music's most influential and innovative figures.[1][3]

Brian Eno
RDI
Eno in December 2015
Background information
Birth nameBrian Peter George Eno
Born (1948-05-15) 15 May 1948 (age 74)
Melton, Suffolk, England
Genres
Occupation(s)
  • Musician
  • producer
  • composer
  • songwriter
  • artist
  • sound designer
Instrument(s)
  • Keyboards
  • vocals
  • guitar
  • bass guitar
Years active1970–present
Labels
Websitebrian-eno.net
Signature

Born in Suffolk, Eno studied painting and experimental music at the art school of Ipswich Civic College in the mid 1960s, and then at Winchester School of Art. He joined glam rock group Roxy Music as its synthesiser player in 1971, recording two albums with the group before departing in 1973. Eno then released a number of solo pop albums beginning with Here Come the Warm Jets (1974) and, also in the mid-1970s, began exploring a minimalist direction on influential recordings such as Discreet Music (1975) and Ambient 1: Music for Airports (1978), coining the term "ambient music" with the latter.

Alongside his solo work, Eno collaborated frequently with other musicians in the 1970s, including Robert Fripp, Harmonia, Cluster, Harold Budd, David Bowie, David Byrne and Judy Nylon. He also established himself as a sought-after producer, working on albums by John Cale, Jon Hassell, Laraaji, Talking Heads, Ultravox, and Devo, as well as the no wave compilation No New York (1978). In subsequent decades, Eno continued to record solo albums and produce for other artists, most prominently U2 and Coldplay, alongside work with artists such as Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, Karl Hyde, James, Kevin Shields, and Damon Albarn.

Dating back to his time as a student, Eno has also worked in other media, including sound installations, film, and writing. In the mid-1970s, he co-developed Oblique Strategies, a deck of cards featuring aphorisms intended to spur creative thinking. From the 1970s onwards, Eno's installations have included the sails of the Sydney Opera House in 2009[4] and the Lovell Telescope at Jodrell Bank in 2016. An advocate of a range of humanitarian causes, Eno writes on a variety of subjects and is a founding member of the Long Now Foundation.[5] In 2019, Eno was inducted into the Rock and Roll Hall of Fame as a member of Roxy Music.[6]

Early life

Brian Peter George Eno was born on 15 May 1948 in the village of Melton, Suffolk, the son of William Arnold Eno (1916–1988), a postal worker and clock and watch repairer,[7] and Maria Alphonsine Eno (née Buslot; 1922–2005),[8] a Belgian national.[9] Eno is the eldest of their three children; he has a brother, Roger, and sister Arlette. They have a half-sister, Rita, from their mother's previous relationship.[10] The surname Eno is derived from the French Huguenot surname Hennot.[9]

In 1959, Eno attended St Joseph's College in Ipswich, a Catholic grammar school of the De La Salle Brothers order. His confirmation name is derived from the school, taking the name Brian Peter George St. John le Baptiste de la Salle Eno.[11] In 1964, after earning four O-levels, including one in art and maths, Eno had developed an interest in art and music and had no interest in a "conventional job".[12] He enrolled at the Ipswich School of Art, taking on the newly established Groundcourse foundation art degree established by new media artist Roy Ascott.[13] Here, one of Eno's teachers was artist Tom Phillips, who became a lifelong friend and encouraged his musical ability. Phillips recalled the pair doing "piano tennis" in which, after collecting pianos, the two stripped and aligned them in a hall and struck them with tennis balls.[14] In 1966, Eno studied for a diploma in Fine Arts at the Winchester School of Art, from which he graduated in 1969.[15][16] At Winchester Eno once attended a lecture by future Who guitarist Pete Townshend, also a former student of Ascott's; he cites this as the moment when he realised he could make music without formal training.[11]

Whilst at school, Eno used a tape recorder as a musical instrument[17] and in 1964 he joined his first group, the Black Aces, a four-piece with Eno on drums that he formed with three friends he met at the youth club he visited in Melton.[18] In late 1967, Eno pursued music once more, forming the Merchant Taylor's Simultaneous Cabinet, an avant-garde music, art, and performance trio with two Winchester undergraduates.[19] This was followed by short stints in multiple avant-garde and college groups, including The Maxwell Demon and Dandelion and The War Damage which featured Eno as frontman who adapted a theatrical persona on stage and later played the guitar.[12][20]

Career

1970s

In 1969, after separating from his wife, Eno moved to London where his professional music career began. He became involved with the Scratch Orchestra and the Portsmouth Sinfonia; Eno's first appearance on a commercially released recording is the Deutsche Grammophon edition of The Great Learning (1971) by Cornelius Cardew and the Scratch Orchestra which features Eno as one of the voices on the track "Paragraph 7".[21] Another early recording was the soundtrack to Berlin Horse (1970), a nine-minute avant-garde art film by Malcolm Le Grice.[22][23] At one point, Eno had to earn money as paste-up assistant for the advertisement section of a local paper for three months. He quit and became an electronics dealer by buying old speakers and making new cabinets for them before selling them to friends.[12]

In 1971, Eno co-formed the glam and art rock band Roxy Music. He had a chance meeting with saxophonist Andy Mackay at a train station, which led to him joining the band. Eno later said: "If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now".[24] Eno played on their first two albums, Roxy Music (1972) and For Your Pleasure (1973), and is credited as "Eno" with playing the VCS 3 synthesiser, tape effects, backing vocals, and co-producer. Initially Eno did not appear on stage at their live shows, but operated the group's mixing desk at the centre of the concert venue where he had a microphone to sing backup vocals. After the group secured a record deal, Eno joined them on stage playing the synthesiser and became known for his flamboyant costumes and makeup, partly stealing the spotlight from lead singer Bryan Ferry.[12] After touring For Your Pleasure ended in mid-1973, Eno quit the band. He cited disagreements with Ferry and the frontman's insistence on being in command of the group, which affected Eno's ability to incorporate his own ideas.[25]

 
Eno appearing on Dutch television in 1974

Almost immediately after his exit from Roxy Music, Eno embarked on his solo career. He released four albums of electronically inflected art pop:[26] Here Come the Warm Jets (1973), Taking Tiger Mountain (By Strategy) (1974), Another Green World (1975), and Before and After Science (1977). Tiger Mountain contains the "Third Uncle" which became one of Eno's best-known songs, owing in part to its later cover by Bauhaus and 801. Critic Dave Thompson writes that the song is "a near punk attack of riffing guitars and clattering percussion, 'Third Uncle' could, in other hands, be a heavy metal anthem, albeit one whose lyrical content would tongue-tie the most slavish air guitarist."[27] During this period, Eno also played three dates with Phil Manzanera in 801, a supergroup that performed more or less reworked selections from albums by Eno, Manzanera, and Quiet Sun, as well as covers of The Beatles and The Kinks.

In 1973, King Crimson founder and guitarist Robert Fripp collaborated with Eno and his tape delay system to make experimental, ambient, and drone music. The result was (No Pussyfooting) (1973), released as their duo name of Fripp & Eno.[28] Fripp subsequently referred to the tape delay recording method as Frippertronics. The pair followed their debut with a second album Evening Star (1975), and completed a European tour. Eno produced the albums The Portsmouth Sinfonia Plays the Popular Classics (1974) and Hallelujah! The Portsmouth Sinfonia Live at the Royal Albert Hall (1974) by the Portsmouth Sinfonia, both of which feature Eno playing the clarinet. He also deployed the orchestra's dissonant string section on Taking Tiger Mountain (By Strategy). Eno went on to work with several performers in the orchestra on his Obscure label, including Gavin Bryars and Michael Nyman. Later in 1974, Eno and Kevin Ayers contributed music for the experimental/spoken word album Lady June's Linguistic Leprosy (1974) by poet June Campbell Cramer.

Ambient music

Main article: Ambient music

Eno released a number of eclectic ambient electronic and acoustic albums. He coined the term "ambient music",[29] which is designed to modify the listener's perception of the surrounding environment. In the liner notes accompanying Ambient 1: Music for Airports, Eno wrote: "Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular, it must be as ignorable as it is interesting."[30]

In January 1975 Eno was hit by a taxi while crossing the street and spent several weeks recuperating at home. His girlfriend brought him an old record of harp music, which he lay down to listen to. He realized that he had set the amplifier to a very low volume, and one channel of the stereo was not working, but he lacked the energy to get up and correct it. "This presented what was for me a new way of hearing music – as part of the ambience of the environment just as the colour of the light and sound of the rain were parts of the ambience."[31]

Eno's first work of ambient music was Discreet Music (1975), again created with an elaborate tape-delay methodology which he diagrammed on the back cover of the LP; it is considered the landmark album of the genre. This was followed by his Ambient series: Music for Airports (Ambient 1), The Plateaux of Mirror (Ambient 2) featuring Harold Budd on keyboard, Day of Radiance (Ambient 3) with American composer Laraaji playing zither and hammered dulcimer, and On Land (Ambient 4)).

1980s

Eno provided a film score for Herbert Vesely's Egon Schiele – Exzess und Bestrafung (1980), also known as Egon Schiele – Excess and Punishment. The ambient-style score was an unusual choice for an historical piece, but it worked effectively with the film's themes of sexual obsession and death.

Before Eno made On Land, Robert Quine played him Miles Davis' "He Loved Him Madly" (1974). Eno stated in the liner notes for On Land, "Teo Macero's revolutionary production on that piece seemed to me to have the 'spacious' quality I was after, and like Federico Fellini's 1973 film Amarcord, it too became a touchstone to which I returned frequently."[32]

In 1980 to 1981, during which time Eno travelled to Ghana for a festival of West African music, he was collaborating with David Byrne of Talking Heads. Their album My Life in the Bush of Ghosts, was built around radio broadcasts Eno collected whilst living in the United States, along with sampled music recordings from around the world transposed over music predominantly inspired by African and Middle Eastern rhythms.

In 1983, Eno collaborated with his brother, Roger Eno, and Daniel Lanois on the album Apollo: Atmospheres and Soundtracks that had been commissioned by Al Reinert for his film For All Mankind (1989).[33][34] Tracks from the album were subsequently used in several other films, including Trainspotting.[35]

1990s

In September 1992, Eno released Nerve Net, an album utilising heavily syncopated rhythms with contributions from several former collaborators including Fripp, Benmont Tench, Robert Quine and John Paul Jones. This album was a last-minute substitution for My Squelchy Life, which contained more pop oriented material, with Eno on vocals.[36] Several tracks from My Squelchy Life later appeared on 1993's retrospective box set Eno Box II: Vocals, and the entire album was eventually released in 2014 as part of an expanded re-release of Nerve Net. Eno also released The Shutov Assembly in 1992, recorded between 1985 and 1990. This album embraces atonality and abandons most conventional concepts of modes, scales and pitch. Emancipated from the constant attraction towards the tonic that underpins the Western tonal tradition, the gradually shifting music originally eschewed any conventional instrumentation, save for treated keyboards.[37][failed verification]

During the 1990s, Eno worked increasingly with self-generating musical systems, the results of which he called generative music. This allows the listener to hear music that slowly unfolds in almost infinite non-repeating combinations of sound.[38] In one instance of generative music, Eno calculated that it would take almost 10,000 years to hear the entire possibilities of one individual piece. Eno achieves this through the blending of several independent musical tracks of varying length. Each track features different musical elements and in some cases, silence. When each individual track concludes, it starts again re-configuring differently with the other tracks. He has presented this music in his own art and sound installations and those in collaboration with other artists, including I Dormienti (The Sleepers), Lightness: Music for the Marble Palace, Music for Civic Recovery Centre, The Quiet Room, and Music for Prague.[39]

In 1993, Eno worked with the Manchester rock band James to produce two albums, Laid and Wah Wah. Laid was met with notable critical and commercial success both in the UK and the United States after its release in 1993. Wah Wah, in comparison, received a more lukewarm response after its release in 1994.[40]

One of Eno's better-known collaborations was with the members of U2, Luciano Pavarotti and several other artists in a group called Passengers. They produced the 1995 album Original Soundtracks 1, which reached No. 76 on the US Billboard charts and No. 12 in the UK Albums Chart. It featured a single, "Miss Sarajevo", which reached number 6 in the UK Singles Chart.[41] This collaboration is chronicled in Eno's book A Year with Swollen Appendices, a diary published in 1996.

In 1996, Eno scored the six-part fantasy television series Neverwhere.[42]

2000s

In 2004, Fripp and Eno recorded another ambient music collaboration album, The Equatorial Stars.

Eno returned in June 2005 with Another Day on Earth, his first major album since Wrong Way Up (with John Cale) to prominently feature vocals (a trend he continued with Everything That Happens Will Happen Today). The album differs from his 1970s solo work due to the impact of technological advances on musical production, evident in its semi-electronic production.

In early 2006, Eno collaborated with David Byrne again, for the reissue of My Life in the Bush of Ghosts in celebration of the influential album's 25th anniversary. Eight previously unreleased tracks recorded during the initial sessions in 1980/81, were added to the album.[43] An unusual interactive marketing strategy was employed for its re-release, the album's promotional website features the ability for anyone to officially and legally download the multi-tracks of two songs from the album, "A Secret Life" and "Help Me Somebody". This allowed listeners to remix and upload new mixes of these tracks to the website for others to listen and rate them.

 
Eno at the Long Now Foundation, 26 June 2006

In late 2006, Eno released 77 Million Paintings, a program of generative video and music specifically for home computers. As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched. Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice. The second edition of "77 Million Paintings" featuring improved morphing and a further two layers of sound was released on 14 January 2008. In June 2007, when commissioned in the Yerba Buena Center for the Arts, San Francisco, California, Annabeth Robinson (AngryBeth Shortbread) recreated 77 Million Paintings in Second Life.[44]

The Nokia 8800 Sirocco Edition mobile phone, released in late 2006, features exclusive ringtones and sounds composed by Eno.[45] Although he was previously uninterested in composing ringtones due to the limited sound palette of monophonic ringtones, phones at this point primarily used audio files.[46] Between 8 January 2007 and 12 February 2007, ten units of Nokia 8800 Sirocco Brian Eno Signature Edition mobile phones, individually numbered and engraved with Eno's signature, were auctioned off. All proceeds went to two charities chosen by Eno: the Keiskamma AIDS treatment program and the World Land Trust.[47]

In 2007, Eno's music was featured in a movie adaption of Irvine Welsh's best-selling collection Ecstasy: Three Tales of Chemical Romance. He also appeared playing keyboards in Voila, Belinda Carlisle's solo album sung entirely in French.

Also in 2007, Eno contributed a composition titled "Grafton Street" to Dido's third album, Safe Trip Home, released in November 2008.[48]

In 2008, he released Everything That Happens Will Happen Today with David Byrne, designed the sound for the video game Spore[49] and wrote a chapter to Sound Unbound: Sampling Digital Music and Culture, edited by Paul D. Miller (a.k.a. DJ Spooky).

In June 2009, Eno curated the Luminous Festival at Sydney Opera House, culminating in his first live appearance in many years. "Pure Scenius" consisted of three live improvised performances on the same day, featuring Eno, Australian improvisation trio The Necks, Karl Hyde from Underworld, electronic artist Jon Hopkins and guitarist Leo Abrahams.

Eno scored the music for Peter Jackson's film adaptation of The Lovely Bones, released in December 2009.[50]

2010s

Eno released another solo album on Warp in late 2010. Small Craft on a Milk Sea, made in association with long-time collaborators Leo Abrahams and Jon Hopkins, was released on 2 November in the United States and 15 November in the UK.[51] The album included five compositions [52] that were adaptions of those tracks that Eno wrote for The Lovely Bones.[53]

He later released Drums Between the Bells,[54] a collaboration with poet Rick Holland, on 4 July 2011.

In November 2012, Eno released Lux, a 76-minute composition in four sections, through Warp.[55]

Eno worked with French–Algerian Raï singer Rachid Taha on Taha's Tékitoi (2004) and Zoom (2013) albums, contributing percussion, bass, brass and vocals. Eno also performed with Taha at the Stop the War Coalition concert in London in 2005.[56]

In April 2014, Eno sang on, co-wrote, and co-produced Damon Albarn's Heavy Seas of Love, from his solo debut album Everyday Robots.[57]

In May 2014, Eno and Underworld's Karl Hyde released Someday World, featuring various guest musicians: from Coldplay's Will Champion and Roxy Music's Andy Mackay to newer names such as 22-year-old Fred Gibson, who helped produce the record with Eno.[58] Within weeks of that release, a second full-length album was announced titled High Life. This was released on 30 June 2014.[59]

In January 2016, a new Eno ambient soundscape was premiered as part of Michael Benson's planetary photography exhibition "Otherworlds" in the Jerwood Gallery of London's Natural History Museum. In a statement Eno commented on the unnamed half-hour piece:

We can't experience space directly; those few who've been out there have done so inside precarious cocoons. They float in silence, for space has no air, nothing to vibrate – and therefore no sound. Nonetheless we can't resist imagining space as a sonic experience, translating our feelings about it into music. In the past we saw the universe as a perfect, divine creation – logical, finite, deterministic – and our art reflected that. The discoveries of the Space age have revealed instead a chaotic, unstable and vibrant reality, constantly changing. This music tries to reflect that new understanding.

The Ship, an album with music from Eno's installation of the same name was released on 29 April 2016 on Warp.[60]

In September 2016, the Portuguese synthpop band The Gift, released a single entitled Love Without Violins. As well as singing on the track, Eno co-wrote and produced it. The single was released on the band's own record label La Folie Records on 30 September.[61]

Eno's Reflection, an album of ambient, generative music, was released on Warp Records on 1 January. 2017. It was nominated for a Grammy Award for 2018's 60th Grammy awards ceremony.[62][63]

In April 2018, Eno released The Weight Of History / Only Once Away My Son, a collaborative double A-side with Kevin Shields, for Record Store Day.[64]

In 2019, Eno participated in DAU, an immersive art and cultural installation in Paris by Russian film director Ilya Khrzhanovsky evoking life under Soviet authoritarian rule. Eno contributed six auditory ambiances.[65]

2020s

In March 2020, Eno and his brother, Roger Eno, released their collaborative album Mixing Colours.[66] In October 2022, he released a mostly voice-based album called "Foreverandevernomore".[67]

Eno provided original music for Ben Lawrence's 2021 documentary Ithaka about John Shipton's battle to save his son, Julian Assange.[68]

Record producer

 
"Dune Prophecy Theme"
Problems playing this file? See media help.

From the beginning of his solo career in 1973, Eno was in demand as a record producer. The first album with Eno credited as producer was Lucky Leif and the Longships by Robert Calvert. Eno's lengthy string of producer credits includes albums for Talking Heads, U2, Devo, Ultravox and James. He also produced part of the 1993 album When I Was a Boy by Jane Siberry. He won the best producer award at the 1994 and 1996 BRIT Awards.

Eno describes himself as a "non-musician", using the term "treatments" to describe his modification of the sound of musical instruments, and to separate his role from that of the traditional instrumentalist. His skill in using the studio as a compositional tool[69] led in part to his career as a producer. His methods were recognised at the time (mid-1970s) as unique, so much so that on Genesis's The Lamb Lies Down on Broadway, he is credited with 'Enossification'; on Robert Wyatt's Ruth Is Stranger Than Richard with a Direct inject anti-jazz raygun and on John Cale's Island albums as simply being "Eno".

Eno has contributed to recordings by artists as varied as Nico, Robert Calvert, Genesis, David Bowie, and Zvuki Mu, in various capacities such as use of his studio/synthesiser/electronic treatments, vocals, guitar, bass guitar, and as just being 'Eno'. In 1984, he (amongst others) composed and performed the "Prophecy Theme" for the David Lynch film Dune; the rest of the soundtrack was composed and performed by the group Toto. Eno produced performance artist Laurie Anderson's Bright Red album, and also composed for it. The work is avant-garde spoken word with haunting and magnifying sounds. Eno played on David Byrne's musical score for The Catherine Wheel, a project commissioned by Twyla Tharp to accompany her Broadway dance project of the same name.

He worked with Bowie as a writer and musician on Bowie's influential 1977–79 'Berlin Trilogy' of albums, Low, "Heroes" and Lodger, on Bowie's later album Outside, and on the song "I'm Afraid of Americans". Recorded in France and Germany, the spacey effects on Low were largely created by Eno, who played a portable EMS Synthi A synthesiser. Producer Tony Visconti used an Eventide Harmonizer to alter the sound of the drums, claiming that the audio processor "f–s with the fabric of time."[70] After Bowie died in early 2016, Eno said that he and Bowie had been talking about taking Outside, the last album they'd worked on together, "somewhere new", and expressed regret that they wouldn't be able to pursue the project.[71]

Eno co-produced The Unforgettable Fire (1984), The Joshua Tree (1987), Achtung Baby (1991), and All That You Can't Leave Behind (2000) for U2 with his frequent collaborator Daniel Lanois, and produced 1993's Zooropa with Mark "Flood" Ellis. In 1995, U2 and Eno joined forces to create the album Original Soundtracks 1 under the group name Passengers; songs from which included "Your Blue Room" and "Miss Sarajevo". Even though films are listed and described for each song, all but three are bogus. Eno also produced Laid (1993), Wah Wah (1994) Millionaires (1999) and Pleased to Meet You (2001) for James, performing as an extra musician on all four. He is credited for "frequent interference and occasional co-production" on their 1997 album Whiplash.

Eno played on the 1986 album Measure for Measure by Australian band Icehouse. He remixed two tracks for Depeche Mode, "I Feel You" and "In Your Room", both single releases from the album Songs of Faith and Devotion in 1993. In 1995, Eno provided one of several remixes of "Protection" by Massive Attack (originally from their Protection album) for release as a single.

In 2007, he produced the fourth studio album by Coldplay, Viva la Vida or Death and All His Friends, released in 2008. Also in 2008, he worked with Grace Jones on her album Hurricane, credited for "production consultation" and as a member of the band, playing keyboards, treatments and background vocals. He worked on the twelfth studio album by U2, again with Lanois, titled No Line on the Horizon. It was recorded in Morocco, the South of France and Dublin and released in Europe on 27 February 2009.

In 2011, Eno and Coldplay reunited and Eno contributed "enoxification" and additional composition on Coldplay's fifth studio album Mylo Xyloto, released on 24 October of that year.

The Microsoft Sound

In 1994, Microsoft designers Mark Malamud and Erik Gavriluk approached Eno to compose music for the Windows 95 project.[72] The result was the six-second start-up music-sound of the Windows 95 operating system, "The Microsoft Sound". In an interview with Joel Selvin in the San Francisco Chronicle he said

The idea came up at the time when I was completely bereft of ideas. I'd been working on my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, "Here's a specific problem – solve it."

The thing from the agency said, "We want a piece of music that is inspiring, universal, blah-blah, da-da-da, optimistic, futuristic, sentimental, emotional," this whole list of adjectives, and then at the bottom it said "and it must be 3+1⁄4 seconds long."[† 1]

I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel.

In fact, I made eighty-four pieces. I got completely into this world of tiny, tiny little pieces of music. I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time.[73]

Eno shed further light on the composition of the sound on the BBC Radio 4 show The Museum of Curiosity, admitting that he created it using a Macintosh computer, stating "I wrote it on a Mac. I've never used a PC in my life; I don't like them."[74]

Video work

Eno has spoken of an early and ongoing interest in exploring light in a similar way to his work with sound. He started experimenting with the medium of video in 1978. Eno describes the first video camera he received, which would initially become his main tool for creating ambient video and light installations:

"One afternoon while I was working in the studio with Talking Heads, the roadie from Foreigner, working in an adjacent studio, came in and asked whether anyone wanted to buy some video equipment. I'd never really thought much about video, and found most 'video art' completely unmemorable, but the prospect of actually owning a video camera was, at that time, quite exotic."[75]

The Panasonic industrial camera Eno received had significant design flaws preventing the camera from sitting upright without the assistance of a tripod. This led to his works being filmed in vertical format, requiring the television set to be flipped on its side to view it in the proper orientation.[76] The pieces Eno produced with this method, such as Mistaken Memories of Mediaeval Manhattan (1980) and Thursday Afternoon (1984) (accompanied by the album of the same title), were labelled as 'Video Paintings.' He explained the genre title in the music magazine NME:

"I was delighted to find this other way of using video because at last here's video which draws from another source, which is painting ... I call them 'video paintings' because if you say to people 'I make videos', they think of Sting's new rock video or some really boring, grimy 'Video Art'. It's just a way of saying, 'I make videos that don't move very fast."[77]

These works presented Eno with the opportunity to expand his ambient aesthetic into a visual form, manipulating the medium of video to produce something not present in the normal television experience. His video works were shown around the world in exhibitions in New York and Tokyo, as well as released on the compilation 14 Video Paintings in 2005.[78]

Eno continued his video experimentation through the 80s, 90s and 2000s, leading to further experimentation with the television as a malleable light source and informing his generative works such as 77 Million Paintings in 2006.[79]

Generative music

Eno gives the example of wind chimes. He says that these systems and the creation of them have been a focus of his since he was a student: "I got interested in the idea of music that could make itself, in a sense, in the mid 1960s really, when I first heard composers like Terry Riley, and when I first started playing with tape recorders." [80]

Initially Eno began to experiment with tape loops to create generative music systems. With the advent of CDs he developed systems to make music of indeterminate duration using several discs of material that he'd specifically recorded so that they would work together musically when driven by random playback.[citation needed]

In 1995, he began working with the company Intermorphic to create generative music through utilising programmed algorithms. The collaboration with Intermorphic led Eno to release Generative Music 1 - which requires Intermorphic's Koan Player software for PC. The Koan software made it possible for generative music to be experienced in the domestic environment for the first time.[citation needed]

Generative Music 1

In 1996, Eno collaborated in developing the SSEYO Koan generative music software system (by Pete Cole and Tim Cole of Intermorphic) that he used in composing Generative Music 1—only playable on the Koan generative music system. Further music releases using Koan software include: Wander (2001) and Dark Symphony (2007)—both include works by Eno, and those of other artists (including SSEYO's Tim Cole).[citation needed]

Released excerpts

Eno started to release excerpts of results from his 'generative music' systems as early as 1975 with the album Discreet Music. Then again in 1978 with Music for Airports:

Music for Airports, at least one of the pieces on there, is structurally very, very simple. There are sung notes, sung by three women and myself. One of the notes repeats every 23 1/2 seconds. It is in fact a long [recorded tape] loop running around a series of tubular aluminum chairs in Conny Plank's studio. The next lowest loop repeats every 25 7/8 seconds or something like that. The third one every 29 15/16 seconds or something. What I mean is they all repeat in cycles that are called incommensurable – they are not likely to come back into sync again. So this is the piece moving along in time. Your experience of the piece of course is a moment in time, there. So as the piece progresses, what you hear are the various clusterings and configurations of these six basic elements. The basic elements in that particular piece never change. They stay the same. But the piece does appear to have quite a lot of variety. In fact it's about eight minutes long on that record, but I did have a thirty minute version which I would bore friends who would listen to it. The thing about pieces like this of course is that they are actually of almost infinite length if the numbers involved are complex enough. They simply don't ever re-configure in the same way again. This is music for free in a sense. The considerations that are important, then, become questions of how the system works and most important of all what you feed into the system.

— Brian Eno, Generative Music: A talk delivered in San Francisco, June 8, 1996[81]

The list below consists of albums, soundtracks and downloadable files that contain excerpts from some of Eno's generative music explorations:[citation needed]

Several of the released excerpts (listed above) originated as, or are derivative of, soundtracks Eno created for art installations. Most notably The Shutov Assembly (view breakdown of Album's sources), Contra 1.2 thru to Compact Forest Proposal, Lux, CAM, and The Ship.[citation needed]

Installations

Eno has created installations combining artworks and sound that have shown across the world since 1979, beginning with 2 Fifth Avenue and White Fence, in the Kitchen Centre, New York, NY.[83] Typically Eno's installations feature light as a medium explored in multi-screen configurations, and music that is created to blur the boundaries between itself and its surroundings:

"There is a sharp distinction between "music" and "noise", just as there is a distinction between the musician and the audience. I like blurring those distinctions – I like to work with all the complex sounds on the way out to the horizon, to pure noise, like the hum of London."[84] With each installation Eno's music and artworks interrogate the visitors' perception of space and time within a seductive, immersive environment.[85][86]

Since his experiments with sound as an art student using reel to reel tape recorders,[87] - and in art employing the medium of light,[88] Eno has utilised breakthroughs in technology to develop 'processes rather than final objects', processes that in themselves have to "jolt your senses," have "got to be seductive."[89] Once set in motion these processes produce potentially un-ending and continuous, non-repeating music and artworks that Eno, though the artist, could not have imagined;[90] and with them he creates the slowly unfolding immersive environments of his installations.

David A. Ross writes in the programme notes to Matrix 44 in 1981: "In a series of painterly video installations first shown in 1979, Eno explored the notion of environmental ambiance. Eno proposes a use for music and video that is antithetical to behavior control-oriented "Muzak" in that it induces and invites the viewer to enter a meditative, detached state, rather than serve as an operant conditioner for work-force efficiency. His underlying strategy is to create works which provide natural levels of variety and redundancy which bring attention to, rather than mimic, essential characteristics of the natural environment. Eno echoes Matisse's stated desire that his art serve as an armchair for the weary businessman."[91]

Early installations benefitted from breakthroughs in video technology that inspired Eno to use the TV screen as a monitor and enabled him to experiment with the opposite of the fast-moving narratives typical of TV to create evolving images with an almost imperceptible rate of change. "2 Fifth Avenue", ("a linear four-screen installation with music from Music For Airports") resulted from Eno shooting "the view from his apartment window: without ... intervention," recording "what was in front of the camera for an unspecified period of time ... In a simple but crude form of experimental post production, the colour controls of the monitors on which the work was shown were adjusted to wash out the picture, producing a high-contrast black and white image in which colour appeared only in the darkest areas. ... Eno manipulated colour as though painting, observing: 'video for me is a way of configuring light, just as painting is a way of configuring paint.'"[92]

From the outset, Eno's video works, were "more in the sphere of paintings than of cinema".[93] The author and artist John Coulthart called Mistaken Memories of Medieval Manhattan (1980–81), which incorporated music from Ambient 4: On Land, "The first ambient film." He explains: "Eno filmed several static views of New York and its drifting cloudscape from his thirteenth-floor apartment in 1980–81. The low-grade equipment ... give[s] the images a hazy, impressionistic quality. Lack of a tripod meant filming with the camera lying on its side so the tape had to be re-viewed with a television monitor also turned on its side."[94] And turning the TV on its side, says David A. Ross, "recontextualize[d] the television set, and ... subliminally shift[ed] the way the video image represents recognizable realities ... Natural phenomena like rain look quite different in this orientation; less familiar but curiously more real."[95]

Thursday Afternoon was a return to using figurative form, for Eno had by now begun "to think that I could use my TVs as light sources rather than as image sources. ... TV was actually the most controllable light source that had ever been invented – because you could precisely specify the movement and behaviour of several million points of coloured light on a surface. The fact that this prodigious possibility had almost exclusively been used to reproduce figurative images in the service of narratives pointed to evolution of the medium from the theatre and cinema. What I thought was that this machine, which pumped out highly controllable light, was actually the first synthesiser, and that its use as an imager-retailer represented a subset of its possible range."[96]

Turning the TV on its back, Eno played video colour fields of differing lengths of time that would slowly re-combine in different configurations. Placing ziggurats (3 dimensional constructions) of different lengths and sizes on top of the screens that defined each separate colour field, these served to project the internal light source upward. "The light from it was tangible as though caught in a cloud of vapour. Its slowly changing hues and striking colour collisions were addictive. We sat watching for ages, transfixed by this totally new experience of light as a physical presence."[97]

Calling these light sculptures Crystals (first shown in Boston in 1983), Eno further developed them for the Pictures of Venice exhibition at Gabriella Cardazzo's Cavallino Gallery (Venice,1985). Placing plexiglass on top of the structures he found that these further diffused the light so the shapes outlined through this surface appeared to be described differently in the slowly changing fields of light.[98]

By positioning sound sources in different places and different heights in the exhibition room Eno intended that the music would be something listened to from the inside rather than the outside. For the I Dormienti show in 1999 that featured sculptures of sleeping figures by Mimmo Paladino in the middle of the circular room, Eno placed speakers in each of the 12 tunnels running from it.

Envisioning the speakers themselves as instruments, led to Eno's 'speaker flowers' becoming a feature of many installations, including at the Museo dell' Ara Pacis (Rome, 2008), again with Mimmo Paladino and 'Speaker Flowers and Lightboxes' at Castello Svevo in Trani (Italy 2017). Re-imagining the speaker as a flower with a voice that could be heard as it moved in the breeze, he made 'bunches' of them, "sculptural objects [that] ... consist of tiny chassis speakers attached to tall metal stands that sway in response to the sound they emit."[99] The first version of these were shown at the Stedelijk Museum in Amsterdam(1984).

Since On Land (1982), Eno has sought to blur the boundaries between music and non-music and incorporates environmental sounds into his work. He treats synthesised and recorded sounds for specific effects.[100]

In the antithesis of 20th century shock art, Eno's works create environments that are: "Envisioned as extensions of everyday life while offering a refuge from its stresses."[101] Creating a space to reflect was a stated aim in Eno's Quiet Club series of installations that have shown across the world, and include Music for Civic Recovery Centre at the David Toop curated Sonic Boom festival at the Hayward Gallery in 2000.

The Quiet Club series (1986-2001) grew from Eno's site-specific installations that included the Place series (1985-1989). These also featured light sculptures and audio with the addition of conventional materials, such as "tree trunks, fish bowls, ladders, rocks". Eno used these in unconventional ways to create new and unexpected experiences and modes of engagements, offering an extension of and refuge from, everyday life.[102]

The continually flowing non-repeating music and art of Eno's installations militate against habituation to the work and maintain the visitors' engagement with it. "One of the things I enjoy about my shows is...lots of people sitting quietly watching something that has no story, few recognisable images and changes very slowly. It's somewhere between the experience of painting, cinema, music and meditation...I dispute the assumption that everyone's attention span is getting shorter: I find people are begging for experiences that are longer and slower, less "dramatic" and more sensual."[103] Tanya Zimbardo writing on New Urban Spaces Series 4. "Compact Forest Proposal" for SF MOMA (2001) confirms: "During the first presentation of this work, as part of the exhibition 010101: Art in Technological Times at SFMOMA in 2001, visitors often spent considerable time in this dreamlike space."[104]

In Eno's work, both art and music are released from their normal constraints. The music set up to randomly reconfigure is modal and abstract rather than tonal, and so the listener is freed from expectations set up by Western tonal harmonic conventions.[105] The artworks in their continual slowly shifting combinations of colour (and in the case of 77 Million Paintings image re-configurations) themselves offer a continually engaging immersive experience through their unfolding fields of light.

77 Million Paintings

Developments in computer technology meant that the experience of Eno's unending non-repeatable generative art and music was no longer only possible in the public spaces of his exhibitions. With software developer and programmer Jake Dowie, Eno created a generative art/music installation 77 Million Paintings for the domestic environment. Developed for both PC and Mac, the process is explained by Nick Robertson in the accompanying booklet. "One way to approach this idea is to imagine that you have a large box full of painted components and you are allowed to blindly take out between one and four of these at any time and overlay them to make a complete painting. The selection of the elements and their duration in the painting is variable and arbitrarily determined…" [106]

Most (nearly all) of the visual 'elements' were hand-painted by Eno onto glass slides, creating an organic heart to the work. Some of the slides had formed his earlier Natural Selections exhibition projected onto the windows of the Triennale in Milan. (1990). This exhibition marked the beginning of Eno's site specific installations that re-defined spaces on a large scale.[107]

For the Triennale exhibition, Eno with Rolf Engel and Roland Blum at Atelier Markgraph,[108] used new technology by Dataton[109] that could be programmed to control the fade up and out times of the light sources.[110] But, unlike the software developed for 77 Million, this was clumsy and limited the practical realisation of Eno's vision.

With the computer programmed to randomly select a combination of up to four images of different durations, the on screen painting continually reconfigures as each image slowly dissolves whilst another appears. The painting will be different for every viewer in every situation, uniquely defining each moment. Eno likens his role in creating this piece to one of a gardener planting seeds. And like a gardener he watches to see how they grow, waiting to see if further intervention is necessary.[111] In the liner notes Nick Robertson explains: "Every user will buy exactly the same pack of 'seeds' but they will all grow in different ways and into distinct paintings, the vast majority of which, the artist himself has not even seen. …The original in art is no longer solely bound up in the physical object, but rather in the way the piece lives and grows."[106]

Although designed for the domestic environment, 77 Million Paintings has been (and continues to be) exhibited in multi-screen installations across the world. It has also been projected onto architectural structures, including the sails of the Sydney Opera House (2009), Carioca Aqueduct (the Arcos di Lapa) Brazil (2012) and the giant Lovell Telescope at the Jodrell Bank Observatory (2016). During an exhibition at Fabrica Brighton, (2010) the orthopaedic surgeon Robin Turner noticed the calming effect the work had on the visitors.[112] Turner asked Eno to provide a version for the Montefiore hospital in Hove. Since then 77 Million and Eno's latest "Light Boxes" have been commissioned for use in hospitals.[113]

Montefiore Hospital Installations

In 2013, Eno created two permanent light and sound installations at Montefiore Hospital in Hove, East Sussex, England.[114] In the hospital's reception area "77 Million Paintings for Montefiore" consists of eight plasma monitors mounted on the wall in a diagonally radiating flower-like pattern. They display an evolving collage of coloured patterns and shapes whilst Eno's generative ambient music plays discreetly in the background. The other aptly named "Quiet Room for Montefiore" (available for patients, visitors and staff) is a space set apart for meditative reflection. It is a moderately sized room with three large panels displaying dissolves of subtle colours in patterns that are reminiscent of Mondrian paintings. The environment brings Eno's ambient music into focus and facilitates the visitors' cognitive drift, freeing them to contemplate or relax.

Spore

Eno composed most of the music for the Electronic Arts video game Spore (2008), assisted by his long-term collaborator, the musician and programmer Peter Chilvers. Much of the music is generative and responsive to the player's position within the game.

iOS apps

Inspired by possibilities presented to Eno and Chilvers whilst working together on the generative soundtrack for the video game Spore (2008), the two began to release generative music in the Apple App format. They set up the website generativemusic.com and created generative music applications for the iPhone, iPod Touch, and iPad:

  • Bloom (2008)
  • Trope (2009)
  • Scape (2012)
  • Reflection (2016)

In 2009, Chilvers and Sandra O'Neill also created an App entitled Air (released through generativemusic.com as well)—based on concepts developed by Eno in his Ambient 1: Music for Airports album.[115]

Reflection

The generative version of Reflection is the fourth iOS App created by Brian Eno and Peter Chilvers: of generativemusic.com. Unlike other Apps they released Reflection provides no real options other than Play/Pause – later, in its initial update, Airplay and Sleep Timer options were added. As Apple had started increasing prices for Apps sold in UK, they lowered its price. For those who'd bought the app at a higher price, Eno and Chilvers provided links to a free download of a four track album called 'Sisters' (each track with a 15:14 duration). The following appears on the app's Apple iTunes page:

As a result of the Brexit-related fall in value of the British pound Apple have increased the prices of all apps sold in the UK by 25%. While we always intended REFLECTION to be a premium priced app, we feel this increase makes it too expensive, so we will take the hit in order to keep the British price to the consumer at its original level.

In other territories this decision will translate into a reduced price for the app.

As a thank you to everyone who has supported the REFLECTION app, we are adding a free surprise downloadable gift to it for a limited time. To access it, simply update REFLECTION in the App Store and follow the instructions when you open the app on your device. The download will be available until 28th February [2017].[116] and the App's Apples iTunes page[117]

Previous to the updates for the App, the iTunes page used the following from Eno.

Reflection is the most recent of my Ambient experiments and represents the most sophisticated of them so far.

My original intention with Ambient music was to make endless music, music that would be there as long as you wanted it to be. I wanted also that this music would unfold differently all the time – 'like sitting by a river': it's always the same river, but it's always changing. But recordings – whether vinyl, cassette or CD – are limited in length, and replay identically each time you listen to them. So in the past I was limited to making the systems which make the music, but then recording 30 minutes or an hour and releasing that. Reflection in its album form – on vinyl or CD – is like this. But the app by which Reflection is produced is not restricted: it creates an endless and endlessly changing version of the piece of music.

The creation of a piece of music like this falls into three stages: the first is the selection of sonic materials and a musical mode – a constellation of musical relationships. These are then patterned and explored by a system of algorithms which vary and permutate the initial elements I feed into them, resulting in a constantly morphing stream (or river) of music. The third stage is listening. Once I have the system up and running I spend a long time – many days and weeks in fact – seeing what it does and fine-tuning the materials and sets of rules that run the algorithms. It's a lot like gardening: you plant the seeds and then you keep tending to them until you get a garden you like.[118]

The version of Reflection available on the fixed formats (CD, Vinyl and download File) consists of two (joined) excerpts from the Reflection app. This was revealed in Brian's interview with Philip Sherburne:

[Philip Sherburne] Given the infinite nature of the Reflection project, was it difficult to select the 54-minute chunk that became the album?

[Brian Eno] Yes, it was quite interesting doing that. When you're running it as an ephemeral piece, you have quite different considerations. If there is something that is a bit doubtful or odd, you think, OK, that's just in the nature of the piece and now it's passed and we're somewhere else. Whereas if you're thinking of it as a record that people are going to listen to again and again, what philosophy do you take? Choose just a random amount of time? Could have done that. Just do several of them and fix them together? Is that faking it? These are very interesting philosophical questions.

[Philip Sherburne] Which approach did you follow?

[Brian Eno] A hybrid approach. I generated 11 pieces of the length I'd set the piece to be and I had them all in my iTunes on random shuffle, so I would be listening at night, doing other things, and as one ran through, I would think, That was a nice one, I particularly like the second half. So then I would make a note. I did this for quite a few evenings. There were two that I really liked. On one, the last 40 minutes of it were lovely, and on another, the first 25 minutes of it were really nice. So I thought, This is a studio, I'm making a record. I'll edit them together! It was like the birth of rock'n'roll. I'm allowed to do that! It's not cheating. It was quite a bit of jiggery-pokery to find a place I could do it, but the result is two pieces stuck together.

— Philip Sherburne / Brian Eno, A Conversation With Brian Eno About Ambient Music[119]

Artworks: Light Boxes

Eno's "light boxes" utilise advances in LED technology that has enabled him to re-imagine his ziggurat light paintings - and early light boxes as featured in Kite Stories (1999) - for the domestic environment. The light boxes feature slowly changing combinations of colour fields that draw attention differently to the shapes outlined by delineating structures within. As the paintings slowly evolve each passing moment is defined differently, drawing the viewer's focus into the present moment. The writer and cultural essayist Michael Bracewell writes that the viewer "is also encouraged to engage with a generative sensor/aesthetic experience that reflects the ever-changing moods and randomness of life itself". He likens Eno's art to "Matisse or Rothko at their most enfolding."[120]

First shown commercially at the Paul Stolper Gallery in London (forming the Light Music exhibition in 2016 that included lenticular paintings by Eno),[121] light boxes have been shown across the world. They remain in permanent display in both private and public spaces. Recognised for their therapeutic contemplative benefits, Eno's light paintings have been commissioned for specially dedicated places of reflection including in Chelsea and Westminster hospital, the Montefiore Hospital in Hove and a three and a half metre lightbox for the sanctuary room in the Macmillan Horizon Centre in Brighton.

Obscure Records

Eno started the Obscure Records label in Britain in 1975 to release works by lesser-known composers. The first group of three releases included his own composition, Discreet Music, and the now-famous The Sinking of the Titanic (1969) and Jesus' Blood Never Failed Me Yet (1971) by Gavin Bryars. The second side of Discreet Music consisted of several versions of German baroque composer Johann Pachelbel's Canon, the composition which Eno had previously chosen to precede Roxy Music's appearances on stage and to which he applied various algorithmic transformations, rendering it almost unrecognisable. Side one consisted of a tape loop system for generating music from relatively sparse input. These tapes had previously been used as backgrounds in some of his collaborations with Robert Fripp, most notably on Evening Star. Ten albums were released on Obscure, including works by John Adams, Michael Nyman, and John Cage.

Other work

 
Professor Nigel Osborne and Brian Eno leading music workshops at the Pavarotti Centre in Mostar, Bosnia and Herzegovina.[122]

In 1995, Eno travelled with Edinburgh University's Professor Nigel Osborne to Bosnia in the aftermath of the Bosnian War, to work with war-traumatised children, many of whom had been orphaned in the conflict. Osborne and Eno led music therapy projects run by War Child in Mostar, at the Pavarotti centre, Bosnia 1995.[122]

Eno appeared as Father Brian Eno at the "It's Great Being a Priest!" convention, in "Going to America", the final episode of the television sitcom Father Ted, which originally aired on 1 May 1998 on Channel 4.[123]

In March 2008, Eno collaborated with the Italian artist Mimmo Paladino on a show of the latter's works with Eno's soundscapes at Ara Pacis in Rome, and in 2011, he joined Stephen Deazley and Edinburgh University music lecturer Martin Parker in an Icebreaker concert at Glasgow City Halls, heralded as a "long-awaited clash".[124]

In 2013, Eno sold limited edition prints of artwork from his 2012 album Lux from his website.[125][126]

In 2016, Eno was added to Edinburgh University's roll of honour[127] and in 2017, he delivered the Andrew Carnegie Lecture at the university.[128][129][130]

Eno continues to be active in other artistic fields. His sound installations have been exhibited in many prestigious venues around the world, including the Walker Art Center, Minneapolis; Contemporary Arts Museum Houston; New Museum of Contemporary Art, New York; Vancouver Art Gallery, Stedelijk Museum, Amsterdam, Centre Pompidou, Paris, Institute of Contemporary Arts, London, Baltic Art Centre, Gateshead, and the Sydney, São Paulo, Josep Tarradellas Barcelona–El Prat Airport,[131] and Venice Biennials.

In 2020-2021 Eno is working with a group of developers on audio-video conferencing software and service that addresses issues of corporate video conferencing software (like Zoom) when used for other purposes.[132]

Awards and honors

Asteroid 81948 Eno, discovered by Marc Buie at Cerro Tololo in 2000, was named in his honor.[133] The official naming citation was published by the Minor Planet Center on 18 May 2019 (M.P.C. 114955).[134]

In 2019, he was awarded Starmus Festival's Stephen Hawking Medal for Science Communication for Music & Arts.[135][136][137]

Influence and legacy

See also: Recording studio as an instrument

Eno is frequently referred to as one of popular music's most influential artists.[138] Producer and film composer Jon Brion has said: "I think he's the most influential artist since the Beatles."[139] Critic Jason Ankeny at AllMusic argues that Eno "forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence."[1] Eno has spread his techniques and theories primarily through his production; his distinctive style informed a number of projects in which he has been involved, including Bowie's "Berlin Trilogy" (helping to popularize minimalism) and the albums he produced for Talking Heads (incorporating, on Eno's advice, African music and polyrhythms), Devo, and other groups.[140] Eno's first collaboration with David Byrne, 1981's My Life in the Bush of Ghosts, utilised sampling techniques and broke ground by incorporating world music into popular Western music forms.[141][142] Eno and Peter Schmidt's Oblique Strategies have been used by many bands, and Eno's production style has proven influential in several general respects: "his recording techniques have helped change the way that modern musicians;– particularly electronic musicians;– view the studio. No longer is it just a passive medium through which they communicate their ideas but itself a new instrument with seemingly endless possibilities."[143] According to Vinyl Me, Please writer Jack Riedy, Eno's peak as an artist coincided with the album era – a period in popular music during which the album surpassed the single as the dominant recorded-music format – "and Eno took full advantage of the format to pursue all his musical ideas on wax."[144]

Whilst inspired by the ideas of minimalist composers including John Cage, Terry Riley and Erik Satie,[145] Eno coined the term ambient music to describe his own work and defined the term. The Ambient Music Guide states that he has brought from "relative obscurity into the popular consciousness" fundamental ideas about ambient music, including "the idea of modern music as subtle atmosphere, as chill-out, as impressionistic, as something that creates space for quiet reflection or relaxation."[143] His groundbreaking work in electronic music has been said to have brought widespread attention to and innovations in the role of electronic technology in recording.[145] Pink Floyd keyboardist Rick Wright said he "often eulogised" Eno's abilities.[146]

Eno's "unconventional studio predilections", in common with those of Peter Gabriel, were an influence on the recording of "In the Air Tonight", the single which launched the solo career of Eno's former drummer Phil Collins.[147] Collins said he "learned a lot" from working with Eno.[148] Both Half Man Half Biscuit (in the song "Eno Collaboration" on the EP of the same name) and MGMT have written songs about Eno. LCD Soundsystem has frequently cited Eno as a key influence. The Icelandic singer Björk also credited Eno as a major influence.[149]

Mora sti Fotia (Babies on Fire), one of the most influential Greek rock bands, was named after Eno's song "Baby's on Fire" from the 1973 album Here Come the Warm Jets.[150]

In 2011, Belgian academics from the Royal Museum for Central Africa named a species of Afrotropical spider Pseudocorinna brianeno in his honour.[151]

In September 2016, asked by the website Just Six Degrees to name a currently influential artist, Eno cited the conceptual, video and installation artist Jeremy Deller as a source of current inspiration: "Deller's work is often technically very ambitious, involving organising large groups of volunteers and helpers, but he himself is almost invisible in the end result. I'm inspired by this quietly subversive way of being an artist, setting up situations and then letting them play out. To me it's a form of social generative art where the 'generators' are people and their experiences, and where the role of the artist is to create a context within which they collide and create."[152]

Personal life

Eno has married twice. In March 1967, at the age of 18, Eno married Sarah Grenville. The couple had a daughter, Hannah Louise (b. 1967), before their divorce.[153] In 1988, Eno married his then-manager Anthea Norman-Taylor. They have two daughters, Irial Violet (b. 1990) and Darla Joy (b. 1991).[154][155]

In an interview with Michael Bonner, published in the May 2020 issue of Uncut, Eno referred to Ray Hearn as his current manager, and also referred to his girlfriend.[156]

Eno has referred to himself as "kind of an evangelical atheist" but has also professed an interest in religion.[157] In 1996, Eno and others started the Long Now Foundation to educate the public about the very long-term future of society and to encourage long-term thinking in the exploration of enduring solutions to global issues.[158] In 2005, through the Long Now foundation's Long Bets, he won a $500 bet by challenging someone who predicted a Democrat would be president of the United States in 2005.[159]

In 1991, Eno appeared on BBC Radio 4's Desert Island Discs. His chosen book was Contingency, Irony, and Solidarity by Richard Rorty and his luxury item was a radio telescope.[160]

Politics

In 2007, Eno joined the Liberal Democrats as youth adviser under Nick Clegg.[161]

In 2017, Eno signed an open letter as a member of the Labour Party and has stated that voting for the Liberal Democrats is "voting Tory without admitting it".[162][163] In August 2015, he endorsed Jeremy Corbyn's campaign in the Labour Party leadership election. He said at a rally in Camden Town Hall: "I don't think electability really is the most important thing. What's important is that someone changes the conversation and moves us off this small-minded agenda."[164] He later wrote in The Guardian: "He's [Corbyn] been doing this with courage and integrity and with very little publicity. This already distinguishes him from at least half the people in Westminster, whose strongest motivation seems to have been to get elected, whatever it takes."[165]

In 2006, Eno was one of more than 100 artists and writers who signed an open letter calling for an international boycott of Israeli political and cultural institutions.[166] and in January 2009 he spoke out against Israel's military action on the Gaza Strip by writing an opinion for CounterPunch and participating in a large-scale protest in London.[167][168] In 2014, Eno again protested publicly against what he called a "one-sided exercise in ethnic cleansing" and a "war [with] no moral justification," in reference to the 2014 military operation of Israel into Gaza.[169] He was also a co-signatory, along with Archbishop Desmond Tutu, Noam Chomsky, Alice Walker and others, to a letter published in The Guardian that labelled the conflict as an "inhumane and illegal act of military aggression" and called for "a comprehensive and legally binding military embargo on Israel, similar to that imposed on South Africa during apartheid."[170]

In 2013, Eno became a patron of Videre Est Credere (Latin for "to see is to believe"), a UK human rights charity.[171] Videre describes itself as "give[ing] local activists the equipment, training and support needed to safely capture compelling video evidence of human rights violations. This captured footage is verified, analysed and then distributed to those who can create change."[172] He participates alongside movie producers Uri Fruchtmann and Terry Gilliam – along with executive director of Greenpeace UK John Sauven.[173]

Eno was appointed President of Stop the War Coalition in 2017. He has had a long involvement with the organisation since it was set up in 2001.[174] He is also a trustee of the environmental law charity ClientEarth, Somerset House, and the Institute for Innovation and Public Purpose, set up by Mariana Mazzucato.[175]

Eno opposes United Kingdom's withdrawal from the European Union. Following the June 2016 referendum result when the British public voted to leave, Eno was among a group of British musicians who signed a letter to the Prime Minister Theresa May calling for a second referendum.[176]

In November 2019, along with other public figures, Eno signed a letter supporting Labour Party leader Jeremy Corbyn describing him as "a beacon of hope in the struggle against emergent far-right nationalism, xenophobia and racism in much of the democratic world" and endorsed him for in the 2019 UK general election.[177] In December 2019, along with 42 other leading cultural figures, he signed a letter endorsing the Labour Party under Corbyn's leadership in the 2019 general election. The letter stated that "Labour's election manifesto under Jeremy Corbyn's leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few."[178][179]

Brian Eno is an early and prominent member of Democracy in Europe Movement 2025 (DiEM25) where he contributes, issues statements, and takes part in media events and discussions.[180][181]

Selected discography

This is an incomplete list.

Main article: Brian Eno discography

Solo studio albums

Ambient installation albums

See also

Bibliography

BERNARD Olivier, Brian Eno. Le Magicien du son, Rosières-en-Haye, Camion Blanc, 2022, 706 p.

Footnotes

  1. ^ The eventual length of The Microsoft Sound as supplied and used was roughly 6 seconds, not 3+1⁄4.

References

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  2. ^ "Brian Eno Biography". Rolling Stone. Retrieved 28 April 2016.
  3. ^ Steadman, Ian (28 September 2012). "Brian Eno on music that thinks for itself (Wired UK)". Wired UK. Retrieved 29 April 2016.
  4. ^ "ABC news". 19 March 2009. Retrieved 28 December 2019.
  5. ^ "Projects - The Long Now". Longnow.org. Retrieved 16 January 2018.
  6. ^ "Roxy Music". Rock & Roll Hall of Fame. Retrieved 30 March 2019.
  7. ^ "findmypast.co.uk". Search.findmypast.co.uk. Retrieved 5 January 2017.
  8. ^ "findmypast.co.uk". Search.findmypast.co.uk. Retrieved 5 January 2017.
  9. ^ a b Sheppard 2008, pp. 14–15.
  10. ^ "findmypast.co.uk". Search.findmypast.co.uk. Retrieved 5 January 2017.
  11. ^ a b Sheppard 2008, p. 27.
  12. ^ a b c d MacDonald, Ian (26 November 1977). "Before and After Science - Part 1: Accidents Will Happen". New Musical Express. Retrieved 29 November 2020.
  13. ^ Sheppard 2008, pp. 30–31.
  14. ^ "HOW WE MET: BRIAN ENO AND TOM PHILLIPS". The Independent. 13 September 1998. Retrieved 25 November 2019.
  15. ^ Sheppard 2008, p. 43.
  16. ^ Edward A. Shanken. "Cybernetics and Art : Cultural Convergence in the 1960s" (PDF). Responsivelandscapes.com. Retrieved 29 April 2016.
  17. ^ Sheppard 2008, p. 42.
  18. ^ Sheppard 2008, p. 29.
  19. ^ Sheppard 2008, p. 50.
  20. ^ Sheppard 2008, pp. 53–54.
  21. ^ Sheppard 2008, p. 224.
  22. ^ Sheppard 2008, p. 84.
  23. ^ Beed, Catherine Jessica (20 April 2012). "Malcolm Le Grice's 'Berlin Horse'". Desistfilm. Retrieved 4 November 2020.
  24. ^ Prendergast, Mark (2001). The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age. Bloomsbury Publishing. p. 118. ISBN 978-1-58234-134-7.
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Sources

  • Sheppard, David (2008). On Some Faraway Beach: The Life and Times of Brian Eno. London: Orion. ISBN 978-0-7528-7570-5.

Further reading

External links

 
Wikimedia Commons has media related to Brian Eno.
 
Wikiquote has quotations related to Brian Eno.
  • Eno's work in sound and light, past and present
  • Brian Eno discography at Discogs
  • Brian Eno at IMDb
  • Paul Morley interviews Eno in The Guardian, 17 January 2010
  • Interview with Brian Eno from The Guardian, 19 May 2006
  • Brian Eno: The Philosophy of Surrender interview November 2008
  • Eno, Brian. . New Mexico Museum of Art. Archived from the original on 29 April 2014. Retrieved 28 April 2014.
  • Frere-Jones, Sasha (29 June 2014). "Ambient Genius: The working life of Brian Eno". The New Yorker, 7 July 2014.
  • MoreDarkThanShark.org's webpage "Brian Eno – Installations".

February 06, 2023
brian, this, article, about, english, musician, confused, with, brian, peter, george, john, baptiste, salle, born, brian, peter, george, 1948, british, musician, composer, record, producer, visual, artist, best, known, contributions, ambient, music, work, rock. This article is about the English musician He is not to be confused with Brian Enos Brian Peter George St John le Baptiste de la Salle Eno RDI ˈ iː n oʊ born Brian Peter George Eno 15 May 1948 is a British musician composer record producer and visual artist best known for his contributions to ambient music and work in rock pop and electronica 1 A self described non musician Eno has helped introduce unconventional concepts and approaches to contemporary music 1 2 He has been described as one of popular music s most influential and innovative figures 1 3 Brian EnoRDIEno in December 2015Background informationBirth nameBrian Peter George EnoBorn 1948 05 15 15 May 1948 age 74 Melton Suffolk EnglandGenresRock ambient electronic pop experimentalOccupation s Musician producer composer songwriter artist sound designerInstrument s Keyboards vocals guitar bass guitarYears active1970 presentLabelsIsland Polydor EG Obscure Opal Virgin Astralwerks All Saints Rykodisc Warner Bros WarpWebsitebrian eno wbr netSignature Born in Suffolk Eno studied painting and experimental music at the art school of Ipswich Civic College in the mid 1960s and then at Winchester School of Art He joined glam rock group Roxy Music as its synthesiser player in 1971 recording two albums with the group before departing in 1973 Eno then released a number of solo pop albums beginning with Here Come the Warm Jets 1974 and also in the mid 1970s began exploring a minimalist direction on influential recordings such as Discreet Music 1975 and Ambient 1 Music for Airports 1978 coining the term ambient music with the latter Alongside his solo work Eno collaborated frequently with other musicians in the 1970s including Robert Fripp Harmonia Cluster Harold Budd David Bowie David Byrne and Judy Nylon He also established himself as a sought after producer working on albums by John Cale Jon Hassell Laraaji Talking Heads Ultravox and Devo as well as the no wave compilation No New York 1978 In subsequent decades Eno continued to record solo albums and produce for other artists most prominently U2 and Coldplay alongside work with artists such as Daniel Lanois Laurie Anderson Grace Jones Slowdive Karl Hyde James Kevin Shields and Damon Albarn Dating back to his time as a student Eno has also worked in other media including sound installations film and writing In the mid 1970s he co developed Oblique Strategies a deck of cards featuring aphorisms intended to spur creative thinking From the 1970s onwards Eno s installations have included the sails of the Sydney Opera House in 2009 4 and the Lovell Telescope at Jodrell Bank in 2016 An advocate of a range of humanitarian causes Eno writes on a variety of subjects and is a founding member of the Long Now Foundation 5 In 2019 Eno was inducted into the Rock and Roll Hall of Fame as a member of Roxy Music 6 Contents 1 Early life 2 Career 2 1 1970s 2 1 1 Ambient music 2 2 1980s 2 3 1990s 2 4 2000s 2 5 2010s 2 6 2020s 2 7 Record producer 2 8 The Microsoft Sound 2 9 Video work 2 10 Generative music 2 10 1 Generative Music 1 2 10 2 Released excerpts 2 10 3 Installations 2 10 4 77 Million Paintings 2 10 5 Montefiore Hospital Installations 2 10 6 Spore 2 10 7 iOS apps 2 10 8 Reflection 2 11 Artworks Light Boxes 2 12 Obscure Records 2 13 Other work 3 Awards and honors 4 Influence and legacy 5 Personal life 6 Politics 7 Selected discography 8 See also 9 Bibliography 10 Footnotes 11 References 11 1 Sources 12 Further reading 13 External linksEarly life EditBrian Peter George Eno was born on 15 May 1948 in the village of Melton Suffolk the son of William Arnold Eno 1916 1988 a postal worker and clock and watch repairer 7 and Maria Alphonsine Eno nee Buslot 1922 2005 8 a Belgian national 9 Eno is the eldest of their three children he has a brother Roger and sister Arlette They have a half sister Rita from their mother s previous relationship 10 The surname Eno is derived from the French Huguenot surname Hennot 9 In 1959 Eno attended St Joseph s College in Ipswich a Catholic grammar school of the De La Salle Brothers order His confirmation name is derived from the school taking the name Brian Peter George St John le Baptiste de la Salle Eno 11 In 1964 after earning four O levels including one in art and maths Eno had developed an interest in art and music and had no interest in a conventional job 12 He enrolled at the Ipswich School of Art taking on the newly established Groundcourse foundation art degree established by new media artist Roy Ascott 13 Here one of Eno s teachers was artist Tom Phillips who became a lifelong friend and encouraged his musical ability Phillips recalled the pair doing piano tennis in which after collecting pianos the two stripped and aligned them in a hall and struck them with tennis balls 14 In 1966 Eno studied for a diploma in Fine Arts at the Winchester School of Art from which he graduated in 1969 15 16 At Winchester Eno once attended a lecture by future Who guitarist Pete Townshend also a former student of Ascott s he cites this as the moment when he realised he could make music without formal training 11 Whilst at school Eno used a tape recorder as a musical instrument 17 and in 1964 he joined his first group the Black Aces a four piece with Eno on drums that he formed with three friends he met at the youth club he visited in Melton 18 In late 1967 Eno pursued music once more forming the Merchant Taylor s Simultaneous Cabinet an avant garde music art and performance trio with two Winchester undergraduates 19 This was followed by short stints in multiple avant garde and college groups including The Maxwell Demon and Dandelion and The War Damage which featured Eno as frontman who adapted a theatrical persona on stage and later played the guitar 12 20 Career EditThis section of a biography of a living person needs additional citations for verification Please help by adding reliable sources Contentious material about living persons that is unsourced or poorly sourced must be removed immediately especially if potentially libelous or harmful Find sources Brian Eno news newspapers books scholar JSTOR December 2018 Learn how and when to remove this template message 1970s Edit In 1969 after separating from his wife Eno moved to London where his professional music career began He became involved with the Scratch Orchestra and the Portsmouth Sinfonia Eno s first appearance on a commercially released recording is the Deutsche Grammophon edition of The Great Learning 1971 by Cornelius Cardew and the Scratch Orchestra which features Eno as one of the voices on the track Paragraph 7 21 Another early recording was the soundtrack to Berlin Horse 1970 a nine minute avant garde art film by Malcolm Le Grice 22 23 At one point Eno had to earn money as paste up assistant for the advertisement section of a local paper for three months He quit and became an electronics dealer by buying old speakers and making new cabinets for them before selling them to friends 12 In 1971 Eno co formed the glam and art rock band Roxy Music He had a chance meeting with saxophonist Andy Mackay at a train station which led to him joining the band Eno later said If I d walked ten yards further on the platform or missed that train or been in the next carriage I probably would have been an art teacher now 24 Eno played on their first two albums Roxy Music 1972 and For Your Pleasure 1973 and is credited as Eno with playing the VCS 3 synthesiser tape effects backing vocals and co producer Initially Eno did not appear on stage at their live shows but operated the group s mixing desk at the centre of the concert venue where he had a microphone to sing backup vocals After the group secured a record deal Eno joined them on stage playing the synthesiser and became known for his flamboyant costumes and makeup partly stealing the spotlight from lead singer Bryan Ferry 12 After touring For Your Pleasure ended in mid 1973 Eno quit the band He cited disagreements with Ferry and the frontman s insistence on being in command of the group which affected Eno s ability to incorporate his own ideas 25 Eno appearing on Dutch television in 1974 Almost immediately after his exit from Roxy Music Eno embarked on his solo career He released four albums of electronically inflected art pop 26 Here Come the Warm Jets 1973 Taking Tiger Mountain By Strategy 1974 Another Green World 1975 and Before and After Science 1977 Tiger Mountain contains the Third Uncle which became one of Eno s best known songs owing in part to its later cover by Bauhaus and 801 Critic Dave Thompson writes that the song is a near punk attack of riffing guitars and clattering percussion Third Uncle could in other hands be a heavy metal anthem albeit one whose lyrical content would tongue tie the most slavish air guitarist 27 During this period Eno also played three dates with Phil Manzanera in 801 a supergroup that performed more or less reworked selections from albums by Eno Manzanera and Quiet Sun as well as covers of The Beatles and The Kinks In 1973 King Crimson founder and guitarist Robert Fripp collaborated with Eno and his tape delay system to make experimental ambient and drone music The result was No Pussyfooting 1973 released as their duo name of Fripp amp Eno 28 Fripp subsequently referred to the tape delay recording method as Frippertronics The pair followed their debut with a second album Evening Star 1975 and completed a European tour Eno produced the albums The Portsmouth Sinfonia Plays the Popular Classics 1974 and Hallelujah The Portsmouth Sinfonia Live at the Royal Albert Hall 1974 by the Portsmouth Sinfonia both of which feature Eno playing the clarinet He also deployed the orchestra s dissonant string section on Taking Tiger Mountain By Strategy Eno went on to work with several performers in the orchestra on his Obscure label including Gavin Bryars and Michael Nyman Later in 1974 Eno and Kevin Ayers contributed music for the experimental spoken word album Lady June s Linguistic Leprosy 1974 by poet June Campbell Cramer Ambient music Edit Main article Ambient music Eno released a number of eclectic ambient electronic and acoustic albums He coined the term ambient music 29 which is designed to modify the listener s perception of the surrounding environment In the liner notes accompanying Ambient 1 Music for Airports Eno wrote Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular it must be as ignorable as it is interesting 30 In January 1975 Eno was hit by a taxi while crossing the street and spent several weeks recuperating at home His girlfriend brought him an old record of harp music which he lay down to listen to He realized that he had set the amplifier to a very low volume and one channel of the stereo was not working but he lacked the energy to get up and correct it This presented what was for me a new way of hearing music as part of the ambience of the environment just as the colour of the light and sound of the rain were parts of the ambience 31 Eno s first work of ambient music was Discreet Music 1975 again created with an elaborate tape delay methodology which he diagrammed on the back cover of the LP it is considered the landmark album of the genre This was followed by his Ambient series Music for Airports Ambient 1 The Plateaux of Mirror Ambient 2 featuring Harold Budd on keyboard Day of Radiance Ambient 3 with American composer Laraaji playing zither and hammered dulcimer and On Land Ambient 4 1980s Edit Eno provided a film score for Herbert Vesely s Egon Schiele Exzess und Bestrafung 1980 also known as Egon Schiele Excess and Punishment The ambient style score was an unusual choice for an historical piece but it worked effectively with the film s themes of sexual obsession and death Before Eno made On Land Robert Quine played him Miles Davis He Loved Him Madly 1974 Eno stated in the liner notes for On Land Teo Macero s revolutionary production on that piece seemed to me to have the spacious quality I was after and like Federico Fellini s 1973 film Amarcord it too became a touchstone to which I returned frequently 32 In 1980 to 1981 during which time Eno travelled to Ghana for a festival of West African music he was collaborating with David Byrne of Talking Heads Their album My Life in the Bush of Ghosts was built around radio broadcasts Eno collected whilst living in the United States along with sampled music recordings from around the world transposed over music predominantly inspired by African and Middle Eastern rhythms In 1983 Eno collaborated with his brother Roger Eno and Daniel Lanois on the album Apollo Atmospheres and Soundtracks that had been commissioned by Al Reinert for his film For All Mankind 1989 33 34 Tracks from the album were subsequently used in several other films including Trainspotting 35 1990s Edit In September 1992 Eno released Nerve Net an album utilising heavily syncopated rhythms with contributions from several former collaborators including Fripp Benmont Tench Robert Quine and John Paul Jones This album was a last minute substitution for My Squelchy Life which contained more pop oriented material with Eno on vocals 36 Several tracks from My Squelchy Life later appeared on 1993 s retrospective box set Eno Box II Vocals and the entire album was eventually released in 2014 as part of an expanded re release of Nerve Net Eno also released The Shutov Assembly in 1992 recorded between 1985 and 1990 This album embraces atonality and abandons most conventional concepts of modes scales and pitch Emancipated from the constant attraction towards the tonic that underpins the Western tonal tradition the gradually shifting music originally eschewed any conventional instrumentation save for treated keyboards 37 failed verification During the 1990s Eno worked increasingly with self generating musical systems the results of which he called generative music This allows the listener to hear music that slowly unfolds in almost infinite non repeating combinations of sound 38 In one instance of generative music Eno calculated that it would take almost 10 000 years to hear the entire possibilities of one individual piece Eno achieves this through the blending of several independent musical tracks of varying length Each track features different musical elements and in some cases silence When each individual track concludes it starts again re configuring differently with the other tracks He has presented this music in his own art and sound installations and those in collaboration with other artists including I Dormienti The Sleepers Lightness Music for the Marble Palace Music for Civic Recovery Centre The Quiet Room and Music for Prague 39 In 1993 Eno worked with the Manchester rock band James to produce two albums Laid and Wah Wah Laid was met with notable critical and commercial success both in the UK and the United States after its release in 1993 Wah Wah in comparison received a more lukewarm response after its release in 1994 40 One of Eno s better known collaborations was with the members of U2 Luciano Pavarotti and several other artists in a group called Passengers They produced the 1995 album Original Soundtracks 1 which reached No 76 on the US Billboard charts and No 12 in the UK Albums Chart It featured a single Miss Sarajevo which reached number 6 in the UK Singles Chart 41 This collaboration is chronicled in Eno s book A Year with Swollen Appendices a diary published in 1996 In 1996 Eno scored the six part fantasy television series Neverwhere 42 2000s Edit In 2004 Fripp and Eno recorded another ambient music collaboration album The Equatorial Stars Eno returned in June 2005 with Another Day on Earth his first major album since Wrong Way Up with John Cale to prominently feature vocals a trend he continued with Everything That Happens Will Happen Today The album differs from his 1970s solo work due to the impact of technological advances on musical production evident in its semi electronic production In early 2006 Eno collaborated with David Byrne again for the reissue of My Life in the Bush of Ghosts in celebration of the influential album s 25th anniversary Eight previously unreleased tracks recorded during the initial sessions in 1980 81 were added to the album 43 An unusual interactive marketing strategy was employed for its re release the album s promotional website features the ability for anyone to officially and legally download the multi tracks of two songs from the album A Secret Life and Help Me Somebody This allowed listeners to remix and upload new mixes of these tracks to the website for others to listen and rate them Eno at the Long Now Foundation 26 June 2006 In late 2006 Eno released 77 Million Paintings a program of generative video and music specifically for home computers As its title suggests there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched Likewise the accompanying music is generated by the program so that it s almost certain the listener will never hear the same arrangement twice The second edition of 77 Million Paintings featuring improved morphing and a further two layers of sound was released on 14 January 2008 In June 2007 when commissioned in the Yerba Buena Center for the Arts San Francisco California Annabeth Robinson AngryBeth Shortbread recreated 77 Million Paintings in Second Life 44 The Nokia 8800 Sirocco Edition mobile phone released in late 2006 features exclusive ringtones and sounds composed by Eno 45 Although he was previously uninterested in composing ringtones due to the limited sound palette of monophonic ringtones phones at this point primarily used audio files 46 Between 8 January 2007 and 12 February 2007 ten units of Nokia 8800 Sirocco Brian Eno Signature Edition mobile phones individually numbered and engraved with Eno s signature were auctioned off All proceeds went to two charities chosen by Eno the Keiskamma AIDS treatment program and the World Land Trust 47 In 2007 Eno s music was featured in a movie adaption of Irvine Welsh s best selling collection Ecstasy Three Tales of Chemical Romance He also appeared playing keyboards in Voila Belinda Carlisle s solo album sung entirely in French Also in 2007 Eno contributed a composition titled Grafton Street to Dido s third album Safe Trip Home released in November 2008 48 In 2008 he released Everything That Happens Will Happen Today with David Byrne designed the sound for the video game Spore 49 and wrote a chapter to Sound Unbound Sampling Digital Music and Culture edited by Paul D Miller a k a DJ Spooky In June 2009 Eno curated the Luminous Festival at Sydney Opera House culminating in his first live appearance in many years Pure Scenius consisted of three live improvised performances on the same day featuring Eno Australian improvisation trio The Necks Karl Hyde from Underworld electronic artist Jon Hopkins and guitarist Leo Abrahams Eno scored the music for Peter Jackson s film adaptation of The Lovely Bones released in December 2009 50 2010s Edit Eno at Moogfest Asheville North Carolina 2011 Eno released another solo album on Warp in late 2010 Small Craft on a Milk Sea made in association with long time collaborators Leo Abrahams and Jon Hopkins was released on 2 November in the United States and 15 November in the UK 51 The album included five compositions 52 that were adaptions of those tracks that Eno wrote for The Lovely Bones 53 He later released Drums Between the Bells 54 a collaboration with poet Rick Holland on 4 July 2011 In November 2012 Eno released Lux a 76 minute composition in four sections through Warp 55 Eno worked with French Algerian Rai singer Rachid Taha on Taha s Tekitoi 2004 and Zoom 2013 albums contributing percussion bass brass and vocals Eno also performed with Taha at the Stop the War Coalition concert in London in 2005 56 In April 2014 Eno sang on co wrote and co produced Damon Albarn s Heavy Seas of Love from his solo debut album Everyday Robots 57 In May 2014 Eno and Underworld s Karl Hyde released Someday World featuring various guest musicians from Coldplay s Will Champion and Roxy Music s Andy Mackay to newer names such as 22 year old Fred Gibson who helped produce the record with Eno 58 Within weeks of that release a second full length album was announced titled High Life This was released on 30 June 2014 59 In January 2016 a new Eno ambient soundscape was premiered as part of Michael Benson s planetary photography exhibition Otherworlds in the Jerwood Gallery of London s Natural History Museum In a statement Eno commented on the unnamed half hour piece We can t experience space directly those few who ve been out there have done so inside precarious cocoons They float in silence for space has no air nothing to vibrate and therefore no sound Nonetheless we can t resist imagining space as a sonic experience translating our feelings about it into music In the past we saw the universe as a perfect divine creation logical finite deterministic and our art reflected that The discoveries of the Space age have revealed instead a chaotic unstable and vibrant reality constantly changing This music tries to reflect that new understanding The Ship an album with music from Eno s installation of the same name was released on 29 April 2016 on Warp 60 In September 2016 the Portuguese synthpop band The Gift released a single entitled Love Without Violins As well as singing on the track Eno co wrote and produced it The single was released on the band s own record label La Folie Records on 30 September 61 Eno s Reflection an album of ambient generative music was released on Warp Records on 1 January 2017 It was nominated for a Grammy Award for 2018 s 60th Grammy awards ceremony 62 63 In April 2018 Eno released The Weight Of History Only Once Away My Son a collaborative double A side with Kevin Shields for Record Store Day 64 In 2019 Eno participated in DAU an immersive art and cultural installation in Paris by Russian film director Ilya Khrzhanovsky evoking life under Soviet authoritarian rule Eno contributed six auditory ambiances 65 2020s Edit In March 2020 Eno and his brother Roger Eno released their collaborative album Mixing Colours 66 In October 2022 he released a mostly voice based album called Foreverandevernomore 67 Eno provided original music for Ben Lawrence s 2021 documentary Ithaka about John Shipton s battle to save his son Julian Assange 68 Record producer Edit Dune Prophecy Theme source source Problems playing this file See media help From the beginning of his solo career in 1973 Eno was in demand as a record producer The first album with Eno credited as producer was Lucky Leif and the Longships by Robert Calvert Eno s lengthy string of producer credits includes albums for Talking Heads U2 Devo Ultravox and James He also produced part of the 1993 album When I Was a Boy by Jane Siberry He won the best producer award at the 1994 and 1996 BRIT Awards Eno describes himself as a non musician using the term treatments to describe his modification of the sound of musical instruments and to separate his role from that of the traditional instrumentalist His skill in using the studio as a compositional tool 69 led in part to his career as a producer His methods were recognised at the time mid 1970s as unique so much so that on Genesis s The Lamb Lies Down on Broadway he is credited with Enossification on Robert Wyatt s Ruth Is Stranger Than Richard with a Direct inject anti jazz raygun and on John Cale s Island albums as simply being Eno Eno has contributed to recordings by artists as varied as Nico Robert Calvert Genesis David Bowie and Zvuki Mu in various capacities such as use of his studio synthesiser electronic treatments vocals guitar bass guitar and as just being Eno In 1984 he amongst others composed and performed the Prophecy Theme for the David Lynch film Dune the rest of the soundtrack was composed and performed by the group Toto Eno produced performance artist Laurie Anderson s Bright Red album and also composed for it The work is avant garde spoken word with haunting and magnifying sounds Eno played on David Byrne s musical score for The Catherine Wheel a project commissioned by Twyla Tharp to accompany her Broadway dance project of the same name He worked with Bowie as a writer and musician on Bowie s influential 1977 79 Berlin Trilogy of albums Low Heroes and Lodger on Bowie s later album Outside and on the song I m Afraid of Americans Recorded in France and Germany the spacey effects on Low were largely created by Eno who played a portable EMS Synthi A synthesiser Producer Tony Visconti used an Eventide Harmonizer to alter the sound of the drums claiming that the audio processor f s with the fabric of time 70 After Bowie died in early 2016 Eno said that he and Bowie had been talking about taking Outside the last album they d worked on together somewhere new and expressed regret that they wouldn t be able to pursue the project 71 Eno co produced The Unforgettable Fire 1984 The Joshua Tree 1987 Achtung Baby 1991 and All That You Can t Leave Behind 2000 for U2 with his frequent collaborator Daniel Lanois and produced 1993 s Zooropa with Mark Flood Ellis In 1995 U2 and Eno joined forces to create the album Original Soundtracks 1 under the group name Passengers songs from which included Your Blue Room and Miss Sarajevo Even though films are listed and described for each song all but three are bogus Eno also produced Laid 1993 Wah Wah 1994 Millionaires 1999 and Pleased to Meet You 2001 for James performing as an extra musician on all four He is credited for frequent interference and occasional co production on their 1997 album Whiplash Eno played on the 1986 album Measure for Measure by Australian band Icehouse He remixed two tracks for Depeche Mode I Feel You and In Your Room both single releases from the album Songs of Faith and Devotion in 1993 In 1995 Eno provided one of several remixes of Protection by Massive Attack originally from their Protection album for release as a single In 2007 he produced the fourth studio album by Coldplay Viva la Vida or Death and All His Friends released in 2008 Also in 2008 he worked with Grace Jones on her album Hurricane credited for production consultation and as a member of the band playing keyboards treatments and background vocals He worked on the twelfth studio album by U2 again with Lanois titled No Line on the Horizon It was recorded in Morocco the South of France and Dublin and released in Europe on 27 February 2009 In 2011 Eno and Coldplay reunited and Eno contributed enoxification and additional composition on Coldplay s fifth studio album Mylo Xyloto released on 24 October of that year The Microsoft Sound Edit In 1994 Microsoft designers Mark Malamud and Erik Gavriluk approached Eno to compose music for the Windows 95 project 72 The result was the six second start up music sound of the Windows 95 operating system The Microsoft Sound In an interview with Joel Selvin in the San Francisco Chronicle he said The idea came up at the time when I was completely bereft of ideas I d been working on my own music for a while and was quite lost actually And I really appreciated someone coming along and saying Here s a specific problem solve it The thing from the agency said We want a piece of music that is inspiring universal blah blah da da da optimistic futuristic sentimental emotional this whole list of adjectives and then at the bottom it said and it must be 3 1 4 seconds long 1 I thought this was so funny and an amazing thought to actually try to make a little piece of music It s like making a tiny little jewel In fact I made eighty four pieces I got completely into this world of tiny tiny little pieces of music I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work Then when I d finished that and I went back to working with pieces that were like three minutes long it seemed like oceans of time 73 Eno shed further light on the composition of the sound on the BBC Radio 4 show The Museum of Curiosity admitting that he created it using a Macintosh computer stating I wrote it on a Mac I ve never used a PC in my life I don t like them 74 Video work Edit Eno has spoken of an early and ongoing interest in exploring light in a similar way to his work with sound He started experimenting with the medium of video in 1978 Eno describes the first video camera he received which would initially become his main tool for creating ambient video and light installations One afternoon while I was working in the studio with Talking Heads the roadie from Foreigner working in an adjacent studio came in and asked whether anyone wanted to buy some video equipment I d never really thought much about video and found most video art completely unmemorable but the prospect of actually owning a video camera was at that time quite exotic 75 The Panasonic industrial camera Eno received had significant design flaws preventing the camera from sitting upright without the assistance of a tripod This led to his works being filmed in vertical format requiring the television set to be flipped on its side to view it in the proper orientation 76 The pieces Eno produced with this method such as Mistaken Memories of Mediaeval Manhattan 1980 and Thursday Afternoon 1984 accompanied by the album of the same title were labelled as Video Paintings He explained the genre title in the music magazine NME I was delighted to find this other way of using video because at last here s video which draws from another source which is painting I call them video paintings because if you say to people I make videos they think of Sting s new rock video or some really boring grimy Video Art It s just a way of saying I make videos that don t move very fast 77 These works presented Eno with the opportunity to expand his ambient aesthetic into a visual form manipulating the medium of video to produce something not present in the normal television experience His video works were shown around the world in exhibitions in New York and Tokyo as well as released on the compilation 14 Video Paintings in 2005 78 Eno continued his video experimentation through the 80s 90s and 2000s leading to further experimentation with the television as a malleable light source and informing his generative works such as 77 Million Paintings in 2006 79 Generative music Edit Eno gives the example of wind chimes He says that these systems and the creation of them have been a focus of his since he was a student I got interested in the idea of music that could make itself in a sense in the mid 1960s really when I first heard composers like Terry Riley and when I first started playing with tape recorders 80 Initially Eno began to experiment with tape loops to create generative music systems With the advent of CDs he developed systems to make music of indeterminate duration using several discs of material that he d specifically recorded so that they would work together musically when driven by random playback citation needed In 1995 he began working with the company Intermorphic to create generative music through utilising programmed algorithms The collaboration with Intermorphic led Eno to release Generative Music 1 which requires Intermorphic s Koan Player software for PC The Koan software made it possible for generative music to be experienced in the domestic environment for the first time citation needed Generative Music 1 Edit In 1996 Eno collaborated in developing the SSEYO Koan generative music software system by Pete Cole and Tim Cole of Intermorphic that he used in composing Generative Music 1 only playable on the Koan generative music system Further music releases using Koan software include Wander 2001 and Dark Symphony 2007 both include works by Eno and those of other artists including SSEYO s Tim Cole citation needed Released excerpts Edit Eno started to release excerpts of results from his generative music systems as early as 1975 with the album Discreet Music Then again in 1978 with Music for Airports Music for Airports at least one of the pieces on there is structurally very very simple There are sung notes sung by three women and myself One of the notes repeats every 23 1 2 seconds It is in fact a long recorded tape loop running around a series of tubular aluminum chairs in Conny Plank s studio The next lowest loop repeats every 25 7 8 seconds or something like that The third one every 29 15 16 seconds or something What I mean is they all repeat in cycles that are called incommensurable they are not likely to come back into sync again So this is the piece moving along in time Your experience of the piece of course is a moment in time there So as the piece progresses what you hear are the various clusterings and configurations of these six basic elements The basic elements in that particular piece never change They stay the same But the piece does appear to have quite a lot of variety In fact it s about eight minutes long on that record but I did have a thirty minute version which I would bore friends who would listen to it The thing about pieces like this of course is that they are actually of almost infinite length if the numbers involved are complex enough They simply don t ever re configure in the same way again This is music for free in a sense The considerations that are important then become questions of how the system works and most important of all what you feed into the system Brian Eno Generative Music A talk delivered in San Francisco June 8 1996 81 The list below consists of albums soundtracks and downloadable files that contain excerpts from some of Eno s generative music explorations citation needed 1970 Berlin Horse Film Short 1975 Discreet Music 1975 Evening Star Fripp amp Eno 1978 Ambient 1 Music for Airports 1981 Mistaken Memories of Mediaeval Manhattan Installation Video 1982 Ambient 4 On Land 1983 Apollo Atmospheres and Soundtracks Eno Lanois amp R Eno 1983 Music for Films II Eno Lanois amp R Eno exclusive to Working Backwards Box Set 1984 Thursday Afternoon Installation Video 1985 Thursday Afternoon 1988 Music for Films III Various Artists 1989 Textures Eno Lanois amp R Eno 1992 The Shutov Assembly 1993 Neroli Thinking Music Part IV 1994 Glitterbug Original Soundtrack 1996 Neverwhere BBC TV Mini Series Soundtrack 1997 Contra 1 2 1997 Lightness 1998 Music for Prague 1999 I Dormienti 1999 Kite Stories 2000 Music for Civic Recovery Centre 2001 Compact Forest Proposal 2003 Curiosities Volume I 2004 Curiosities Volume II 2012 Lux 2013 CAM Web the book Brian Eno Visual Music includes a download code 2014 The Shutov Bonus Material Shutov Assembly reissue bonus CD 2014 New Space Music Neroli reissue bonus CD 2016 The Ship 2016 Reflection 2017 Sisters Web Download 2018 Music for Installations Box Set 82 Several of the released excerpts listed above originated as or are derivative of soundtracks Eno created for art installations Most notably The Shutov Assembly view breakdown of Album s sources Contra 1 2 thru to Compact Forest Proposal Lux CAM and The Ship citation needed Installations Edit This section may be too long and excessively detailed Please consider summarizing the material May 2019 Eno has created installations combining artworks and sound that have shown across the world since 1979 beginning with 2 Fifth Avenue and White Fence in the Kitchen Centre New York NY 83 Typically Eno s installations feature light as a medium explored in multi screen configurations and music that is created to blur the boundaries between itself and its surroundings There is a sharp distinction between music and noise just as there is a distinction between the musician and the audience I like blurring those distinctions I like to work with all the complex sounds on the way out to the horizon to pure noise like the hum of London 84 With each installation Eno s music and artworks interrogate the visitors perception of space and time within a seductive immersive environment 85 86 Since his experiments with sound as an art student using reel to reel tape recorders 87 and in art employing the medium of light 88 Eno has utilised breakthroughs in technology to develop processes rather than final objects processes that in themselves have to jolt your senses have got to be seductive 89 Once set in motion these processes produce potentially un ending and continuous non repeating music and artworks that Eno though the artist could not have imagined 90 and with them he creates the slowly unfolding immersive environments of his installations David A Ross writes in the programme notes to Matrix 44 in 1981 In a series of painterly video installations first shown in 1979 Eno explored the notion of environmental ambiance Eno proposes a use for music and video that is antithetical to behavior control oriented Muzak in that it induces and invites the viewer to enter a meditative detached state rather than serve as an operant conditioner for work force efficiency His underlying strategy is to create works which provide natural levels of variety and redundancy which bring attention to rather than mimic essential characteristics of the natural environment Eno echoes Matisse s stated desire that his art serve as an armchair for the weary businessman 91 Early installations benefitted from breakthroughs in video technology that inspired Eno to use the TV screen as a monitor and enabled him to experiment with the opposite of the fast moving narratives typical of TV to create evolving images with an almost imperceptible rate of change 2 Fifth Avenue a linear four screen installation with music from Music For Airports resulted from Eno shooting the view from his apartment window without intervention recording what was in front of the camera for an unspecified period of time In a simple but crude form of experimental post production the colour controls of the monitors on which the work was shown were adjusted to wash out the picture producing a high contrast black and white image in which colour appeared only in the darkest areas Eno manipulated colour as though painting observing video for me is a way of configuring light just as painting is a way of configuring paint 92 From the outset Eno s video works were more in the sphere of paintings than of cinema 93 The author and artist John Coulthart called Mistaken Memories of Medieval Manhattan 1980 81 which incorporated music from Ambient 4 On Land The first ambient film He explains Eno filmed several static views of New York and its drifting cloudscape from his thirteenth floor apartment in 1980 81 The low grade equipment give s the images a hazy impressionistic quality Lack of a tripod meant filming with the camera lying on its side so the tape had to be re viewed with a television monitor also turned on its side 94 And turning the TV on its side says David A Ross recontextualize d the television set and subliminally shift ed the way the video image represents recognizable realities Natural phenomena like rain look quite different in this orientation less familiar but curiously more real 95 Thursday Afternoon was a return to using figurative form for Eno had by now begun to think that I could use my TVs as light sources rather than as image sources TV was actually the most controllable light source that had ever been invented because you could precisely specify the movement and behaviour of several million points of coloured light on a surface The fact that this prodigious possibility had almost exclusively been used to reproduce figurative images in the service of narratives pointed to evolution of the medium from the theatre and cinema What I thought was that this machine which pumped out highly controllable light was actually the first synthesiser and that its use as an imager retailer represented a subset of its possible range 96 Turning the TV on its back Eno played video colour fields of differing lengths of time that would slowly re combine in different configurations Placing ziggurats 3 dimensional constructions of different lengths and sizes on top of the screens that defined each separate colour field these served to project the internal light source upward The light from it was tangible as though caught in a cloud of vapour Its slowly changing hues and striking colour collisions were addictive We sat watching for ages transfixed by this totally new experience of light as a physical presence 97 Calling these light sculptures Crystals first shown in Boston in 1983 Eno further developed them for the Pictures of Venice exhibition at Gabriella Cardazzo s Cavallino Gallery Venice 1985 Placing plexiglass on top of the structures he found that these further diffused the light so the shapes outlined through this surface appeared to be described differently in the slowly changing fields of light 98 By positioning sound sources in different places and different heights in the exhibition room Eno intended that the music would be something listened to from the inside rather than the outside For the I Dormienti show in 1999 that featured sculptures of sleeping figures by Mimmo Paladino in the middle of the circular room Eno placed speakers in each of the 12 tunnels running from it Envisioning the speakers themselves as instruments led to Eno s speaker flowers becoming a feature of many installations including at the Museo dell Ara Pacis Rome 2008 again with Mimmo Paladino and Speaker Flowers and Lightboxes at Castello Svevo in Trani Italy 2017 Re imagining the speaker as a flower with a voice that could be heard as it moved in the breeze he made bunches of them sculptural objects that consist of tiny chassis speakers attached to tall metal stands that sway in response to the sound they emit 99 The first version of these were shown at the Stedelijk Museum in Amsterdam 1984 Since On Land 1982 Eno has sought to blur the boundaries between music and non music and incorporates environmental sounds into his work He treats synthesised and recorded sounds for specific effects 100 In the antithesis of 20th century shock art Eno s works create environments that are Envisioned as extensions of everyday life while offering a refuge from its stresses 101 Creating a space to reflect was a stated aim in Eno s Quiet Club series of installations that have shown across the world and include Music for Civic Recovery Centre at the David Toop curated Sonic Boom festival at the Hayward Gallery in 2000 The Quiet Club series 1986 2001 grew from Eno s site specific installations that included the Place series 1985 1989 These also featured light sculptures and audio with the addition of conventional materials such as tree trunks fish bowls ladders rocks Eno used these in unconventional ways to create new and unexpected experiences and modes of engagements offering an extension of and refuge from everyday life 102 The continually flowing non repeating music and art of Eno s installations militate against habituation to the work and maintain the visitors engagement with it One of the things I enjoy about my shows is lots of people sitting quietly watching something that has no story few recognisable images and changes very slowly It s somewhere between the experience of painting cinema music and meditation I dispute the assumption that everyone s attention span is getting shorter I find people are begging for experiences that are longer and slower less dramatic and more sensual 103 Tanya Zimbardo writing on New Urban Spaces Series 4 Compact Forest Proposal for SF MOMA 2001 confirms During the first presentation of this work as part of the exhibition 010101 Art in Technological Times at SFMOMA in 2001 visitors often spent considerable time in this dreamlike space 104 In Eno s work both art and music are released from their normal constraints The music set up to randomly reconfigure is modal and abstract rather than tonal and so the listener is freed from expectations set up by Western tonal harmonic conventions 105 The artworks in their continual slowly shifting combinations of colour and in the case of 77 Million Paintings image re configurations themselves offer a continually engaging immersive experience through their unfolding fields of light 77 Million Paintings Edit Developments in computer technology meant that the experience of Eno s unending non repeatable generative art and music was no longer only possible in the public spaces of his exhibitions With software developer and programmer Jake Dowie Eno created a generative art music installation 77 Million Paintings for the domestic environment Developed for both PC and Mac the process is explained by Nick Robertson in the accompanying booklet One way to approach this idea is to imagine that you have a large box full of painted components and you are allowed to blindly take out between one and four of these at any time and overlay them to make a complete painting The selection of the elements and their duration in the painting is variable and arbitrarily determined 106 Most nearly all of the visual elements were hand painted by Eno onto glass slides creating an organic heart to the work Some of the slides had formed his earlier Natural Selections exhibition projected onto the windows of the Triennale in Milan 1990 This exhibition marked the beginning of Eno s site specific installations that re defined spaces on a large scale 107 For the Triennale exhibition Eno with Rolf Engel and Roland Blum at Atelier Markgraph 108 used new technology by Dataton 109 that could be programmed to control the fade up and out times of the light sources 110 But unlike the software developed for 77 Million this was clumsy and limited the practical realisation of Eno s vision With the computer programmed to randomly select a combination of up to four images of different durations the on screen painting continually reconfigures as each image slowly dissolves whilst another appears The painting will be different for every viewer in every situation uniquely defining each moment Eno likens his role in creating this piece to one of a gardener planting seeds And like a gardener he watches to see how they grow waiting to see if further intervention is necessary 111 In the liner notes Nick Robertson explains Every user will buy exactly the same pack of seeds but they will all grow in different ways and into distinct paintings the vast majority of which the artist himself has not even seen The original in art is no longer solely bound up in the physical object but rather in the way the piece lives and grows 106 Although designed for the domestic environment 77 Million Paintings has been and continues to be exhibited in multi screen installations across the world It has also been projected onto architectural structures including the sails of the Sydney Opera House 2009 Carioca Aqueduct the Arcos di Lapa Brazil 2012 and the giant Lovell Telescope at the Jodrell Bank Observatory 2016 During an exhibition at Fabrica Brighton 2010 the orthopaedic surgeon Robin Turner noticed the calming effect the work had on the visitors 112 Turner asked Eno to provide a version for the Montefiore hospital in Hove Since then 77 Million and Eno s latest Light Boxes have been commissioned for use in hospitals 113 Montefiore Hospital Installations Edit In 2013 Eno created two permanent light and sound installations at Montefiore Hospital in Hove East Sussex England 114 In the hospital s reception area 77 Million Paintings for Montefiore consists of eight plasma monitors mounted on the wall in a diagonally radiating flower like pattern They display an evolving collage of coloured patterns and shapes whilst Eno s generative ambient music plays discreetly in the background The other aptly named Quiet Room for Montefiore available for patients visitors and staff is a space set apart for meditative reflection It is a moderately sized room with three large panels displaying dissolves of subtle colours in patterns that are reminiscent of Mondrian paintings The environment brings Eno s ambient music into focus and facilitates the visitors cognitive drift freeing them to contemplate or relax Spore Edit Eno composed most of the music for the Electronic Arts video game Spore 2008 assisted by his long term collaborator the musician and programmer Peter Chilvers Much of the music is generative and responsive to the player s position within the game iOS apps Edit Inspired by possibilities presented to Eno and Chilvers whilst working together on the generative soundtrack for the video game Spore 2008 the two began to release generative music in the Apple App format They set up the website generativemusic com and created generative music applications for the iPhone iPod Touch and iPad Bloom 2008 Trope 2009 Scape 2012 Reflection 2016 In 2009 Chilvers and Sandra O Neill also created an App entitled Air released through generativemusic com as well based on concepts developed by Eno in his Ambient 1 Music for Airports album 115 Reflection Edit The generative version of Reflection is the fourth iOS App created by Brian Eno and Peter Chilvers of generativemusic com Unlike other Apps they released Reflection provides no real options other than Play Pause later in its initial update Airplay and Sleep Timer options were added As Apple had started increasing prices for Apps sold in UK they lowered its price For those who d bought the app at a higher price Eno and Chilvers provided links to a free download of a four track album called Sisters each track with a 15 14 duration The following appears on the app s Apple iTunes page As a result of the Brexit related fall in value of the British pound Apple have increased the prices of all apps sold in the UK by 25 While we always intended REFLECTION to be a premium priced app we feel this increase makes it too expensive so we will take the hit in order to keep the British price to the consumer at its original level In other territories this decision will translate into a reduced price for the app As a thank you to everyone who has supported the REFLECTION app we are adding a free surprise downloadable gift to it for a limited time To access it simply update REFLECTION in the App Store and follow the instructions when you open the app on your device The download will be available until 28th February 2017 116 and the App s Apples iTunes page 117 Previous to the updates for the App the iTunes page used the following from Eno Reflection is the most recent of my Ambient experiments and represents the most sophisticated of them so far My original intention with Ambient music was to make endless music music that would be there as long as you wanted it to be I wanted also that this music would unfold differently all the time like sitting by a river it s always the same river but it s always changing But recordings whether vinyl cassette or CD are limited in length and replay identically each time you listen to them So in the past I was limited to making the systems which make the music but then recording 30 minutes or an hour and releasing that Reflection in its album form on vinyl or CD is like this But the app by which Reflection is produced is not restricted it creates an endless and endlessly changing version of the piece of music The creation of a piece of music like this falls into three stages the first is the selection of sonic materials and a musical mode a constellation of musical relationships These are then patterned and explored by a system of algorithms which vary and permutate the initial elements I feed into them resulting in a constantly morphing stream or river of music The third stage is listening Once I have the system up and running I spend a long time many days and weeks in fact seeing what it does and fine tuning the materials and sets of rules that run the algorithms It s a lot like gardening you plant the seeds and then you keep tending to them until you get a garden you like 118 The version of Reflection available on the fixed formats CD Vinyl and download File consists of two joined excerpts from the Reflection app This was revealed in Brian s interview with Philip Sherburne Philip Sherburne Given the infinite nature of the Reflection project was it difficult to select the 54 minute chunk that became the album Brian Eno Yes it was quite interesting doing that When you re running it as an ephemeral piece you have quite different considerations If there is something that is a bit doubtful or odd you think OK that s just in the nature of the piece and now it s passed and we re somewhere else Whereas if you re thinking of it as a record that people are going to listen to again and again what philosophy do you take Choose just a random amount of time Could have done that Just do several of them and fix them together Is that faking it These are very interesting philosophical questions Philip Sherburne Which approach did you follow Brian Eno A hybrid approach I generated 11 pieces of the length I d set the piece to be and I had them all in my iTunes on random shuffle so I would be listening at night doing other things and as one ran through I would think That was a nice one I particularly like the second half So then I would make a note I did this for quite a few evenings There were two that I really liked On one the last 40 minutes of it were lovely and on another the first 25 minutes of it were really nice So I thought This is a studio I m making a record I ll edit them together It was like the birth of rock n roll I m allowed to do that It s not cheating It was quite a bit of jiggery pokery to find a place I could do it but the result is two pieces stuck together Philip Sherburne Brian Eno A Conversation With Brian Eno About Ambient Music 119 Artworks Light Boxes Edit Eno s light boxes utilise advances in LED technology that has enabled him to re imagine his ziggurat light paintings and early light boxes as featured in Kite Stories 1999 for the domestic environment The light boxes feature slowly changing combinations of colour fields that draw attention differently to the shapes outlined by delineating structures within As the paintings slowly evolve each passing moment is defined differently drawing the viewer s focus into the present moment The writer and cultural essayist Michael Bracewell writes that the viewer is also encouraged to engage with a generative sensor aesthetic experience that reflects the ever changing moods and randomness of life itself He likens Eno s art to Matisse or Rothko at their most enfolding 120 First shown commercially at the Paul Stolper Gallery in London forming the Light Music exhibition in 2016 that included lenticular paintings by Eno 121 light boxes have been shown across the world They remain in permanent display in both private and public spaces Recognised for their therapeutic contemplative benefits Eno s light paintings have been commissioned for specially dedicated places of reflection including in Chelsea and Westminster hospital the Montefiore Hospital in Hove and a three and a half metre lightbox for the sanctuary room in the Macmillan Horizon Centre in Brighton Obscure Records Edit Eno started the Obscure Records label in Britain in 1975 to release works by lesser known composers The first group of three releases included his own composition Discreet Music and the now famous The Sinking of the Titanic 1969 and Jesus Blood Never Failed Me Yet 1971 by Gavin Bryars The second side of Discreet Music consisted of several versions of German baroque composer Johann Pachelbel s Canon the composition which Eno had previously chosen to precede Roxy Music s appearances on stage and to which he applied various algorithmic transformations rendering it almost unrecognisable Side one consisted of a tape loop system for generating music from relatively sparse input These tapes had previously been used as backgrounds in some of his collaborations with Robert Fripp most notably on Evening Star Ten albums were released on Obscure including works by John Adams Michael Nyman and John Cage Other work Edit Professor Nigel Osborne and Brian Eno leading music workshops at the Pavarotti Centre in Mostar Bosnia and Herzegovina 122 In 1995 Eno travelled with Edinburgh University s Professor Nigel Osborne to Bosnia in the aftermath of the Bosnian War to work with war traumatised children many of whom had been orphaned in the conflict Osborne and Eno led music therapy projects run by War Child in Mostar at the Pavarotti centre Bosnia 1995 122 Eno appeared as Father Brian Eno at the It s Great Being a Priest convention in Going to America the final episode of the television sitcom Father Ted which originally aired on 1 May 1998 on Channel 4 123 In March 2008 Eno collaborated with the Italian artist Mimmo Paladino on a show of the latter s works with Eno s soundscapes at Ara Pacis in Rome and in 2011 he joined Stephen Deazley and Edinburgh University music lecturer Martin Parker in an Icebreaker concert at Glasgow City Halls heralded as a long awaited clash 124 In 2013 Eno sold limited edition prints of artwork from his 2012 album Lux from his website 125 126 In 2016 Eno was added to Edinburgh University s roll of honour 127 and in 2017 he delivered the Andrew Carnegie Lecture at the university 128 129 130 Eno continues to be active in other artistic fields His sound installations have been exhibited in many prestigious venues around the world including the Walker Art Center Minneapolis Contemporary Arts Museum Houston New Museum of Contemporary Art New York Vancouver Art Gallery Stedelijk Museum Amsterdam Centre Pompidou Paris Institute of Contemporary Arts London Baltic Art Centre Gateshead and the Sydney Sao Paulo Josep Tarradellas Barcelona El Prat Airport 131 and Venice Biennials In 2020 2021 Eno is working with a group of developers on audio video conferencing software and service that addresses issues of corporate video conferencing software like Zoom when used for other purposes 132 Awards and honors EditAsteroid 81948 Eno discovered by Marc Buie at Cerro Tololo in 2000 was named in his honor 133 The official naming citation was published by the Minor Planet Center on 18 May 2019 M P C 114955 134 In 2019 he was awarded Starmus Festival s Stephen Hawking Medal for Science Communication for Music amp Arts 135 136 137 Influence and legacy EditSee also Recording studio as an instrument Eno is frequently referred to as one of popular music s most influential artists 138 Producer and film composer Jon Brion has said I think he s the most influential artist since the Beatles 139 Critic Jason Ankeny at AllMusic argues that Eno forever altered the ways in which music is approached composed performed and perceived and everything from punk to techno to new age bears his unmistakable influence 1 Eno has spread his techniques and theories primarily through his production his distinctive style informed a number of projects in which he has been involved including Bowie s Berlin Trilogy helping to popularize minimalism and the albums he produced for Talking Heads incorporating on Eno s advice African music and polyrhythms Devo and other groups 140 Eno s first collaboration with David Byrne 1981 s My Life in the Bush of Ghosts utilised sampling techniques and broke ground by incorporating world music into popular Western music forms 141 142 Eno and Peter Schmidt s Oblique Strategies have been used by many bands and Eno s production style has proven influential in several general respects his recording techniques have helped change the way that modern musicians particularly electronic musicians view the studio No longer is it just a passive medium through which they communicate their ideas but itself a new instrument with seemingly endless possibilities 143 According to Vinyl Me Please writer Jack Riedy Eno s peak as an artist coincided with the album era a period in popular music during which the album surpassed the single as the dominant recorded music format and Eno took full advantage of the format to pursue all his musical ideas on wax 144 Whilst inspired by the ideas of minimalist composers including John Cage Terry Riley and Erik Satie 145 Eno coined the term ambient music to describe his own work and defined the term The Ambient Music Guide states that he has brought from relative obscurity into the popular consciousness fundamental ideas about ambient music including the idea of modern music as subtle atmosphere as chill out as impressionistic as something that creates space for quiet reflection or relaxation 143 His groundbreaking work in electronic music has been said to have brought widespread attention to and innovations in the role of electronic technology in recording 145 Pink Floyd keyboardist Rick Wright said he often eulogised Eno s abilities 146 Eno s unconventional studio predilections in common with those of Peter Gabriel were an influence on the recording of In the Air Tonight the single which launched the solo career of Eno s former drummer Phil Collins 147 Collins said he learned a lot from working with Eno 148 Both Half Man Half Biscuit in the song Eno Collaboration on the EP of the same name and MGMT have written songs about Eno LCD Soundsystem has frequently cited Eno as a key influence The Icelandic singer Bjork also credited Eno as a major influence 149 Mora sti Fotia Babies on Fire one of the most influential Greek rock bands was named after Eno s song Baby s on Fire from the 1973 album Here Come the Warm Jets 150 In 2011 Belgian academics from the Royal Museum for Central Africa named a species of Afrotropical spider Pseudocorinna brianeno in his honour 151 In September 2016 asked by the website Just Six Degrees to name a currently influential artist Eno cited the conceptual video and installation artist Jeremy Deller as a source of current inspiration Deller s work is often technically very ambitious involving organising large groups of volunteers and helpers but he himself is almost invisible in the end result I m inspired by this quietly subversive way of being an artist setting up situations and then letting them play out To me it s a form of social generative art where the generators are people and their experiences and where the role of the artist is to create a context within which they collide and create 152 Personal life EditEno has married twice In March 1967 at the age of 18 Eno married Sarah Grenville The couple had a daughter Hannah Louise b 1967 before their divorce 153 In 1988 Eno married his then manager Anthea Norman Taylor They have two daughters Irial Violet b 1990 and Darla Joy b 1991 154 155 In an interview with Michael Bonner published in the May 2020 issue of Uncut Eno referred to Ray Hearn as his current manager and also referred to his girlfriend 156 Eno has referred to himself as kind of an evangelical atheist but has also professed an interest in religion 157 In 1996 Eno and others started the Long Now Foundation to educate the public about the very long term future of society and to encourage long term thinking in the exploration of enduring solutions to global issues 158 In 2005 through the Long Now foundation s Long Bets he won a 500 bet by challenging someone who predicted a Democrat would be president of the United States in 2005 159 In 1991 Eno appeared on BBC Radio 4 s Desert Island Discs His chosen book was Contingency Irony and Solidarity by Richard Rorty and his luxury item was a radio telescope 160 Politics EditIn 2007 Eno joined the Liberal Democrats as youth adviser under Nick Clegg 161 In 2017 Eno signed an open letter as a member of the Labour Party and has stated that voting for the Liberal Democrats is voting Tory without admitting it 162 163 In August 2015 he endorsed Jeremy Corbyn s campaign in the Labour Party leadership election He said at a rally in Camden Town Hall I don t think electability really is the most important thing What s important is that someone changes the conversation and moves us off this small minded agenda 164 He later wrote in The Guardian He s Corbyn been doing this with courage and integrity and with very little publicity This already distinguishes him from at least half the people in Westminster whose strongest motivation seems to have been to get elected whatever it takes 165 In 2006 Eno was one of more than 100 artists and writers who signed an open letter calling for an international boycott of Israeli political and cultural institutions 166 and in January 2009 he spoke out against Israel s military action on the Gaza Strip by writing an opinion for CounterPunch and participating in a large scale protest in London 167 168 In 2014 Eno again protested publicly against what he called a one sided exercise in ethnic cleansing and a war with no moral justification in reference to the 2014 military operation of Israel into Gaza 169 He was also a co signatory along with Archbishop Desmond Tutu Noam Chomsky Alice Walker and others to a letter published in The Guardian that labelled the conflict as an inhumane and illegal act of military aggression and called for a comprehensive and legally binding military embargo on Israel similar to that imposed on South Africa during apartheid 170 In 2013 Eno became a patron of Videre Est Credere Latin for to see is to believe a UK human rights charity 171 Videre describes itself as give ing local activists the equipment training and support needed to safely capture compelling video evidence of human rights violations This captured footage is verified analysed and then distributed to those who can create change 172 He participates alongside movie producers Uri Fruchtmann and Terry Gilliam along with executive director of Greenpeace UK John Sauven 173 Eno was appointed President of Stop the War Coalition in 2017 He has had a long involvement with the organisation since it was set up in 2001 174 He is also a trustee of the environmental law charity ClientEarth Somerset House and the Institute for Innovation and Public Purpose set up by Mariana Mazzucato 175 Eno opposes United Kingdom s withdrawal from the European Union Following the June 2016 referendum result when the British public voted to leave Eno was among a group of British musicians who signed a letter to the Prime Minister Theresa May calling for a second referendum 176 In November 2019 along with other public figures Eno signed a letter supporting Labour Party leader Jeremy Corbyn describing him as a beacon of hope in the struggle against emergent far right nationalism xenophobia and racism in much of the democratic world and endorsed him for in the 2019 UK general election 177 In December 2019 along with 42 other leading cultural figures he signed a letter endorsing the Labour Party under Corbyn s leadership in the 2019 general election The letter stated that Labour s election manifesto under Jeremy Corbyn s leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few 178 179 Brian Eno is an early and prominent member of Democracy in Europe Movement 2025 DiEM25 where he contributes issues statements and takes part in media events and discussions 180 181 Selected discography EditThis is an incomplete list Main article Brian Eno discography Solo studio albums Here Come the Warm Jets 1973 Island Taking Tiger Mountain By Strategy 1974 Island Another Green World 1975 Island Discreet Music 1975 Obscure Before and After Science 1977 Polydor Ambient 1 Music for Airports 1978 Polydor Music for Films 1978 Polydor Ambient 4 On Land 1982 EG Apollo Atmospheres and Soundtracks 1983 E G Thursday Afternoon 1985 E G Nerve Net 1992 Opal All Saints The Shutov Assembly 1992 Opal All Saints Neroli 1993 All Saints Headcandy 1994 BMG The Drop 1997 All Saints Another Day on Earth 2005 Hannibal Small Craft on a Milk Sea 2010 Warp with Leo Abrahams and Jon Hopkins Lux 2012 Warp The Ship 2016 Warp Reflection 2017 Warp ForeverAndEverNoMore 2022 Verve UMC Ambient installation albums Extracts from Music for White Cube London 1997 1997 Opal Lightness Music for the Marble Palace 1997 Opal I Dormienti 1999 Opal Kite Stories 1999 Opal Music for Civic Recovery Centre 2000 Opal Compact Forest Proposal 2001 Opal January 07003 Bell Studies for the Clock of the Long Now 2003 Opal Making Space 2010 OpalSee also EditList of ambient music artistsBibliography EditBERNARD Olivier Brian Eno Le Magicien du son Rosieres en Haye Camion Blanc 2022 706 p Footnotes Edit The eventual length of The Microsoft Sound as supplied and used was roughly 6 seconds not 3 1 4 References Edit a b c d Jason Ankeny Brian Eno Biography amp History AllMusic All Media Network Retrieved 22 November 2017 Brian Eno Biography Rolling Stone Retrieved 28 April 2016 Steadman Ian 28 September 2012 Brian Eno on music that thinks for itself Wired UK Wired UK Retrieved 29 April 2016 ABC news 19 March 2009 Retrieved 28 December 2019 Projects The Long Now Longnow org Retrieved 16 January 2018 Roxy Music Rock amp Roll Hall of Fame Retrieved 30 March 2019 findmypast co uk Search findmypast co uk Retrieved 5 January 2017 findmypast co uk Search findmypast co uk Retrieved 5 January 2017 a b Sheppard 2008 pp 14 15 findmypast co uk Search findmypast co uk Retrieved 5 January 2017 a b Sheppard 2008 p 27 a b c d MacDonald Ian 26 November 1977 Before and After Science Part 1 Accidents Will Happen New Musical Express Retrieved 29 November 2020 Sheppard 2008 pp 30 31 HOW WE MET BRIAN ENO AND TOM PHILLIPS The Independent 13 September 1998 Retrieved 25 November 2019 Sheppard 2008 p 43 Edward A Shanken Cybernetics and Art Cultural Convergence in the 1960s PDF Responsivelandscapes com Retrieved 29 April 2016 Sheppard 2008 p 42 Sheppard 2008 p 29 Sheppard 2008 p 50 Sheppard 2008 pp 53 54 Sheppard 2008 p 224 Sheppard 2008 p 84 Beed Catherine Jessica 20 April 2012 Malcolm Le Grice s Berlin Horse Desistfilm Retrieved 4 November 2020 Prendergast Mark 2001 The Ambient Century From Mahler to Trance The Evolution of Sound in the Electronic Age Bloomsbury Publishing p 118 ISBN 978 1 58234 134 7 Sanders Rick 4 August 1973 Eno s sparkling with new ideas Record Mirror Retrieved 29 November 2020 Tannenbaum Rob 27 August 2002 Steadfast in Style The Village Voice New York Retrieved 17 July 2013 After two LPs Eno left for a solo career releasing briny albums of art pop and inventing ambient music Thompson Dave All Music review AllMusic Retrieved 22 July 2010 Marsh Peter 5 July 2004 BBC Experimental Review Fripp Eno The Equatorial Stars BBC Retrieved 8 June 2008 Prendergast The Ambient Century p 93 PVC7908 AMB001 How Brian Eno created a quiet revolution in music The Telegraph Archived from the original on 11 January 2022 Retrieved 21 October 2018 Ambient 4 On Land 1986 release notes Music hyperreal org Retrieved 22 July 2010 Walters John L 22 July 2009 Pop review Brian Eno s Apollo The Guardian ISSN 0261 3077 Retrieved 10 August 2019 Brian Eno explains Apollo Atmospheres and Soundtracks The Guardian 8 July 2009 ISSN 0261 3077 Retrieved 10 August 2019 Trainspotting 1996 IMDb com Retrieved 16 January 2018 Brian Eno Nerve Net The Shutov Assembly Neroli The Drop Album Review Pitchfork Pitchfork com Retrieved 8 May 2018 Brian Eno interviewed by Michael Engelbrecht Music hyperreal org Retrieved 8 May 2018 The Cambridge Companion to Electronic Music pp118 119 Ed Nick Collins ISBN 9780521688659 Foundation The Long Now 30 November 2017 Brian Eno Expands the Vocabulary of Human Feeling Medium com Retrieved 8 May 2018 James Biography amp History AllMusic Retrieved 19 June 2020 miss sarajevo full Official Chart History Official Charts Company OfficialCharts com Retrieved 18 January 2017 Neverwhere TV Mini Series 1996 IMDb com Retrieved 8 December 2017 Dahlen Chris 17 July 2006 Interview David Byrne Pitchfork 77 million paintings brian eno 77 Million Paintings The Long Now Foundation Retrieved 1 November 2011 About us Nokia Retrieved 29 April 2016 Winter Gemma 8 February 2007 BRIAN ENO INTERVIEW KCTV Retrieved 13 December 2021 Archived copy Archived from the original on 14 October 2007 Retrieved 27 June 2007 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Aizlewood John In The Studio Archived 3 November 2013 at the Wayback Machine Q Magazine October 2007 GameSpy Spore Page 2 Pc gamespy com Retrieved 22 July 2010 Carlsson Mikael 15 December 2008 The Lovely Bones Gets Original Score by Brian Eno Film Music Magazine Retrieved 19 October 2020 Pitchfork Source Brian Eno Reveals Warp Album Details Pitchfork com 23 August 2010 Retrieved 23 August 2010 Brian Eno Improvising Within The Rules National Public Radio 31 October 2010 Retrieved 31 October 2010 Trousse Stephen December 2010 The Doctor Will See You Now Uncut Vol 163 Drums Between The Bells amp Panic of Looking Brian Eno Archived from the original on 20 March 2012 Retrieved 25 March 2012 Carrie Battanon 26 September 2012 Brian Eno Plans Solo Record for November pitchfork Rachid Taha Rock El Casbah feat Mick Jones amp Brian Eno live at Stop the War concert YouTube 27 November 2005 Archived from the original on 29 October 2021 Retrieved 8 November 2014 Damon Albarn Talks Solo Album Everyday Robots Rolling Stone Retrieved 12 April 2017 Brian Eno and Karl Hyde Someday World exclusive album stream Guardian com 29 April 2014 Henry Dusty 28 May 2014 Brian Eno and Karl Hyde announce new album High Life stream DBF Retrieved 30 May 2014 Brian Eno the Ship Archived from the original on 3 March 2016 Retrieved 24 February 2016 The Gift feat Brian Eno Love Without Violins Official Videoclip YouTube Brian Eno Reflection Enoshop co uk 15 November 2016 Archived from the original on 27 May 2017 Retrieved 3 May 2017 Bucks Music Group Reflection Nominated For Best New Age Album At The Grammys Bucksmusicgroup com Archived from the original on 26 December 2017 Retrieved 16 January 2018 Day Record Store Brian Eno with Kevin Shields Record Store Day Recordstoreday co uk Retrieved 2 May 2018 Boomerang par Augustin Trapenard France Inter Franceinter fr 18 August 2014 Stream Brian Eno amp Roger Eno Mixing Colours consequence net 20 March 2020 Retrieved 11 April 2020 Official website Ithaka Sydney Film Festival Retrieved 13 October 2021 Pro Session The Studio as Compositional Tool Music hyperreal org Retrieved 22 July 2010 The History of David Bowie s Berlin Trilogy Low Heroes and Lodger Ultimateclassicrock com 27 June 2013 Retrieved 11 January 2016 Geoghegan Kev Saunders Emma 11 January 2016 Reaction to David Bowie s death BBC Online Retrieved 11 January 2016 Rohrlich Justin 25 May 2010 Who Created The Windows Start Up Sound Minyanville s Wall Street Archived from the original on 4 November 2013 Retrieved 18 June 2013 Joel Selvin Chronicle Pop Music Critic 2 June 1996 Q and A With Brian Eno San Francisco Chronicle Retrieved 19 June 2012 Adam Bunker Technology Journalist 23 November 2011 Brian Eno spills Windows start up sound secrets Electricpig Archived from the original on 24 May 2019 Retrieved 23 November 2011 Eno Brian 2006 77 Million Paintings My Light Years pp 2 Eno Brian 2006 My Light Years pp 2 NME Proxy Music Music hyperreal org 9 November 1985 Retrieved 14 November 2012 Eno Brian 2006 My Light Years pp 5 Eno Brian 2006 My Light Years pp 6 8 Dredge Stuart 26 September 2012 Brian Eno and Peter Chilvers talk Scape iPad apps and generative music The Guardian Retrieved 3 May 2017 Generative Music Brian Eno In Motion Magazine Inmotionmagazine com Retrieved 3 May 2017 Brian Eno Releases Music for Installations on May 4th 2018 Enoshop co uk Retrieved 8 May 2018 Brian Eno Home Brian Eno Home Retrieved 16 January 2018 Anthony Korner Aurora Musicals interview with Brian Eno Artforum 24 Summer 1986 Brian Eno Visual Music P 137 Christopher Scoates ISBN 978 1 4521 0849 0 The Aesthetics of Time Christopher Scoates Brian Eno Visual Music pp 344 345 ISBN 978 1 4521 0849 0 Brian Eno is MORE DARK THAN SHARK Moredarkthanshark org Retrieved 8 May 2018 Brian Eno Visual Music Christopher Scoates pp 31 33 ISBN 978 1452108490 Brian Eno Light Music p 9 Paul Stolper ISBN 978 0 9552154 9 0 Steven Grant Brian Eno Against Interpretation Trouser Press August 1982 Quoted in Brian Eno Visual Music Learning from Eno Steven Dietz p 298 ISBN 978 1 4521 0849 0 Brian Eno Q amp A The Infinite Art of Wired 2 July 2007 Retrieved 8 May 2018 BAMPFA Art Exhibitions Brian Eno MATRIX 44 Archive bampfa berkeley edu Retrieved 8 May 2018 Brian Eno Visual Music Christopher Scoates pp 116 117 ISBN 978 1452108490 My Light Years Brian Eno accompanying essay to 77 Million Paintings 2006 HNDVD 1521 Mistaken Memories Of Mediaeval Manhattan Johncoulthart com 5 July 2013 Retrieved 16 January 2018 BAMPFA Art Exhibitions Brian Eno MATRIX 44 Archive bampfa berkeley edu Retrieved 16 January 2018 Eno My Light Years np Brian Eno Visual Music Christopher Scoates P121 Chronicle Books ISBN 978 1 4521 0849 0 Eno My Light Years np Brian Eno Visual Music Christopher Scoates P122 Chronicle Books ISBN 978 1 4521 0849 0 My Light Years Brian Eno np accompanying essay to 77 Million Paintings 2006 HNDVD 1521 Archived copy www jamesputnam org uk Archived from the original on 6 January 2009 Retrieved 17 January 2022 a href Template Cite web html title Template Cite web cite web a CS1 maint archived copy as title link Brian Eno Visual Music The Aesthetics of Time Christopher Scoates pp 135 137 ISBN 978 1 4521 0849 0 Brian Eno Visual Music p 132 Christopher Scoates ISBN 978 1 4521 0849 0 Brian Eno Visual Music The Aesthetics of Time Christopher Scoates pp132 136 ISBN 978 1 4521 0849 0 Brian Eno Visual Music p 135 Christopher Scoates ISBN 978 1452108490 Brian Eno SFMOMA Retrieved 8 May 2018 The Dynamics of Harmony Pratt ISBN 9780198790204 a b Painting by Numbers Nick Robertson 77 Million Paintings HNDVD 1521 Brian Eno Visual Music The Aesthetics of Time Christopher Scoates ISBN P 124 Projects Markgraph de Retrieved 26 August 2021 WATCHOUT and media servers for multi displays Dataton com Retrieved 26 August 2021 My Light Years by Brian Eno 77 Million Paintings accompanying booklet HNDVD 1521 Composers as Gardeners Edge org Retrieved 8 May 2018 Brown Mark 18 April 2013 Surgeon prescribes Brian Eno to patients The Guardian Retrieved 4 November 2020 McGovern Kyle 18 April 2013 Brian Eno s Music Prescribed to Patients Who Need to Chill Out Spin Retrieved 4 November 2020 Dreaper Jane 19 April 2013 Brian Eno branches out into hospital work Bbc com Retrieved 3 May 2017 Eno and Chilvers Release Sweet Music App for iPhone amp 124 Listening Post Wired 9 October 2008 Retrieved 22 July 2010 Brian Eno Facebook com Retrieved 3 May 2017 Brian Eno Reflection on the App Store App Store Retrieved 3 May 2017 Brian Eno Facebook com Retrieved 3 May 2017 A Conversation With Brian Eno About Ambient Music Pitchfork Pitchfork com Retrieved 3 May 2017 Brian Eno Light Music Shedding Light Michael Bracewell Paul Stolper ISBN 978 0 9552154 9 0 Brian Eno Exhibition Works Paul Stolper Contemporary Art Gallery London Paulstolper com Retrieved 16 January 2018 a b Nickalls Susan 23 July 1995 Music the food of love The Independent United Kingdom Dessau Bruce 13 May 2010 Laugh Lines from Sergeant Bilko to Father Ted The Guardian Retrieved 14 September 2014 Vile Gareth 25 September 2011 Eno gets Brewed The Vile Blog Glasgow Scotland Higgins Charlotte 27 November 2009 Brian Eno to curate Brighton festival The Guardian London Retrieved 26 April 2010 As for a philosophical analysis of Lux vid Arena op cit pp 59 62 Music innovator Brian Eno added to lecture series roll of honour Edinburgh University Scotland Ferguson Brian 1 April 2016 Music legend Brian Eno to recall Edinburgh art school days The Scotsman Scotland Brian Eno delivers the Andrew Carnegie Lecture Announcement for 10 May 2016 on Edinburgh University homepage Eno Brian 19 January 2017 Andrew Carnegie Lecture Series Brian Eno posted by the Edinburgh University on YouTube Brian Eno Lightforms Soundforms Behance Retrieved 3 August 2022 Brian Eno has had a pretty good quarantine Los Angeles Times 21 January 2021 Retrieved 28 February 2021 81948 Eno 2000 OM69 Minor Planet Center Retrieved 3 June 2019 MPC MPO MPS Archive Minor Planet Center Retrieved 3 June 2019 Stephen Hawking Medal for Science Communication STARMUS Festival Starmus com Brian Eno to Receive Stephen Hawking Medal for Science Communication Billboard 22 May 2019 Peter Gabriel on awarding Brian Eno with the Stephen Hawking Medal STARMUS Festival Starmus com Randall Roberts Brian Eno to Lecture CSU Long Beach Present 77 Million Paintings Blow Our Minds Archived 1 October 2009 at the Wayback Machine LA Weekly 30 July 2009 Jon Brion Interview What do you think of Video Jon Brion 29 October 2010 Retrieved 23 March 2019 Brian Eno Biography Musicianguide com Retrieved 29 April 2016 Gina Vivinetto Reasons to know Brian Eno SP Times 1 July 2004 Ruprecht Alvina 1995 Reordering of Culture Latin America the Caribbean and Canada in the Hood McGill Queen s Press p 351 ISBN 9780886292690 a b AmbientMusicGuide com Brian Eno Archived from the original on 1 September 2009 Retrieved 19 August 2009 Riedy Jack 24 May 2018 The 10 Best Brian Eno Albums to Own on Vinyl Magazine vinylmeplease com Retrieved 24 June 2021 a b Richardson Mark Pitchfork Interviews Brian Eno Pitchfork com 1 November 2010 Retrieved 9 November 2010 Q November 1996 Mills Gary 26 May 2010 No Flak Jacket Required In Defence Of Phil Collins The Quietus Retrieved 25 October 2015 Lynskey Dorian 11 February 2016 Phil Collins returns I got letters from nurses saying That s it I m not buying your records The Guardian London Retrieved 25 March 2016 A Guide to Bjork in 10 Songs Consequence of Sound 20 November 2017 Retrieved 3 April 2018 Moyrgelas Dhmhtrhs 4 November 2016 30 xronia Mwra sth Fwtia Tetarto in Greek Retrieved 26 February 2018 Rudy Jocque Jan Bosselaers 2011 Revision of Pseudocorinna Simon and a new related genus Araneae Corinnidae two more examples of spider templates with a large range of complexity in the genitalia Zoological Journal of the Linnean Society 162 2 271 350 doi 10 1111 j 1096 3642 2010 00679 x Zimoun Just Six Degrees Retrieved 3 May 2017 Sheppard 2008 pp 44 45 de Lisle Tim 10 May 1998 50 Eno Moments The Independent on Sunday England and Wales Birth Registration Index 1837 2008 Michael Bonner 2020 We re Going to do Butlins in the Winter Uncut issue 276 May 2020 p 70 Brian Eno Constellations 77 Million Paintings interview pt 2 BBC Collective Archived from the original on 29 October 2021 Retrieved 4 January 2013 Eno Brian The Big Here and Long Now Archived from the original on 23 December 2005 Retrieved 11 May 2009 How could you live so blind to your surroundings I called it The Small Here I was used to living in a bigger Here I noticed that this very local attitude to space in New York paralleled a similarly limited attitude to time I came to think of this as The Short Now and this suggested the possibility of its opposite The Long Now poptimist s profile Long Bets longbets org Retrieved 21 July 2020 BBC Radio 4 Desert Island Discs Brian Eno BBC Retrieved 29 February 2020 Mulholland Helene 19 December 2007 Clegg hires Brian Eno as youth adviser Theguardian com Censorship battle and an antisemitic charge cause anger The Guardian 15 October 2017 Retrieved 1 July 2018 Brian Eno Why I m backing Labour in Kensington 28 November 2019 Retrieved 13 September 2022 Britton Luke Morgan 4 August 2015 Brian Eno backs Jeremy Corbyn as Labour leadership frontrunner gets rockstar reception at packed rally NME Retrieved 15 July 2017 Eno Brian 6 August 2015 Jeremy Corbyn for prime minister Why not The Guardian Retrieved 15 July 2017 Israel boycott may be the way to peace The Guardian letters 15 December 2006 Stealing Gaza An Experiment in Provocation article by Brian Eno at CounterPunch Counterpunch org Archived from the original on 9 July 2010 Retrieved 22 July 2010 UK protests in support of Gaza News in brief Evening Standard Standard co uk 13 September 2012 Archived from the original on 13 September 2012 Retrieved 3 May 2017 Eno Brian 28 July 2014 Gaza and the Loss of Civilization David Byrne Retrieved 29 April 2016 Brian Eno Desmond Tutu Alice Walker Noam Chomsky Ilan Pappe Ken Loach Richard Falk et al 19 July 2014 The arms trade and Israel s attack on Gaza The Guardian p 39 UK Charity Commission UK Charity Commission Report on Videre UK Charity Commission 20 August 2013 Videre Est Credere Videre Website Videre Est Credere 20 August 2013 Our People Patrons Videre est Credere Retrieved 4 November 2020 War Stop the Patrons Officers Steering Cttee Stopwar org uk Retrieved 16 January 2018 UCL 30 October 2018 Brian Eno joins the Advisory Board of IIPP UCL Institute for Innovation and Public Purpose Retrieved 29 February 2020 UK music stars rail against Brexit in open letter to Theresa May The Guardian Retrieved 30 May 2019 Neale Matthew 16 November 2019 Exclusive New letter supporting Jeremy Corbyn signed by Roger Waters Robert Del Naja and more NME Retrieved 27 November 2019 Vote for hope and a decent future The Guardian 3 December 2019 Retrieved 4 December 2019 Proctor Kate 3 December 2019 Coogan and Klein lead cultural figures backing Corbyn and Labour The Guardian Retrieved 4 December 2019 DiEM25 TV with Brian Eno and Yanis Varoufakis Reflecting on our Post Virus World DiEM25 Calendar DiEM25 Democracy in Europe Movement 2025 Retrieved 15 December 2020 Brian Eno Author at DiEM25 DiEM25 Retrieved 15 December 2020 Sources Edit Sheppard David 2008 On Some Faraway Beach The Life and Times of Brian Eno London Orion ISBN 978 0 7528 7570 5 Further reading EditAlbiez Sean Pattie David eds 2016 Brian Eno Oblique Music London Bloomsbury Academic ISBN 978 1441129123 Arena Leonardo Vittorio 2014 Brian Eno Filosofia per non musicisti in Italian Milan Mimesis ISBN 978 88 5752 317 0 Bracewell Michael 2005 Roxy Music Bryan Ferry Brian Eno Art Ideas and Fashion Boston MA Da Capo ISBN 978 0 306 81400 6 Dayal Geeta 2007 33 1 3 Brian Eno s Another Green World London and New York Continuum ISBN 978 0 8264 2786 1 Eno Brian Mills Russell Poynor Rick 1986 More Dark Than Shark London Faber and Faber ISBN 978 0571138838 Eno Brian 1996 A Year with Swollen Appendices Brian Eno s Diary London Faber and Faber ISBN 9780571179954 Eno Brian Paladino Mimmo 2000 I Dormienti ISBN 978 8888098005 Limited edition of 2000 copies a href Template Cite book html title Template Cite book cite book a CS1 maint postscript link Tamm Eric 1995 1989 Brian Eno His Music and the Vertical Color of Sound Boston MA Da Capo ISBN 9780306806490 Archived from the original on 5 December 2006 Brian Eno Music Technology Vol 2 no 3 February 1988 p 50 ISSN 0957 6606 OCLC 24835173 External links Edit Wikimedia Commons has media related to Brian Eno Wikiquote has quotations related to Brian Eno Eno s work in sound and light past and present Brian Eno discography at Discogs Brian Eno at IMDb Paul Morley interviews Eno in The Guardian 17 January 2010 Interview with Brian Eno from The Guardian 19 May 2006 Brian Eno The Philosophy of Surrender interview November 2008 Eno Brian Oblique Strategies from the Norton Family Christmas Project New Mexico Museum of Art Archived from the original on 29 April 2014 Retrieved 28 April 2014 Frere Jones Sasha 29 June 2014 Ambient Genius The working life of Brian Eno The New Yorker 7 July 2014 MoreDarkThanShark org s webpage Brian Eno Installations Retrieved from https en wikipedia org w index php title Brian Eno amp oldid 1134116174, wikipedia, wiki, book, books, library,

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