Brian Eno - C or D?

oh great more reissues I desperately want!

http://cdn4.gurl.com/wp-content/uploads/2013/02/broke-8.gif

PR note says "You can pre-order each release now and get instant downloads."

Eh, not sure I need three discs of unreleased generative works and installation soundtracks from perhaps his dullest ambient era. Nice to get an official "My Squelchy Life," though.

I will say it again: "The Harness" is the best song he's written 25 years.

I would agree with that!

https://www.youtube.com/watch?v=21yu3RG80lU

http://www.theawl.com/2014/12/brian-eno-clark-mix

I sprung for the new edition of 'Shutov Assembly'. Nice packaging, booklet with interview & extra installation images. The 35 minute bonus material is a little on the slight side and in a somewhat different style than the parent disc (has a few rhythmic pieces closer to 'The Drop' or 'Curiosities') but I still found things to enjoy about it. My hopes were high, because there's that excellent Shutov-era promo/library music album called 'Textures' which has a lot of overlap with 'Shutov' tracks, but also has five or six tracks that don't appear anywhere else that I very much enjoy - http://www.discogs.com/Brian-Eno-Textures/release/1053039

almost sprang for 'Nerve Net' 2cd to get Squelchy but that would mean having to own a copy of 'Nerve Net'

I am genuinely surprised that you dislike that record so much, I played "Fractal Zoom" on the radio a few weeks ago and it sounded great

I'm listening to it again now on spotify. it really let me down when it came out. today, there are moments but I can't handle 'ali click' any better now than I could then. the 80's were a dark time for high end electronic music gear, but by the late 80's things were getting interesting again this was a record which just seemed to make every digital mistake you possibly could at the precise moment other people were starting to get back on track

those are admittedly just my ears

nah that's a fair point, I know you are sensitive to that stuff

nb: I love "Ali Click", especially the remixes

The things you say
You're unbelievable

http://blog.longnow.org/02014/02/28/enobooks/

there are about 5 books on that list I really want to read

and none I've actually read :(

https://www.youtube.com/watch?v=XRiBrWY3NB4

my favorite song about the anxiety of influence

What's your second favorite?

https://www.youtube.com/watch?v=PPxnCNRm_nY

this is more about the void that opened with dylan's "retreat" into eccentricity but there is some envy here, i feel

there are definitely others i am not thinking of. it would be an interesting playlist.

i always loved the story of david bowie playing Andy Warhol for A. Warhol at the Factory.

Bowie later played the song to Andy Warhol, who reportedly disliked it as he thought the lyrics made fun of his physical appearance. When the song had finished playing, Warhol and Bowie reportedly just stared at each other for a while until Warhol said "I like your shoes" and the pair then had a conversation about shoes.

lol ward

what about

https://www.youtube.com/watch?v=iw4w-kdu_34

https://www.youtube.com/watch?v=8nJu5OaN40o

I'll never be a Bowie, I'll never be an Eno, I'll only ever be a Gary Numan

yess

what a burn!

he wishes he were Gary Numan!

i listen to way more gary numan than bowie

i never listen to bill callahan

i listen to more bill callahan than bowie and gary numan put together, frankly.

Crut otm

from an interview with leo abrahams in tape op:

"I read that Brian Eno found you playing
in a guitar shop, heard the sounds
you were making, and was intrigued."

"Yeah, it was really pretty crazy. I was in this secondhand
music shop around the corner from his studio. I was
trying out a guitar, and I was testing the intonation.
That was it. He walked in and came over. He was
incredibly polite and nice. He introduced himself, and
I said, “Yeah, I know who you are.” He said,
“Sometimes I need a guitar player. Would you like to
come to the studio?” I said, “Yeah, I’d love to.” I
didn’t hear from him for six months, and then he
called and asked if I could come over. When I arrived,
everything was already set up with the guitar plugged
into an effects thing. I’d read about his techniques of
moving musicians out of their typical comfort zones.
I picked up the guitar, and it was completely out of
tune. Not just out of tune, but the strings were
actually hanging off it. I said, “Okay, let’s start the
track.” I improvised a load of percussive, bendy, and
talking drum sounds. I got to the end of the song. The
next song comes on, and I said, “Oh, excuse me, but
would it be okay if I played my own guitar? I’d like to
play something melodic.” He said, “Yeah. I wasn’t
expecting you to play that guitar. I was using it to
test the line. But I think what you got out of it was
really good.”

oh that eno!

freeze frame, roll credits

haha

It's an understandable mistake. I'm sure we all have similar Eno stories.

"Actually, 'Play The Piano As If You Had Trout For Hands' is the name of my dog."

"That's no sandwich...that's my rhythm section!"

I Spent 3 Weeks Working With Brian Eno On A New Album, But It Turned Out I Was Just Feeding His Cat

ha!

haha

hahaha

Dennis Davis:
We would get in the studio, it was really wide open. That's why I like doing recordings with (Bowie) because it was, like, real easy, you know. Until Brian Eno came along. That Brian Eno, he was a character!

Brian Eno:
The problem actually I had at that time was that I didn't really understand how good musicians worked. I'm not a musician myself in that sense.

Carlos Alomar:
Brian Eno had a blackboard, you know, like elementary school, you know. I'm like, "You've got a blackboard. So?" So we started coming up with these ideas for different chords. E, C, G, B, and so he'd go, ok, so, "I'm going to point to that chord and you play that chord "and then I'll point to another." So I'm playing and it goes D.

Brian Eno:
When you're working with really great players, like Carlos and Dennis, you have to accept that they have a way of processing information that is beyond intellectual.

Carlos Alomar:
"Dude, man. Hey, Brian, look. What are you... This is... This isn't working for me, man."

Brian Eno:
But with their incredibly natural musicianship, the two together produce something that, again, one wouldn't have had with either on their own.

Carlos Alomar:
I mean, some of it worked, some of it didn't, but quite honestly it did take me out of my comfort zone and it did make me leave my frustration at what I was doing and totally look at it from another different point of view and, although I didn't like the point of view, when I came back, I was fresh.

from ~28:11 onwards https://vimeo.com/151364531

At the very least, since signing to Warp Eno has proved very cooperative with the promotion cycle, leading to lots of good recent interviews. I liked this one:
http://thequietus.com/articles/20034-brian-eno-favourite-records-interview

The new album is nice. Sounds a bit like one of those slowed down Bieber tracks.

Hey, OP's in there!

Yeah, that was cool.

New album, btw, is increasingly crazy and weird and original. Not what I expected.

only heard the title track so far but I think it's a resounding return to form, super excited

Not to play it up too much, but it's not so much a return to form as an entirely new form. What it does with vocals, or what vocals can be, is really fascinating.

OK poor word choice, sub in "his best in a long time"

that's a really good quietus piece - it's so much more than just a list of albums.

Hey, OP's in there!

Orlando Ploom.

Ottilie Patterson