Eno’s something I don’t


Brian Eno. As you know he’s a legendary musician, producer and artist. I thought I’d do some deeper investigation and ended up discovering some exciting new things.

I was introduced to Mr Eno’s work by artist James Webb some time in the nineties. My first forays into Eno’s world were from his Ambient 1-4 series. I started with Ambient 1: Music for Airports.  From the get-go, I was captivated by the conceptual title, as well as the exquisite gentleness of the album. It was good music to be around. Pop onto the music system, and potter around the house feeling peaceful.

It’s easy enough to find the whole Music for series on Youtube. Recommended, if you haven’t already. Some are better than others.

I’m not an expert on Brian at all, and have no intention of becoming one. It’s partly how huge his output is – 17 solo albums, 8 ambient installation albums, 25 collaborative albums and 40-50 albums produced by him including David Bowie, Iggy Pop, U2, Coldplay. And there are a number of video albums and art installations too. This might be one of the latter:


I digress. My introduction to ambient music had happened to prior to hearing Eno. It was an encounter with Aphex Twin’s sublime Selected Ambient Works II in 1994. A great friend of mine, The Artist, had found it god only knows where. I’d always wondered where the ethereal, otherworldly atmospheres on this album had been beamed from…

Here’s The Artist trying to look like Brian:



Eno’s Music For series certainly hadn’t birthed Aphex’s Cliffs, Rhubarb or Lichen. Had he simply channeled  this extraordinary sound from the depths of deep space?

So, to cut a long story short, whilst researching Eno this week, I stumbled across Eno’s 1975 album Discreet Music for the first time. On hearing the first track (the 30 minute long ‘Discreet Music’) – I heard what seemed to be Aphex’s source.

Listen to the first track, Discreet Music, then try Aphex’s Lichen or Rhubarb. They could be the same artist and the same album (even though written 20 years apart). And to my ears, there are rare tracks indeed. I’m not saying that Richard James (Aphex Twin) was thieving. But enjoy the similar sonic. I do.

Technically, the use of reverb and sustain / decay is extraordinary. Notice how the notes never quite seem to end. And there are no hard edges to notes as they are struck. Everything is soft. Eno is using generative technique within Discreet Music, designed around a process that looks like this:



In celebration of his genius I have have tried to look pensive like his photo at the top of this blog.


Amazing, I know.