Brian Eno is a solid dude

[PhillipOrdonez]

[huggermugger]

His music and ideas have been part of my life since I was introduced to 'Another Green World' and 'Before & After Science' back around 1981. Not only his own music, but the fact that he was involved in some great projects with Bowie, Talking Heads, and U2.

[dvdrtldg]

I'm really struck by how good he's looking and how sharp he is. Dude must be coming up on 80 years old

Such an immense cultural figure, he's a bit like the Beatles in that to some degree or other, we're all living inside the musical world he's made. As far as his own work goes, I can take or leave the later ambient stuff these days - I find it a bit cerebral and emotionless. But the early albums - Warm Jets and Tiger Mountain - never get old

[Aosta]

I've been using his app 'scape' for years just to get lost in ambience.

https://www.generativemusic.com/scape.html

[challism]

I'm a Eno fan. He's a monster producer who can really get the best out of his artists.

[Pepin]

I listened to Thursday Afternoon on a near daily basis for a while -- one of my absolute favorites

[rgdaniel]

In the Seventies, I had a turntable that played all 4 speeds, 16, 33, 45, 78. I found it interesting to listen to Fripp & Eno's "No Pussyfooting" at any one of those speeds. Never did find any other use for the 16 speed...

[rorystorm]

In the Seventies, I had a turntable that played all 4 speeds, 16, 33, 45, 78. I found it interesting to listen to Fripp & Eno's "No Pussyfooting" at any one of those speeds. Never did find any other use for the 16 speed...

The Cure's album Pornography is great on 45, like an angry teenage girl fronting an experimental punk band, which really works for me.

Anyway, I'm a big fan of Eno's music, at least, his music from the 70s and early 80s. I find my interest level tapers off around Apollo Soundtracks. Thursday Afternoon is amazing tho, that's probably where it ends for me. A while ago I played a friend of mine My Life In The Bush Of Ghosts and they wouldn't believe me it's 40 years old, and rightly, it still sounds like nothing else and could have come out last week.

Annnnnnd On Land probably had the biggest influence on my actual music making, much more dark and experimental feeling than his other stuff, I wish he'd made more like that. I'm actually working right now on a project that's deeply indebted to it. I love the thing he wrote one time about making a field recording in a park and then learning the recording like a piece of music: car drives off here, a bird flies out of the pond at this point, etc. I've actually done this with a band I used to play in, transcribed a field recording and then assigned the instruments to different sounds and then used them to replicate the recording. It was quite hard work but really interesting.

If you want to deep dive into his stuff and you haven't then the book Brian Eno and the Vertical Nature of Sound is quite good. Also Eno's diary for 1995 which he published as a book called A Year With Swollen Appendices is great, very funny, lots of interesting ideas although it can get a bit my day is better than your year/I'm losing my edge which is kind of annoying. And if you can find them, a lot of his ideas come from John Cage's book Silence, and another book called Experimental Music by Michael Nyman which between them more or less lay out all the ideas you need for thinking about experimental music making.

This is quite fascinating too

[dvdrtldg]

On Land probably had the biggest influence on my actual music making, much more dark and experimental feeling than his other stuff, I wish he'd made more like that.

Same - it's the ambient recording of his that I still find interesting. Dark and haunting rather than pleasant and pretty

[rorystorm]

On Land probably had the biggest influence on my actual music making, much more dark and experimental feeling than his other stuff, I wish he'd made more like that.

Same - it's the ambient recording of his that I still find interesting. Dark and haunting rather than pleasant and pretty

Right? It's insanely well recorded as well, a masterclass.
There's still a place in my heart for the first track on Music for Airports with Robert Wyatt's beautiful piano line at half speed. That's a classic for a reason.

I'm waiting for my mum to call me so I'm gonna fill in time and share my favourite DAW based basic generative music technique. So, record a paddy chord with the synth of your choice. Then, use Extract Notes so you have separate clips for each note. Then change the length of each clip so they're all different lengths and maybe move them around a bit... and boom, instant faux tape loops.