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Beiträge
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An anderer Stelle arbeite ich hier im Forum gerade die Talking Heads auf. Welch ein Zufall, dass parallel dazu hier Brian Eno an die Oberfläche geschwemmt wird! Denn mit den Talking Heads war er ja eine Zeit lang verbandelt. Seine Zusammenarbeit mit David Byrne auf MY LIFE IN THE BUSH OF GHOSTS wurde hier schon erwähnt, aber meines Empfindens noch nicht ausreichend gewürdigt. Da gäbe es noch so einiges zu erzählen. Und überhaupt: Es würde sich in diesem Zusammenhang lohnen, auch Enos künstlerischen Werdegang zu beleuchten. Er hat ja einen Kunsthochschul-Hintergrund, der seine unkonventionelle Herangehensweise an Musik und seine Selbsteinschätzung als Non-Musician ein wenig erklärt.
Ich kenne offen gesagt nur sehr wenige Alben von Eno, wie gesagt MY LIFE …, die neue Platte mit David Byrne (Everything …) und ansonsten seine Zusammenarbeit mit David Bowie auf LOW und HEROES. Vor allem erstgenannte ist sehr zu empfehlen. Interessant wäre es auch, seine musikalischen Einflüsse nachzuverfolgen: Auf LOW etwa hört man deutlich die Einflüsse von Krautrock (und höre ich da nicht auch irgendwo den Minimalismus von Steve Reich oder Phil Glass?), die Talking Heads hat er mit Fela Kuti infiziert und durch seine künstlerischen Strategien kommt (oder kam?) er immer wieder zu unerwarteten Ergebnissen.
Lieber Gruß,
Friedrich
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„Für mich ist Rock’n’Roll nach wie vor das beste Mittel, um Freundschaften zu schließen.“ (Greil Marcus)Highlights von Rolling-Stone.deTaylor Swift vs. Kanye West: Legendäres Bitch-Telefonat geleakt
Earth Day: 16 Musiker(innen) und Bands, die für Klimaschutz kämpfen
„Seventeen Seconds“ von The Cure: Teenage Angst für alle
Huey Lewis im Interview: „Die Mundharmonika ist die Antithese zum Techno“
Xavier Naidoo: Das „Ich bin Rassist“-Interview in voller Länge
„Westworld“-Schlusskritik: Tschüss, bin wohl zu blöd für die Serie
WerbungFür alle, die Eno bereits anbeten: Seine Zusammenarbeit mit Michael Brook darf man auf keinen Fall verpassen: Hybrid heißt das Album dazu.
Auch Brook solo ist eine unbedingte Empfehlung für Eno-Fans. Ein großartiger Künstler / E-Gitarrist, tendenziell im Ambientbereich anzusiedeln.
Es gibt auch einen Thread hier über ihn:
http://forum.rollingstone.de/showthread.php?t=38698
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Ein faszinierendes Interview mit Brian Eno im Guardian.
http://www.guardian.co.uk/music/2010/jan/17/brian-eno-interview-paul-morleyAuszüge:
On the synthesiser: 1
„One of the important things about the synthesiser was that it came without any baggage. A piano comes with a whole history of music. There are all sorts of cultural conventions built into traditional instruments that tell you where and when that instrument comes from. When you play an instrument that does not have any such historical background you are designing sound basically. You’re designing a new instrument. That’s what a synthesiser is essentially. It’s a constantly unfinished instrument. You finish it when you tweak it, and play around with it, and decide how to use it. You can combine a number of cultural references into one new thing.“
On the synthesiser: 2
„Instruments sound interesting not because of their sound but because of the relationship a player has with them. Instrumentalists build a rapport with their instruments which is what you like and respond to. If you were sitting down now to design an instrument you would not dream of coming up with something as ridiculous as an acoustic guitar. It’s a strange instrument, it’s very limited and it doesn’t sound good. You would come up with something much better. But what we like about acoustic guitars is players who have had long relationships with them and know how to do something beautiful with them. You don’t have that with synthesisers yet. They are a very new instrument. They are constantly renewing so people do not have time to build long relationships with them. So you tend to hear more of the technology and less of the rapport. It can sound less human. However ! That is changing. And there is a prediction that I made a few years ago that I’m very pleased to see is coming true – synthesisers that have inconsistency built into them. I have always wanted them to be less consistent. I like it that one note can be louder than the note next to it.“
On a celebration of human frailty
„The other day I heard a band who had the worst singer, the most out of time drummer and most out of tune guitarist I’ve ever heard on a professional record, and I thought, at last, the reaction against pro-tools perfection has set in. A pro-tools engineer would have sorted it all out, but this band was an actual celebration of human frailty. It was so rough it was really encouraging.“
On Abba
„In the 70s, no one would admit that they liked Abba. Now it’s fine. It’s so kitsch. Kitsch is an excuse to defend the fact that they feel a common emotion. If it is kitsch. you put a sort of frame around something – to suggest you are being ironic. Actually, you aren’t. You are really enjoying it. I like Abba. I did then and I didn’t admit it. The snobbery of the time wouldn’t allow it. I did admit it when I heard ‚Fernando‘; I could not bear to keep the secret to myself anymore and also because I think there is a difference between Swedish sentimentality and LA sentimentality because the Swedish are so restrained emotionally. When they get sentimental it’s rather sweet and charming. What we really got me with „Fernando“ was what the lower singer was doing, I don’t know her name. I spent months trying to learn that. It’s so obscure what she’s doing and very hard to sing. And then from being a sceptic I went over the top in the other direction. I really fell for them.“
On Frank Zappa
„Zappa was important to me because I realised I didn’t have to make music like he did. I might have made a lot of music like he did if he had not done it first and made me realise that I did not want to go there. I did not like his music but I am grateful that he did it. Sometimes you learn as much from the things you don’t like as from the things you do like. The rejection side is as important as the endorsement part. You define who you are and where you are by the things that you know you are not. Sometimes that’s all the information you have to go on. I’m not that kind of person. You don’t quite know where you are but you find yourself in the space left behind by the things you’ve rejected.“
On working with U2 and Coldplay at the same time
„It was fine. A few jokes. I felt like a *philanderer who was with another woman and might make a slip and call her by the wrong name in bed. I had one computer that had all of the Coldplay stuff and all the U2 stuff. I had to very carefully label each folder because I was paranoid that I might end up with the same basic track for each group and I wouldn’t notice until it was too late. There was a chance the same track might have appeared on both albums.“
On ego
„Bono commits the crime of rising above your station. To the British, it’s the worst thing you can do. Bono is hated for doing something considered unbecoming for a pop star – meddling in things that apparently have nothing to do with him. He has a huge ego, no doubt about it. On the other hand, he has a huge brain and a huge heart. He’s just a big kind of person. That’s not easy for some to deal with. They don’t mind in Italy. They like larger-than-life people there. In most places in the world they don’t mind him. Here, they think he must be conning them.“
On reporting in the 1990s that there was too much music being released and he was not going to add to it any more
„I didn’t think it through to be honest.“
On the end of an era
„I think records were just a little bubble through time and those who made a living from them for a while were lucky. There is no reason why anyone should have made so much money from selling records except that everything was right for this period of time. I always knew it would run out sooner or later. It couldn’t last, and now it’s running out. I don’t particularly care that it is and like the way things are going. The record age was just a blip. It was a bit like if you had a source of whale blubber in the 1840s and it could be used as fuel. Before gas came along, if you traded in whale blubber, you were the richest man on Earth. Then gas came along and you’d be stuck with your whale blubber. Sorry mate – history’s moving along. Recorded music equals whale blubber. Eventually, something else will replace it.“
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Ohne Musik ist alles Leben ein Irrtum.Ich würde gerne diesen Thread wiederbeleben, weil ich bei Euch evtl. wiederfinde, was ich seit vielen Jahren suche.
Folgende Fragmente finde ich in meinem Gedächtnis:
– Brian Eno war Produzent
– Zusammenarbeit mit einem indischen(?) Musiker, vermutlich auch indische/nicht-westliche Instrumente
– Klangteppich (na gut, bei B.E. hilft das nicht viel :-))
– Es muss vor ~1986 gewesen sein… und ich würde es wiedererkennen wenn ich es höre …
Kann jemand helfen?
Danke & Grüße
F_rankie--
Meines Erachtens meinst du Laraaji und sein Album Ambient 3/Day of Radiance das von Eno produziert wurde und auch in der typischen Abient-Reihe/Aufmachung erschien. Laraaji selbst ist wohl kein Inder, auch wenn die Music auf Ambient 3 sehr indisch klingt
engl. Wikipedia über Laraaji--
Früher war mehr Lametta!ENO betreibt eine eigentlich sehr informative page:
http://music.hyperreal.org/artists/brian_eno/Viellicht ist hier etwas zu finden…?
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SouthernManMeines Erachtens meinst du Laraaji und sein Album Ambient 3/Day of Radiance das von Eno produziert wurde und auch in der typischen Abient-Reihe/Aufmachung erschien. Laraaji selbst ist wohl kein Inder, auch wenn die Music auf Ambient 3 sehr indisch klingt
engl. Wikipedia über LaraajiVolltreffer! Vielen Dank! :dance: Siehe YouTube: http://www.youtube.com/watch?v=-gcGWRKmKsY
F_rankie
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Brian Eno wird am 28. November vier seiner Alben aus den 90er Jahren in erweiterter Form wiederveröffentlichen, darunter das vergriffene, oder jedenfalls nur noch teuer oder gebraucht erhältliche Neroli. Die Gelegenheit, mein abgenudeltes MP3 mal durch einen anständigen Tonträger zu ersetzen.
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„Für mich ist Rock’n’Roll nach wie vor das beste Mittel, um Freundschaften zu schließen.“ (Greil Marcus)Music for Installations (05/2018)
This May, Universal Music will issue Music For Installations a Brian Eno super deluxe edition box set of “new, rare and previously unreleased music.”
This is a six-CD set and the music in question is from Eno’s audio-visual installations which have been exhibited all over the world and covers the period 1986 until the present day (“and beyond”!). Half of this music is previously unreleased with the other half only ever had a very limited “direct-to-consumer” release.
As is clear by the image above, this box is not your normal run-of-the-mill SDE and has been designed by Brian and long-time collaborator Nick Robertson. It’s a limited edition numbered super deluxe with a 64-page Plexiglas bound book featuring rare and unseen exhibition photos and a new essay written by Brian Eno. This is housed in an outer rigid 12″ x 10″ box.
Detail on Audio:
Music From Installations (previously unreleased):
‘Kazakhstan’
(Premiered at the Asif Khan-designed installation ‘We Are Energy’ in the UK Pavilion at Astana Expo 2017 in Kazakhstan)
‘The Ritan Bells’
(Premiered at an installation by Eno at Ritan Park in Beijing, China as part of the British Council’s ‘Sound in the City’ series, 2005)
‘Five Light Paintings’
(Premiered at an installation by Eno called ‘Pictures Of Venice’ at the Gallerie Cavallino, in Venice, Italy, 1985.)
‘Flower Bells’
(Premiered at an installation by Eno called ‘Light Music’ at the Castello Svevo in Bari, Italy, 2017)
77 Million Paintings: (previously unreleased):
‘77 Million Paintings’
(Premiered at the inaugural exhibition of ‘77 Million Paintings’ at La Foret Museum Tokyo, Japan, 2006)
Lightness – Music For The Marble Palace: (previously only available as a limited-run CD, via Enostore only):
‘Atmospheric Lightness’
‘Chamber Lightness’
(Premiered at the Eno installation ‘Lightness in the Marble Palace’ at The State Russian Museum in St Petersburg, Russia, 1997)
I Dormienti / Kite Stories: (previously only available as separate limited run CDs, via Enostore only):
‘I Dormienti’
(Premiered at an eponymous installation by the Italian sculptor Mimmo Paladino at The Undercroft of The Roundhouse in London, 1999)
‘Kites I’
‘Kites II’
‘Kites III’
(Premiered at an installation by Brian Eno at the Kiasma Museum of Contemporary Art in Helsinki, Finland, 1999)
Making Space: (limited-run CD previously only available at Eno installations and on the Lumen website):
‘Needle Click’
‘Light Legs’
‘Flora and Fauna’ / ‘Gleise 581d’
‘New Moons’
‘Vanadium’
‘All The Stars Were Out’
‘Hopeful Timean Intersect’
‘World Without Wind’
‘Delightful Universe (seen from above)’
(Compiled by Eno for sale exclusively at his installations, this was first made available while guest artistic director of the Brighton Festival, 2010)
Music For Future Installations: (previously unreleased):
‘‘Unnoticed Planet’
‘Liquidambar’
‘Sour Evening (Complex Heaven 3)’
‘Surbahar Sleeping Music’
6CD box sets
Disc: 1
- 1:Kazakhstan ( 20:33 )
- 2:The Ritan Bells ( 17:05 )
- 3:Five Light Paintings ( 19:56 )
- 4: Flower Bells ( 18:49 )
Disc: 2
- 1: 77 Million Paintings ( 43:57 )
Disc: 3
- 1: Atmospheric Lightness ( 30:40 )
- 2: Chamber Lightness ( 25:00 )
Disc: 4
- 1: I Dormienti ( 39:42 )
- 2: Kites I ( 8:07 )
- 3: Kites II ( 14:29 )
- 4: Kites III ( 7:34 )
Disc: 5
- 1: Needle Click ( 4:09 )
- 2: Light Legs ( 3:38 )
- 3: Flora and Fauna / Gleise 581d ( 3:56 )
- 4: New Moons ( 4:03 )
- 5: Vanadium ( 1:56 )
- 6: All The Stars Were Out ( 3:53 )
- 7: Hopeful Timean Intersect ( 5:13 )
- 8: World Without Wind ( 5:24 )
- 9: Delightful Universe ( seen from above ) ( 7:33 )
Disc: 6
- 1: Unnoticed Planet ( 7:45 )
- 2: Liquidambar ( 6:55 )
- 3: Sour Evening ( Complex Heaven 3 ) ( 8:12 )
- 4: Surbahar Sleeping Music ( 18:16 )
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Gestern feierte Brian Eno seinen 75. Geburtstag
Happy Birthday!
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