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SAMEDAY RECORDS - Young Devotion (A Capella \u0026 Rhythm Version) Bourgeois Magnetic. In addition to producing both albums, Eno performed in the orchestra on Real amateur sluts recordings playing the clarinet. This album embraces atonality and abandons most conventional concepts of modesscales Sex girls porn pitch. Eno embarked on a solo career almost immediately. Redhairypussy gives the example of wind chimes. Young devotion schwimmbad

In addition to producing both albums, Eno performed in the orchestra on both recordings playing the clarinet.

Eno also deployed the orchestra's famously dissonant string section on his second solo album Taking Tiger Mountain By Strategy. The orchestra at this time included other musicians whose solo work he would subsequently release on his Obscure label including Gavin Bryars and Michael Nyman.

Eno released a number of eclectic ambient electronic and acoustic albums. He coined the term "ambient music", [21] 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.

Eno was hit by a taxi while crossing the street in January 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.

Eno's first work of ambient music was Discreet Music , 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.

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.

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 film Amarcord , it too became a touchstone to which I returned frequently.

In to , 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.

This album was a last-minute substitution for My Squelchy Life , which contained more pop oriented material, with Eno on vocals.

Eno also released The Shutov Assembly in , recorded between and 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.

During the s, 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.

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. Laid was met with notable critical and commercial success both in the UK and the United States after its release in Wah Wah , in comparison, received a more lukewarm response after its release in 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 album Original Soundtracks 1 , which reached No. In , Eno scored the six-part fantasy television series Neverwhere. The album differs from his s solo work due to the impact technological advances on musical production, evident in its semi-electronic production.

In early , 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.

This allowed listeners to remix and upload new mixes of these tracks to the website for others to listen and rate them.

In late , 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 He also appeared playing keyboards in Voila , Belinda Carlisle 's solo album sung entirely in French.

Miller a. DJ Spooky. Eno released another solo album on Warp in late In November , Eno released Lux , a minute composition in four sections, through Warp.

This was released on 30 June In a statement Eno commented on the unnamed half-hour piece:. 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 on Warp. 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. Eno's Reflection , an album of ambient, generative music, was released on Warp Records on 1 January.

It was nominated for a Grammy Award for 's 60th. Grammy awards ceremony. In , 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. From the beginning of his solo career in , Eno was in demand as a record producer. 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 at using "The Studio as a Compositional Tool" [56] the title of an essay by Eno led in part to his career as a producer.

In , 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.

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.

Even though films are listed and described for each song, all but three are bogus. He is credited for "frequent interference and occasional co-production" on their album Whiplash.

Eno played on the album Measure for Measure by Australian band Icehouse. In , Eno provided one of several remixes of " Protection " by Massive Attack originally from their Protection album for release as a single.

Also in , 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.

In , 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 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. 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.

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. 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 Eno describes the first video camera he received, which would initially become his main tool for creating ambient video and light installations:.

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.

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.

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. 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 Eno continued his video experimentation through the 80s, 90s and s, leading to further experimentation with the television as a malleable light source and informing his generative works such as 77 Million Paintings in 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 s really, when I first heard composers like Terry Riley , and when I first started playing with tape recorders.

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.

In , he began working with the company Intermorphic to create generative music through utilising programmed algorithms. The Koan software made it possible for generative music to be experienced in the domestic environment for the first time.

Eno started to release excerpts of results from his 'generative music' systems as early as with the album Discreet Music.

Then again in 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 my self. It is in fact a long [recorded tape] loop running around a series of tubular aluminum chairs in Conny Plank's studio.

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.

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

Several of the released excerpts listed above originated as, or are derivative of, soundtracks Eno created for art installations.

Eno has created installations combining artworks and sound that have shown across the world since , beginning with 2 Fifth Avenue and White Fence, in the Kitchen Centre, New York, NY.

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.

Since his experiments with sound as an art student using reel to reel tape recorders, [74] - and in art employing the medium of light, [75] 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.

David A. Ross writes in the programme notes to Matrix 44 in "In a series of painterly video installations first shown in , 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. 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.

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.

From the outset, Eno's video works, were "more in the sphere of paintings than of cinema". The low-grade equipment 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.

Ross, "recontextualize[d] the television set, and Natural phenomena like rain look quite different in this orientation; less familiar but curiously more real.

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 synthesizer, and that its use as an imager-retailer represented a subset of its possible range.

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.

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.

Calling these light sculptures Crystals first shown in Boston in , Eno further developed them for the Pictures of Venice exhibition at Gabriella Cardazzo's Cavallino Gallery Venice, 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.

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 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, , again with Mimmo Paladino and 'Speaker Flowers and Lightboxes' at Castello Svevo in Trani Italy 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] Since On Land , 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. 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.

The Quiet Club series grew from Eno's site-specific installations that included the Place series 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.

The continually flowing non-repeating music and art of Eno's installations mitigate against habituation to the work and maintain the visitors' engagement with it.

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.

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.

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.

Developed for both PC and Mac, the process is explained by Nick Robertson in the accompanying booklet. The selection of the elements and their duration in the painting is variable and arbitrarily determined…" [93].

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.

This exhibition marked the beginning of Eno's site specific installations that re-defined spaces on a large scale. For the Triennale exhibition, Eno with Rolf Engel and Roland Blum at Atelier Marktgraph, used new 'dataton' technology that could be programmed to control the fade up and out times of the light sources.

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. Although designed for the domestic environment, 77 million paintings has been and continues to be exhibited in multi-screen installations across the world.

During an exhibition at Fabrica Brighton, the orthopaedic surgeon Robin Turner noticed the calming effect the work had on the visitors.

Since then 77 Million and Eno's latest "Light Boxes" have been commissioned for use in hospitals. 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.

Eno composed most of the music for the Electronic Arts video game Spore , 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. Inspired by possibilities presented to Eno and Peter Chilvers whilst working together on the generative soundtrack for the video game Spore , the two began to release generative music in the Apple App format.

They set up the website generativemusic. 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 duration.

The following appears on the app's Apple iTunes page:. The download will be available until 28th February []. 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.

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:. 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.

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.

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 - 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.

He likens Eno's art to "Matisse or Rothko at their most enfolding. First shown commercially at the Paul Stolper Gallery in London forming the Light Music exhibition in that included lenticular paintings by Eno , [] '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.

Eno started the Obscure Records label in Britain in to release works by lesser-known composers. The second side of Discreet Music consisted of several versions of 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 Fripp, most notably on Evening Star.

In , 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 Warchild in Mostar, at the Pavarotti centre, Bosnia In , Eno sold limited edition prints of artwork from his album Lux from his website.

In , Eno was added to Edinburgh University 's roll of honour [] and in , he delivered the Andrew Carnegie Lecture at the university. Yuan, B.

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