Tag Archive: Eno


OCEAN OF SOUND

‘Ocean of Sound’ by David Toop was first published over a decade ago but still reads as a highly contemporary if occasionally confusing account of experimental music in the 21st century.

Toop, born in 1949, is described as a musician, author and music curator. He’s a regular contributor to The Wire magazine and has released half a dozen solo albums of instrumental electronica. On top of this, he’s also  been involved in numerous collaborations with artists like Eno. Prince Far I, John Zorn, Derek Bailey and (rather less fashionably) The Flying Lizards.

The book is subtitled ‘Aether Talk, Ambient Sound and Imaginary Worlds’ and its stated aim is “to explore is the path by which sound (and music in particular) has come to express [an] alternately disorientating and inspiring openness through which all that is solid melts into aether”.

Clear? I didn’t think so! Continue reading

AN ATHEIST IN A GOSPEL CHOIR

Good interview with Brian Eno in today’s Observer by Paul Morley. He talks about how he combines an interest in abstract experimental art with his work on results driven pop with mainstream acts like Coldplay and U2.  These apparent contradictions never bother him too much. In the same spirit,  he reveals that  he is in a local gospel choir despite being an atheist.

In talking about his invention of Ambient Music, I like what he says about giving genre labels to music:

“All the signs were in the air all around with ambient music in the mid 1970s, and other people were doing a similar thing. I just gave it a name. Which is exactly what it needed. A name. A name. Giving something a name can be just the same as inventing it. By naming something you create a difference. You say that this is now real. Names are very important.”

ELECTRONIC GOSPEL

A vivid and treasured memory from 1977 is that of walking into Barbarellas club in Birmingham while Talking Heads were midway through ‘Uh-Ho Love Comes To Town’. They were actually the support act to The Ramones which explains why I missed the first part of their set.

I still remember being enthralled by David Byrne who looked nervous and nerdy but curiously charismatic at the same time. The way he sang looked like therapy – a way of releasing his demons in public.

I saw the band less than a year later at the same venue – this time they were headlining (with Dire Straits as support) – and this cemented my unwavering love for the band. Continue reading

THE DEVIL IS IN THE DETAILS

THE NOTWIST LIVE at Ferrara

If you sent a group of well read, world weary aliens to Earth, I imagine they’d come up with songs like The Notwist. Technologically sophisticated yet with a lyrical faux-naivety they offer a detached and slightly bemused perspective on humankind.

Continue reading

THE HENDRIX FACTOR

hendrix

In yesterday’s blog I noted the absurdity of The Sun referring to Ben Chasny as the “Jimi Hendrix of Folk”. This is a prime example of the kind of lazy mainstream ‘journalism’ reducing complexity into neatly packaged categories. In other words the hacks seem to assume that we share their limited capacity for appreciating shades of grey.

I came across an article in the Guardian Weekly about bluesman Otis Taylor in which he was described as the “Jimi Hendrix of the banjo”. For both Chasny and Taylor the analogy at least has a semblance of logic since they refer to virtuosity and innovation in the use of a stringed instrument. So if you use this phrase to describe expertise of the bass, violin or ukelele you could at least argue that you are comparing like with like.

A google search , however, reveals that the Hendrix connection is also made to likes of Keith Emerson (keys), Ian Anderson (flute), Brian Eno (synthesizer) as well as a heap of lesser-known players of the accordion, bagpipes, clarinet and harmonica. Continue reading