ANOTHER GREEN WORLD

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Really, like 4.5 stars. This is Eno's crowning achievement as a soloist. This album has both the pop songs and ambient pieces we expect from Eno. He pulls it off very well with the help of various guests, including Phil Collins, Percy Jones, John Cale, and Robert Fripp. I really enjoy St. Elmo's Fire, which has the signature Fripp guitar sound, the title track, The Big Ship, and Golden Hours, which features Cale on viola the most. Eno also contributes humor to some of the tracks, including I'll Come Running. This is highly recommended to fans of Eno, or people interested in finding more out about this man's work. Sometimes, the ambient-drenched albums are very difficult to listen to. That is why this album is a great entry for many listeners. 4.5 stars.

My comment upon Another Green World goes like this: strong, beautiful music in limits and in its place of style and of resonance. The main characteristic is that it is the best of the non-ambient Brian Eno accomplishment, a manner of approach that precedes the full ambient future vast constructions. Just to do a slight recap: Here Come The Warm Jets was a disaster, the way I see it and Taking Tiger Mountain (By Strategy) was the middle result in which the benefit of improvement and the conflict of rudimentary made a fist mixture. This one is the climax of the style and the best possible reference into an easy look of Brian Eno conception. Still it marks only a good scent, nothing more. It isn't brilliancy embodied, it isn't the height of greatness, it isn't the mark of genius thinking. Only a good solid reflection. Two "exterior" reasons are for this adnotation of four stars. One would be that, in front of the greatness, the immensity and the true value of the Brian Eno ambient move, which is basically the essential Eno style, these albums (among which this is no exception) seem just a touch with the easiness of perceiving music and the leisure stand against time and against word. There's nothing really of great message, nor of outstanding skills. At least for me, the difference, the discrepancy between the ambient and the non-ambient is a challenge in which ambient ends up superior, non-ambient ends up as an eccentric vision and a test of diversity (though being the originary expression of Eno, diversification would be exactly the move towards full-ambient stream.). Another reason would be that the power of the easy knowledge remains just a reasonable fact, regardless of how achieved the expression may be. Even regarding Another Green World, which would be the most complete form of "them all", we cannot talk in any kind of aspect or in any moment of the album of fullness of value and excellence of maneuver. It's simply a step in which it will never fit. Another Green World seems a most loved album here in the Archives, something which occasionally perplexes me, nonetheless my view towards it remains one of a good album, even great in key points, but nothing more.

Another Green World aims towards pleasant, methodic and soundstroke flavor, in an overall context were little can disturb or can raise question marks. Still, in detail and in perspective, the album has its moments of fantastic value as well as its moment of questionable standard. Perhaps not something that much as an antithesis of elements surrounding the sphere of thoughts and of music, still each quality of the album seems to compensate of a deficit or a missing, never used aspect of it. By this general rendered motivation, a variety is created. The music is of spark and quality, and it flows in tones of great spirit and fine mood, still complexity isn't showing much. Not that complexity would normally or essentially be an important feature of Brian Eno music, still I consider it could have been more challenging. Simplicity oppresses expansive gesture. Everything goes resumes to short sentences that create the context, but don't go impressive individually. A principle of themes and evoked messages is respected and gets huge credit, still anonymous is the touch in which memory grant the pieces their reflection. This memory of the listener will evidentiate the power of the unitary savor, instead of the fragments and the pieces that create the repertoire. You be the judge of how good an album with no specific character of a great, fantastic, demanding piece is. Instrumentally everything is nice and well-outlined, still the arrangement has a deficit of power, not too obvious, but enough to make no further move into higher places. Realist and fluid is the speech, still much of a separation from the world and accommodation into the music's universe and significance isn't really done. Surrounding feature, still on the grounds of realistic impressions. This "another green world" is one of charisma and stability and optimum planes, still it can just as well be the one in which the abstract, the surreal, the imaginative process of the un-common can be absent. That in the full detriment of elsewhere, where both sides exist or, better said, coexist. Overall, the album resumes to a message and a sense of ideas and of musical energy that expresses its own message. Too many of different looks you'll rarely find. Strong and devoted, it creates a close entourage. However subjective that may be or may seem, it'll always be a more tempered creation.

So that's my opinion. Another Green World is not Brian Eno's best reference, nor his finest musical moment, nor even his utmost creative style. I will always have the affinity towards the ambient scales rather that the easy tricks and slow moves. Still this album remains the best of its kind, denoting a great quality of being very comprehendible and speaking on almost everybody's language, which is probably the main reason we many like it, many adore it, many even raise it to the divine definitions. Too much would be to call it a splendid artifact. Nonetheless, a success in its entire. One of many.

Interesting, but that's about it.

An album densely packed with timbral excursions a-plenty that at times maintains a fresh sound, albeit with somewhat muted production by today's standards, but all too often wallows in noises that firmly anchor it in the 1980s.

Not an album that'd be many people's number one of all time, I'd wager, comprising a bunch of sub 4-minute tracks that have the hallmark of intellectual studio creation about them.

The main problem with this approach is that any potential for artistic musicality is lost, and once each track has started, you get the idea in the first few seconds, then it's more of the same. Fortunately, in many cases, this is for less than 2 minutes - and you have to wonder what the point is, espcially as many tracks feel unfinished - mere sketches of something that could have been.

Then there's Eno's rather flat vocals, which, while not terrible, are not exactly a pleasant listen or invested with high levels of singing technique.

But the main focus is on the textures - the instrumental timbres, with occasional flurries from the ever-inventive Robert Fripp, who here cooks up more noodle than the average chinese takeaway.

"Over Fire Island" contains some of the nastiest sounds, but many of the other tracks line up for the award of "most horrible sound ever", particularly "I'll Come Running", which sounds like it might have been cooked up over a Bontempi keyboard freshly purchased from the local branch of Woolworths or Walmart. Quite possibly one of the worst songs I've ever heard.

No individual track stands out as having any musical sigificance or real interest to progressive rock fans - the melodies are generally bland, the rhythms are repetitive and somewhat irritating, the harmony is desperately simple, and there is no attempt to do anything elaborate with form.

Which leaves only timbre.

And that's what makes this album stand out - that's what people get excited about, when they rave about this album.

So for fans of this sort of thing, it's a must - but I can't say that any of the textures do much for me, and I wouldn't recommend it to anyone particularly, especially fans of challenging music. On the other hand, this is a challenging album in some ways... I really had to push myself to listen to all of it in one sitting - especially the 4th time (I never review an album without giving it a fair crack of the whip).

Even Robert Fripp couldn't save this one.

Avoid.

Critics shower this Eno album with the highest accolades, and it does contain many qualities that have stood the test of time. However, if you are hearing it for the first time, it may be hard to discern its value as the pioneering effort of electronica and ambience that it is.

One of the problems I hear with 3 decades of hindsight is that the effort is somewhat schizophrenic, with Eno alternating between quirky pop ditties and truly ambient atmospherics. "St Elmo's Fire" with Eno's stunned voice and Robert Fripps's sumptuous guitars is a major highlight from the poppy side, and "Everything Merges with the Night" shows sophisticated song structures and understatement that clearly gave some voice to David Sylvian's elegant works of a decade later. The mesmerizingly beautiful "Somber Reptiles", "The Big Ship" the Jade Warrior like title cut, and "Becalmed" all demonstrate the instrumental innovation at work. Speaking of Jade Warrior, it is worth mentioning that they were equally groundbreaking, if less widely recognized, and that they and Eno shared some significant inspiration.

Apart from the artifice of the juxtaposition of the two styles, the vocal material tends to be less interesting and even embarassing at times, in particular "I'll Come Running". "Golden Hours" ls like a weak version of "Baby's on Fire" from an earlier album. So the album generally shows its best where no vocals are present.

The grass is not always greener in "Another Green World", but when it is, it is absolutely lush. 3.5 stars rounded up because of its influence.

Another Green World is Eno's third solo release, and many have anointed it his masterpiece. Even Rolling Stone, in their original record guide, awarded it five stars. So what's the real deal?

Things kick off with Sky Saw, which sounds like just what it says, which would be a buzz saw arcing through the air, bisecting whatever comes in its way, though Eno's guitars --or perhaps it's Cale's violas -- eventually sound as if they are being put through considerable distress. This is a great opener for the album, being one of the less contemplative pieces.

What follows is both familiar and new territory for Eno. The pop-rock tendencies of the previous albums are present here in St. Elmo's Fire, I'll Come Running and Golden Hours, all of which have Robert Fripp on guitar. But the bulk of the album is made up of assorted soundscapes, which are the blueprints, conceptually, for the ambient albums which eventually came to follow.

The fourteen songs are generally brief, clocking in at around three minutes, and listening to most of these can be likened to leafing through an artist's sketch pad, with some drawings being more developed than others, but none being fully realized. Other listeners, particularly those who find the full-blown Ambient albums a bit too developed, may view these as perfect miniatures needing no further embellishment or exploration.

The song titles often reflect the general ambience of the music: In Dark Trees, The Big Ship, Sombre Reptiles, Little Fishes, Becalmed, Spirits Drifting. The sonic aura Eno creates is remarkable in evoking the subjects of the songs' titles.

As usual with Eno, the quality of the music, both in terms of the skill of the musicians and the nuances coaxed from their instruments, is first-rate. Eno pulls unheard of sounds out of what were, at the time, rudimentary synthesizers. Fripp is excellent on the songs on which he's present, even contributing 'restrained lead guitar' -- something for which he's not exactly known -- to I'll Come Running.

As far as rating this, I am conflicted, since it sits directly on the 4.5 fence. However, given that any comprehensive progressive collection needs at least one Eno album, this should probably be it, so I'm rounding up and, for one of the few times in my life, agreeing with Rolling Stone.

Balancing the more structured sounds of his first two albums with tastes of the more texturally heavy ambient work to come, Eno's music is wonderfully vibrant on Another Green World. Showcasing his brilliance as both a quirky pop music maker and a craftsman of progressive electronic soundscapes and melodies it's hard not to be captivated by the near equilibrist qualities found here.

Being a monument of timbre variation, the first thing that really strikes you about the album is its colourfulness; a mainly electronic palette capable of reaching crystal clear ethereal notes as well as mysterious, low-end droning ? and everything in between. It's remarkably hard to pinpoint a certain direction or any particular moods in the short songs. There are of course the pop ones, oddities marked by strong melodies and quirky, subdued percussion. Eno's somewhat flat and carefree vocals aids in making the dreamlike qualities stronger. Overall though, while far from directionless, the songs gladly drift off on their own accord in various studio acrobatics. Not in slow moving textures and minimal melodies like those you often encounter in electronic music, although shorter bits of that are also present, but instead anchored to tangible rhythm and melody, albeit in an often fragmented and transient way. There is a certain wistfulness to some of the music, but often with something playful and cheeky on top or underneath; just further proof of the strangely suspended atmosphere on Another Green World. Stylishly distanced, cold and yet alluring, controlled fieriness. It's not surprising that Eno collaborated with another artist with the same musical aesthetics; David Bowie during his Berlin era.

A typical compositional method is adding sharp, robotic sounds over a repeated and slightly varying series of distinct bass bursts and noodlings, with steady beat and enrichment from and underlying guitar or viola. There is seldom a clear lead instrument, but rather a holistic, layered approach where instruments come and go, but where no one really dominates. The buzzing and screeching noises produced by some of those synthesisers and organs are kind of hard to ignore though, but they're never really meant to be subtle either. It really is a melange of subtle and obvious, sharp and soft.

Being a mostly electronic album, you can't escape from the fact that atmosphere is key here. It's just not meant to be blazing guitar solos or other instrumental fireworks, but instead of the truly ethereal and cerebral albums of Tangerine Dream and others of that ilk (and even later Eno, to be fair) this a more musically engaging album, with meditative qualities that still manage to keep you on edge (or keep you awake for that matter!). The scope of the fourteen songs can change rather dramatically in terms of melody, ambience and technique, but they all share one important ingredient; the detached, pseudo-academic presentation and experimentation. That, and layering. Add one there, remove it again, add it with another one, strip down to percussion and bass. It feels a bit calculated, a fact that has the potential to scare off some listeners.

Comes with a recommendation.

4 stars.

//LinusW

Another Green World is the third full-length studio album by UK progressive rock artist Brian Eno. The album was released in 1975 through Island Records.

The music on Another Green World sees a departure from the art pop/ rock sound of the two previous albums Here Come The Warm Jets (1973) and Taking Tiger Mountain (By Strategy) (1974) and introduces a much more experimental and pre- dominantly instrumental style. Only five of the fourteen song have lyrics and those five songs are the only songs that remind me slightly of the style of music on Here Come The Warm Jets and Taking Tiger Mountain (By Strategy). It´s mostly because of Brian Eno´s vocal lines though as the music itself is far removed from the more organic sounding predecessors. The music on Another Green World has a cold sound and some tracks are ambient and made up of electronic sounding beats and keyboard/ synth only. While a lot of the album is truly a solo effort Brian Eno is helped out on some tracks by guest musicians like John Cale, Phil Collins and Robert Fripp.

The musicianship is excellent on the album. For the first time since Brian Eno went solo it´s obvious that this is a keyboardist solo album. Not that there are any noodling on the album though it´s more that Brian Eno shows some really innovative and experimental behaviour on the album while still maintaining an element of accessibility. This is not a hard album to get into.

The production must have seemed futuristic at the time of the album´s release. Some parts of the album actually sounds like it´s made in the eighties IMO.

Another Green World is a good album by Brian Eno. I enjoy the fact that he opted for a totally different sound than anything he had produced before. 3.5 stars are deserved.

Another Green Wrld was the first real step Brian Eno takes directly into the direction he became famous for: ambient/eletronic music. From this album on he dropped his rock/glam ambitions and takes another turn into a more quiet and subtle kind of music. The first track is the only link with the two previous works, and even then, not much. The remaining tunes are much more quiet and very well crafted. the musicanship of all involved is superb (even if the music does not show anything fleshy or obvious). Production, as expected, is top notch!

The majority of the album is instrumental, but there a few good singing parts like St. Elmo's Fire (probably his best ´normal´ song in this CD) and Golden Hours. There is even some humored stuff like I´ll Come Running. But the best ones are the short, lyrical, quiet stuff like The Big Ship. They are all very good and quite groundbreaking for the time. I wonder the impact it must have had. The minimalistic, and melodic, approach is something to hear with care and atention. One of the truly ambient albums and one that is pleasant and hamrmonic structure enough to almost any person to hear and appreciate It. Another Green World serves very well as an introduction to the genre.

An excellent addition to any prog music collection, even if you´re not really an eletronic music fan like me. Rating: 3.5 to 4 stars.