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BRIAN ENO

Progressive Electronic • United Kingdom


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Brian Eno biography
There has never been an artist more mystic (in the prog world, anyway) than Brian Eno. He has had many occupations that have influenced many musicians: he was the founding father of ambient music (though some might give him nosmall amount of flak for starting new age slop), a glam rocker, an expert at the synthesizer and many other strange electronic devices, a producer of hits for U2 and Talking Heads, an explorer of non-western musical themes and, as he was known to everyone who liked him, a "non-musician."

Mr. Eno was born in Woodbridge on May 15, 1948. His birth name was (deep breath...) Brian Peter George St. Jean le Baptiste de la Salle Eno. Growing up in the neighboring town of Suffolk (which was close to a American Air Force camp), he became fascinated by music when listening to doo wop and R&B on the Armed Forces radio stations. He later developed an interest towards avant-garde composers like John Cage and Terry Riley. In 1971, he became a member of the seminal rock band ROXY MUSIC. Eno joined them because he knew how to operate a certain synthesizer that none of the other members could. Some rock fans thought that he was gay because he wore makeup and women's clothing. His unusual appearance was offstaging the ROXY MUSIC frontman Bryan Ferry, who began to grow agitated as a result. After several fights with Ferry, Eno quit ROXY MUSIC to record some albums of his own sound.

The first album with Eno's name on it was 1973's "No Pussyfooting", an early ambient venture that he recorded with fellow EG Records recording artist Robert Fripp (most famous as the guitarist of KING CRIMSON). Most of the album was a Gibson Les Paul played by Fripp running through a tape-delay system. This new method would be dubbed "Frippertronics," a system that Fripp would later use in his solo career. (The sampling of sounds later set the stage for electronica and hip-hop.) Eno's first true solo album was 1973's "Here Come The Warm Jets", which managed to make the Top 30 in the UK. This time around, Eno had a glam rock sound that David Bowie and QUEEN had popularized. The album proved so critically popular that Eno (even though he was in poor health) decided to tour. The tour was cancelled shortly because of a collapsed lung.

In 1974, he released "Taking Tiger Mountain" (By Strategy), which was a similar collection of free form rock songs. Shortly after the album was
released, a serious car accident left Eno bedridden for several months. While in t...
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Someday WorldSomeday World
Warp Records 2014
Audio CD$7.89
$9.77 (used)
Discreet MusicDiscreet Music
Remastered
Astralwerks 2004
Audio CD$7.56
$6.99 (used)
Ambient 4: On LandAmbient 4: On Land
Remastered
Astralwerks 2004
Audio CD$6.93
$6.91 (used)
Another Green WorldAnother Green World
Remastered
Astralwerks 2004
Audio CD$7.56
$5.05 (used)
Ambient 1: Music for AirportsAmbient 1: Music for Airports
Remastered
Virgin / Astralwerks 2004
Audio CD$5.99
$3.59 (used)
Here Come the Warm JetsHere Come the Warm Jets
Remastered
Astralwerks 2004
Audio CD$7.69
$6.49 (used)
Taking Tiger Mountain By StrategyTaking Tiger Mountain By Strategy
Import
Astralwerks 2004
Audio CD$7.56
$6.17 (used)
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BRIAN ENO shows & tickets


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BRIAN ENO discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BRIAN ENO top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.65 | 134 ratings
Here Come The Warm Jets
1973
3.57 | 122 ratings
Taking Tiger Mountain (By Strategy)
1974
3.94 | 215 ratings
Another Green World
1975
3.26 | 70 ratings
Discreet Music
1975
3.71 | 132 ratings
Before and After Science
1977
3.25 | 59 ratings
Music For Films
1978
3.65 | 121 ratings
Ambient 1 - Music For Airports
1978
3.75 | 49 ratings
After The Heat (with Dieter Moebius & Hans-Joachim Roedelius)
1978
3.92 | 99 ratings
My Life In The Bush Of Ghosts (with David Byrne)
1981
4.09 | 115 ratings
Ambient 4 : On Land
1982
3.72 | 74 ratings
Apollo : Atmospheres & Soundtracks
1983
2.76 | 21 ratings
Music For Films Vol.2
1983
3.34 | 39 ratings
Thursday Afternoon
1985
2.38 | 14 ratings
Music for Films, Vol. 3
1988
2.68 | 31 ratings
Wrong Way Up (with John Cale)
1990
2.00 | 29 ratings
Nerve Net
1992
2.71 | 20 ratings
The Shutov Assembly
1992
3.12 | 24 ratings
: Neroli :
1993
2.00 | 6 ratings
Headcandy
1994
2.86 | 13 ratings
Spinner (with Jah Wobble)
1995
2.50 | 18 ratings
The Drop
1997
2.40 | 5 ratings
Lightness
1997
3.38 | 8 ratings
I Dormienti
1999
3.49 | 22 ratings
Drawn from Life (with J. Peter Schwalm)
2001
2.10 | 10 ratings
January 07003: Bell Studies For The Clock Of The Long Now
2003
3.70 | 54 ratings
Another Day on Earth
2005
3.97 | 57 ratings
Small Craft on a Milk Sea
2010
3.51 | 27 ratings
Drums Between the Bells (with Rick Holland)
2011
3.18 | 14 ratings
Lux
2012
3.10 | 11 ratings
Someday World (With Karl Hyde)
2014
2.73 | 6 ratings
High Life (With Karl Hyde)
2014

BRIAN ENO Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 2 ratings
Dali's Car (with Winkies and 801)
1999

BRIAN ENO Videos (DVD, Blu-ray, VHS etc)

3.91 | 4 ratings
Thursday Afternoon
1984
4.04 | 4 ratings
14 Video Paintings
2005
4.09 | 3 ratings
77 Million Paintings
2006

BRIAN ENO Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Working Backwards: 1983-1973
1983
3.51 | 5 ratings
Begegnungen (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1984
2.18 | 3 ratings
Begegnungen II (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1985
2.51 | 3 ratings
Desert Island Selection
1986
3.50 | 2 ratings
Textures
1989
3.05 | 3 ratings
Eno Box II: Vocals
1993
4.08 | 5 ratings
Eno Box I: Instrumentals
1994
0.00 | 0 ratings
Generative Music 1
1996
3.00 | 1 ratings
Sonora Portraits
1999
3.09 | 3 ratings
Curiosities, Vol. 1
2003
3.26 | 3 ratings
Curiosities Vol. 2
2004
3.96 | 4 ratings
More Music For Films
2005

BRIAN ENO Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 1 ratings
Robert Sheckley's In A Land Of Clear Colors (with Pete Sinfield)
1979
2.00 | 1 ratings
Ali Click
1992
1.05 | 3 ratings
Fractal Zoom
1992
1.00 | 1 ratings
Music For White Cube
1997
3.00 | 4 ratings
Kite Stories
1999
4.00 | 1 ratings
Music For Onmyo-Ji
2000
0.00 | 0 ratings
Music For Civic Recovery Centre
2000
2.33 | 3 ratings
Compact Forest Proposal
2001
4.00 | 1 ratings
How Many Worlds
2005
4.00 | 1 ratings
This
2005
4.00 | 1 ratings
Making Space
2006
3.00 | 1 ratings
Panic Of Looking
2011

BRIAN ENO Reviews


Showing last 10 reviews only
 High Life (With Karl Hyde) by ENO, BRIAN album cover Studio Album, 2014
2.73 | 6 ratings

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High Life (With Karl Hyde)
Brian Eno Progressive Electronic

Review by admireArt

3 stars Too much, too soon!

After all the 3 months ago first release by Brian Eno & Karl Hyde "Someday World" 2014, included an additional "bonus"disc. So, this second (?) release "High Life", 3 months later, seems and feels like an album of songs which came in third in their personal pickings .

The album repertoire (6 songs) sounds more like an Eno's self-tribute, than a 2 musician collaboration. Yeah! Maybe Hyde's "electronic funky" fondness matches that of Eno's, but as far as new proposals, there are really none.

Maybe with a bit more time, they could actually have found some new "music lines", who knows?

Ok ! It is not bad, but it just reinforces the quiet well established Brian Eno's "sonic" discoveries. Like his endeavors with Daniel Lanois and U2's electric guitar "fast-droning" sound, in their 'Joshua Tree's" (1987) record, as sound engineers and collaborators (i,e. track one "Return" ). I suppose it is focused more for Underworld's not-knowledgeable of his existence audiences, than for more aquainted with his work followers .

Anyway, this effort in fact should have been the "Someday's World's" bonus disc, and that release, a one disc release! As such, it all seems quiet greedy, therefore deceiving and somehow dissapointing!

***3 flat PA stars. (The five star song, because there is one, is "Cells & Bells", track 6.)

PD. The PA's guy who labels "First Review of This Album", somehow always misses mine, but this is that!

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 Ambient 4 : On Land by ENO, BRIAN album cover Studio Album, 1982
4.09 | 115 ratings

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Ambient 4 : On Land
Brian Eno Progressive Electronic

Review by Mellotron Storm
Prog Reviewer

5 stars Without question this is my favourite Brian Eno Electronic album. All eight tracks are dark and atmospheric with a lot of attention to detail from Mr. Eno. Headphone music at it's best as we drift along in this spacey and haunting trip. TANGERINE DREAM's "Zeit" is maybe a good comparison although this isn't as sparse or as long a journey as what the Germans created some ten years earlier.

I can't really pick out a favourite track as this album really seems like your listening to one long suite even though each song is slightly different, the mood though isn't. Again I love the attention to detail as we hear these sounds that are often manipulated or processed in one way or another while the dark atmosphere floats and shimmers constantly. I just can't give anything less than 5 stars for this innovative and very interesting series of soundscapes. This is one of my favourite Electronic albums of all time.

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 Someday World (With Karl Hyde) by ENO, BRIAN album cover Studio Album, 2014
3.10 | 11 ratings

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Someday World (With Karl Hyde)
Brian Eno Progressive Electronic

Review by admireArt

4 stars A futuristic retrospective.

Inevitably Brian Eno and Karl Hyde (half of "Underworld", a progressive dance/trance duo, not included here in PA, because you can dance to it, I suppose), recorded an album together. Inevitably due to the later spontaneous collaborations, both musicians have had in the past 3 years (give n' take). All of these encounters were brief and reduced to the use of Eno's studio in a recording of an Underworld's track and a recorded song between the 3 musicians (Rick Smith the other half of UW). The song in question appears in UW's "Athens" a tribute album to their influences and mentors.

Ok enough with the history lesson. "SOMEDAY WORLD" this 2014 project, has a distintive, up-front and shameless vision of the 70-80's synth-pop territories (from Devo, to Ultravox, to O.M.D. to Gary Numan to Shankar & Caroline, and the whole scope in between).

It blends the playful spirit of Eno's early, elegantly "silly-like" melodies , (without the early, raw experimentation), with Hyde's deeper yet still plenty of fun song writing. The outcome is a very well balanced exchange of styles, influences and personal findings. The virtues of each musician are enhanced by the other's talents, a perfect match!

Unpretentious all in all, it relies mostly on its mutual, exceptional and fresh song writing approach and results, and its perfect-pitch studio-engineering. (Both are extraordinary sound engineers in their respective fields).

So there is a bit of Eno and a bit of Hyde respectfully disposed. A bit of "Here Come the Warm Jets" & "Before and After Science" like songs & the later vocal songs of "Another Day on Earth", with Hyde's solo project "Edgeland" like songs, and a subtle touch of UW's ELECTRONIC-dance/trance legacy.

To close things down, not for all prog audiophiles (as P/E usually is), it is more for those who enjoy one of this sub-genre's masterminds. And a must if you also follow UW.

****4 Progressive/Electronic, PA stars.

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 Curiosities Vol. 2 by ENO, BRIAN album cover Boxset/Compilation, 2004
3.26 | 3 ratings

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Curiosities Vol. 2
Brian Eno Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars The next set of assorted outtakes, dead-ends, and other sonic flotsam from the studio dustbin of Brian Eno continues more or less where "Volume 1' left off, in the spirit of his famous set of oracle cards presenting a dozen oblique strategies and worthwhile musical dilemmas. But keep in mind these are second-round draft picks, and may not have the immediate appeal of the first edition.

At their best the selections resemble instrumental backing tracks from an unfinished song project ('Watch the World' needs only a few verses to complete it), or another chapter in the author's periodic 'Music for Films' cycle, minus only whatever passes for celluloid these days. Now in his mid- sixties, Eno remains an artist who insists, first and foremost, that every sound he generates has to be interesting, even when consigned to his discard pile. This collection is no different, although it may help to have an ear for ambient music: the set grows quieter as it continues, reaching an arctic climax in the aptly named ten-minute drift study 'Fields of Ice'.

The inner sleeve of the CD includes a long list of 'future curiosities', at this date already long overdue. The first two installments in the series were released within a year of each other, but the project seems to be stalled, with no further entries in the decade since then. Maybe someday we'll be able to hear exactly what inspired such evocative titles like 'Drums with Quack', or 'Sordid Purple Death Sausage', or (a personal favorite) 'Ten Undervalued Female Assets'. Until then, do what Eno himself so often does, and use your imagination.

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 Curiosities, Vol. 1 by ENO, BRIAN album cover Boxset/Compilation, 2003
3.09 | 3 ratings

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Curiosities, Vol. 1
Brian Eno Progressive Electronic

Review by Neu!mann
Prog Reviewer

3 stars I'm not sure how much input, if any, Eno himself had in this collection, beyond the artwork and layout (and obviously the music). The set was "researched and compiled" by his technical assistant Marlon Weyeneth, as the first in a promised series of "unreleased, unrealistic, and unfinished" scraps left on the floor of the Eno lab. But the album certainly meets his ideals of chance, hazard, and spontaneous design, the latter not an oxymoron in Brian Eno's musical universe.

And humor, too. You only have to look at the track names ("Slow Lump With Strings"; "Select a Bonk") to appreciate the very human, very quirky mind behind the recording equipment. Some of these samples must have prompted a lot of uncontrolled giggling in the engineer's booth, even a wistful tune like "My Lonely Organ", a sad title from an artist who once described himself as "an onanist" (it's actually an unaccompanied keyboard solo).

These aren't really compositions in the traditional sense, but more like stray thoughts and casual doodles: sounds or rhythms stumbled across in passing, quickly explored, and easily discarded. All of them are fairly short (only two break the five-minute mark), and most are instrumental, although a few contain weirdly processed vocals, almost like parodies of the ironic pop tunes from Eno's precocious, post-ROXY MUSIC adolescence. In songs like "War Fetish" and (in particular) "Draw One Animal", it sounds like Eno got his machines drunk on absinthe and recorded the dipsomaniacal results (after taking a few swigs himself).

Some of the pieces are purely atmospheric; others are more beat-driven; all of them offer fascinating glimpses into a unique creative intelligence. They may have been thrown away in the studio, but these aren't throwaway efforts: the pin-trumpet sustain of ROBERT FRIPP's guitar even appears, in the album finale "Manila Folder".

Expect a generous plate of ambient noodles, electro-funk appetizers, primordial soup, and assorted alien cocktails...but no main course, this being strictly a doggy bag of leftovers. The title of the series was chosen well. But if you think about it, Eno's entire career has been a curiosity.

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 Before and After Science by ENO, BRIAN album cover Studio Album, 1977
3.71 | 132 ratings

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Before and After Science
Brian Eno Progressive Electronic

Review by LinusW
Special Collaborator Italian Prog Specialist

4 stars What a masterful art rocker Eno was back then. Even with all his more serious-minded ambient adventures and all my admiration for them in mind, nothing really beats the near-perfect balance of hooks, ambience and playful experimental edge he achieved on his vocal albums.

Twitchy, restless new wave-ish rhythms and flickering but precise instrumentation, with occasional throwbacks to the glam rock of yesteryear. A dominating rhythm section with cheeky, babbling bass crackles around a solid and effective (occasionally even stodgy) pop/rock structure. But that just leaves enough room for a depth of coming and going instruments and effects: essentially a whimsical pleasure in sound diversity and its transformational, enriching and chafing effects on the deceptive straightforwardness that often lies beneath the intense conversational style of the rest. Thanks to that things move, shake and fluctuate more than what seems possible. Groovy, sharply bass-laden joyrides with distinct snap, precise clarity and drive where ephemeral but clear sounds slide and shimmer by in the classy, if a bit blank, production.

It's idiosyncratic, quirkily and unstably melodic and more directly in-your-face, leaving Before And After Science less transcendent than Another Green World. It's more physical and movement-inducing, especially the majority of the songs on the album's first half.

But there's also the back-handed and leisurely form of ambience and atmosphere. Even so, it feels more focused than usual. Rarely open-ended and distilled into effective and evocative textures with a minimum of overlay, build-up, murky depths and imprecision. Despite of this it never comes across as insipid or quaint, but more as a linear and compressed form of the idea. Silken, colourful and ornamental keyboards, effects and the omnipresent bass sail by in smooth, pleasing and accurate concentrates of artsy atmospheric pop. A bit lighter, more grounded and personal, these looser tracks come across as pleasingly furnished, but non-obtuse musical hors d'oeuvre. It's like the gentle breeze of mildly scented but still refreshing evening air across your face. Equal parts fleeting and profound.

You kind of wish that this wasn't the last solely Eno-penned expedition into less nebulous and drifting musical adventures. He's got a knack for the gentle, melodious, sweetly naive and comfortably fuzzy pop-ambience as well as the more skeletal, sharp and playfully asymmetric new wave sounds. Hearing a bit more of that side wouldn't go amiss.

4 stars.

//LinusW

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 Drums Between the Bells (with Rick Holland) by ENO, BRIAN album cover Studio Album, 2011
3.51 | 27 ratings

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Drums Between the Bells (with Rick Holland)
Brian Eno Progressive Electronic

Review by SeventhBridgeofSighs

4 stars It's no easy listening music ...at least it starts this way...with the 2 first tracks. The Opening "Bless this space" is like 22st centurian...again...why again? because we know that Eno already visited the future before ... In the beginning of this album it is a future that sound overmodernized of course...not sexy...because of those disturbed electronics programms at the control...

The 2nd track follow the same jerky path... if you introduce without warning those two songs in the middle of a salsa party ... (a music style that half of my own family enjoy to death) ...people will strangle you on the dancefloor... because this sound as angular space invaders without invitation...it is the creative sound of a bug ... sort of...or a real strawberry of metal for robots of the next age...I am not a fan of those 2 tracks but they are important as a contrast for the following tittles...

But then since track 3..."Dreambirds"...change is on the march...less bugs less infected laptops...some human breaths already pulsate under the synthesized skins... the followin Tracks follow more or less this path... then the longer "The Real" (Track6)... is opiumized...typical of ModernEno...a floating affair... existential female cyborg with disguised emotions...psychedelic and all at slow speed...an extatic journey...a land and space where every single second can last longer like supspended bridges...

"The Airman" (Track007) could have been in a futuristic James Bond movie ...it's not the best but it's pleasant enough...it's vaguely trip hop too

"A Title" (Track10) is another real high...with late 70s Krautrock echoes ... The Chaos is back with "Sound like Alien"(11) but it does not sound bad with an original funkified angle. "Dow"(12) Is good not so noisy but it's kinda weird...it nearly sound a lil bit as world music but without the usual ingredients of world music...it's zarbi...maybe it is world music of age 2112 with some kraut xtra spices "Multimedia"(13) is a favourite even if it is unfotunately a litle bit too short...

There's a few more songs but they are more about the lyrics and less about the sound... not bad but i surely need more listening ...

This album is top notch ! i guess it deserve something around a 8/10 ...it's prog of course , kinda avant garde...we cannot loose our time with this...

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 Curiosities Vol. 2 by ENO, BRIAN album cover Boxset/Compilation, 2004
3.26 | 3 ratings

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Curiosities Vol. 2
Brian Eno Progressive Electronic

Review by admireArt

4 stars A keeper! In the vast discography that Brian Eno has released, it's hard to keep up with each, and sometimes not everything by rule is a "keeper". This series of rarities, as far as now, have turned out constantly in my stereo. Each time for the better, in comparisson to a lot of "new" prog music that I try to listen to.

Anyway, Vol. 2 of these "Curiosities" releases, is a delicious array of imagination and creation, in process and definition. It holds a variety of Eno's languages and experiments, some are drafts of songs that ended up being to unique to actually fit in any other place, and some others, the majority in fact, are great songs, that I suppose were lost in his bundle of "project" songs and ended up as "curiosities" in the long run.

Diverse in his own structures, there is a sense of "achievement accomplished", in each of these "electronic experiments". From his tranquil natured ones, to his "rockers", to his "Dub" expressions and his very peculiar kind of Funk. The album as a whole never misses the "beat".

The kind of flawless record I would highly recommend,... the kind I keep! 4**** PA stars

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 Here Come The Warm Jets by ENO, BRIAN album cover Studio Album, 1973
3.65 | 134 ratings

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Here Come The Warm Jets
Brian Eno Progressive Electronic

Review by Ethelred7

5 stars 9/10, madly steady.

The first "band" album which establishes the standard for Eno: short songs played by a number of guests. In this one, Robert Fripp, Phil Manzanera are the most known. And Eno's unique style is ready here.

Needles In The Camel's Eye - 9/10

Very fast, great guitar.

The Paw Paw Negro Blowtorch - 8/10

Interesting Eno style.

Baby's On Fire - 10/10

Awesome guitar by Fripp.

Cindy Tells Me - 9/10

With everything is Eno: guitars & synthesizers.

Driving Me Backwards - 8/10

Strange one, with odd instruments.

On Some Faraway Beach - 9/10

Different from the other.

Blank Frank - 8/10

Crazy fast guitar.

Dead Finks Don't Talk - 8/10

Yet another good Eno song.

Some Of Them Are Old - 8/10

More Eno.

Here Come The Warm Jets - 8/10

Alternative format.

And so one of my favourite and most original artists is born, even though his career, at least the "normal" songs, was so short. His next albums fortunately keep up with the quality and originality of this one.

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 Before and After Science by ENO, BRIAN album cover Studio Album, 1977
3.71 | 132 ratings

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Before and After Science
Brian Eno Progressive Electronic

Review by Ethelred7

5 stars This is the one of the most refined album I that comes to my mind, both in composing and performing aspects. It is among my very favourite records. The main quality of Eno is very present here, as always: Weirdness. In the vocals, in the instrumentation, amazing guests, the assorted electronics, everywhere, but, isn't it what makes him special, at least different?

Every single track has life on its own, they're complete experiences by their own. Starting with "No One Receiving", odd time and percussion, and Eno's grotesque vocals. Then after "Backwater", pumping keyboards, guest Jaki Liebezeit from German band Can. "Kurt's Rejoinder" displays guest bassist Percy Jones ruthlessly. "Energy Fools The Magician" is short but an interestingly awkward instrumental. And "King's Lead Hat" defines quite well the non-ambient Eno, summarizes him quite well.

The second side is as terrific as the first. It is not made by the standard band of four instruments, but by layers of electronic keyboards and all kind of stuff. The only song in the normal format is the beautiful "Here He Comes". Following is "Julie With...", the lengthiest track of the album, containing all of its quality and diversity. "By This River" is simply gorgeous, and simple in structure, featuring the members of German band Cluster. "Through Hollow Lands" is an instrumental dedicated to Eno's mate Harold Budd, with whom he collaborated in many of his ambient albums, the song is very profound, it touches you. The album finally ends with "Spider And I", warm and comfortable, in the manner only Eno can do.

Eno. Nothing more to say. This is the best he could ever do, with everything he knew how to. He mastered the "song" format we know flawlessly. The instruments are extremely colourful, sounding like nothing else in the world. Great guests like Phil Collins, Robert Fripp, Robert Wyatt, Phil Manzanera... The list goes on

That's exactly what I was looking for when I discovered Brian Eno, something different from everything else, a completely new experience of music.

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