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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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Ambient 1:Music For AirportsAmbient 1:Music For Airports
Remastered
Virgin / Astralwerks 2004
Audio CD$6.78
$6.05 (used)
Another Green WorldAnother Green World
Remastered
Astralwerks 2004
Audio CD$6.47
$6.46 (used)
Nerve NetNerve Net
All Saints 2014
Audio CD$10.49
$10.42 (used)
Here Come The Warm JetsHere Come The Warm Jets
Remastered
Astralwerks 2004
Audio CD$6.95
$4.84 (used)
Right Now on Ebay (logo)
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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)

3.66 | 150 ratings
Here Come The Warm Jets
1973
3.58 | 132 ratings
Taking Tiger Mountain (By Strategy)
1974
3.95 | 236 ratings
Another Green World
1975
3.31 | 81 ratings
Discreet Music
1975
3.76 | 152 ratings
Before and After Science
1977
3.28 | 67 ratings
Music For Films
1978
3.67 | 135 ratings
Ambient 1 - Music For Airports
1978
3.76 | 53 ratings
After The Heat (with Dieter Moebius & Hans-Joachim Roedelius)
1978
3.93 | 107 ratings
My Life In The Bush Of Ghosts (with David Byrne)
1981
4.08 | 125 ratings
Ambient 4 : On Land
1982
3.75 | 85 ratings
Apollo : Atmospheres & Soundtracks
1983
2.76 | 21 ratings
Music For Films Vol.2
1983
3.36 | 44 ratings
Thursday Afternoon
1985
2.38 | 14 ratings
Music for Films, Vol. 3
1988
2.74 | 32 ratings
Wrong Way Up (with John Cale)
1990
2.06 | 30 ratings
Nerve Net
1992
2.73 | 22 ratings
The Shutov Assembly
1992
3.16 | 24 ratings
: Neroli :
1993
2.00 | 6 ratings
Headcandy
1994
2.86 | 13 ratings
Spinner (with Jah Wobble)
1995
2.55 | 21 ratings
The Drop
1997
2.40 | 5 ratings
Lightness
1997
3.38 | 8 ratings
I Dormienti
1999
3.60 | 20 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
3.75 | 54 ratings
Another Day on Earth
2005
3.93 | 66 ratings
Small Craft on a Milk Sea
2010
3.64 | 27 ratings
Drums Between the Bells (with Rick Holland)
2011
3.26 | 16 ratings
Lux
2012
3.10 | 13 ratings
Someday World (With Karl Hyde)
2014
2.96 | 9 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
3.55 | 6 ratings
Begegnungen (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1984
2.30 | 4 ratings
Begegnungen II (with Dieter Moebius, Hans-Joachim Roedelius & Conrad Plank)
1985
2.52 | 4 ratings
Desert Island Selection
1986
3.67 | 3 ratings
Textures
1989
3.09 | 4 ratings
Eno Box II: Vocals
1993
4.12 | 6 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
3.44 | 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)

4.00 | 2 ratings
Robert Sheckley's In A Land Of Clear Colors (with Pete Sinfield)
1979
3.50 | 2 ratings
Ali Click
1992
1.05 | 3 ratings
Fractal Zoom
1992
3.00 | 2 ratings
Music For White Cube
1997
3.00 | 5 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
 Wrong Way Up (with John Cale) by ENO, BRIAN album cover Studio Album, 1990
2.74 | 32 ratings

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Wrong Way Up (with John Cale)
Brian Eno Progressive Electronic

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars BRIAN ENO has worn many hats as producer, songwriter and designer but he was first and foremost a musician who embarked on many paths simultaneously since his first albums arose in the early 70s. Although he is most known for all the innovative ambient albums that he has released, he has also put out a ridiculous number of collaborative albums over the years as well beginning on "No Pussyfooting" with Robert Fripp back in 1973. WRONG WAY UP sees him collaborating for the second time with Velvet Underground legend John Cale (the first album was "June 1, 1971" with Nico). While you would expect two eccentric art rock and experimental pioneers in the musical world to create some highly original music that takes you somewhere completely new, it is not really the case on this one as it sounds somewhat like a lost Talking Heads album.

WRONG WAY UP is one of the more accessible albums by ENO and friends. The dominant focus is on catchy melodies accompanied by a huge assortment of instruments but only acting as subordinate entities never stealing the limelight. There is plenty of electronic art pop going on here but there are also lush string sections that include violin and viola. Other than the melodic pop song approach there is strong emphasis on percussion as well making this sound like an experimental 80s new wave style at times. The percussion list is long and includes dumbeks, Shinto bells, tablas and other Indian drums. The tracks are mostly mid-tempo but some like "Cordoba" are slowed down. The piano blues can also be heard on "Crime In The Desert." The finale "The River" sounds like it should be on a Chris Isaak album!

ENO's discography is a hit-and-miss collection of everything ranging from early experimental glam rock to bizarre ambient worlds so i was honestly expecting a little more from this one given John Cale's legacy as one who likes to go to new places as well. On WRONG WAY UP there is an ethnic flavor to many of the tracks given the instruments on board but the vocals and the overall sound really remind me of synth pop bands of the 80s like Level 42 or even Thomas Dolby. Not really a bad thing as the album comes off well and there really aren't any particularly bad tracks, but this album doesn't blow me away either and doesn't have enough hooks for me to want to return to it often despite the groovy rhythms, symphonic backings and passionate dual harmonies. I like it but don't love it.

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 Someday World (With Karl Hyde) by ENO, BRIAN album cover Studio Album, 2014
3.10 | 13 ratings

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Someday World (With Karl Hyde)
Brian Eno Progressive Electronic

Review by tszirmay
Special Collaborator Crossover Team

2 stars Well, all good things must come to an end, and after a serious 2 year tear of purchasing 4-5 star recordings , my lucky streak has screeched to a sudden and noisy halt, much to my chagrin! Long-time hero Brian Eno has always held my admiration, ever since he spiced things up with nascent Roxy Music and going on to fame and fortune as producer and artist. I had fallen off the cart after 1995's "Spinner", a lackluster collaboration with PIL's Jah Wobble and relied on his early stuff to keep me happy. Seeing a collaboration with Underworld's Karl Hyde seemed to have some merit and I was expecting a crafty and shimmering set of electronic genius. I am crestfallen in reporting that there are only 3 tracks worthy of adulation out of a total of 9 and I find myself somewhat disappointed, especially when taking into consideration the recent discographic brilliance of my other electro heroes John Foxx and Midge Ure, both releasing spectacular works in the last 2 years.

Eno handles the synths and computers but rarely comes up with anything exciting, Hyde provides rather scrawny vocals and silly putty guitar, the only positive being Coldplay's Will Champion doing a fab job on drums. The opener "Satellites" is what hooked me into ordering this CD, a thoroughly palpitating opener that has a serious amount of intelligence in its musical adventurism, for a second I was hopeful. Sadly the next four short tracks are dreary, wimpy, simplistic and devoid of any genius. "Mother of a Dog" appears through the mist of mediocrity and gets the juices flowing again with a clever electronic-pop thingy which, incredibly is followed by another good one in "Who Rings the Bell". Regret rears its forlorn head with the final two cuts that offer nothing special or attractive. I guess giving this multiple listens will not improve my disappointment and after doing so, my position is even more concrete. Nice cover art, but this one is going into the massive collection bookcase with little chance of reappearing in my lifetime. "Someday World" indeed, should have called it "Under Whelm World" instead.

2 cantankerous spurs

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 High Life (With Karl Hyde) by ENO, BRIAN album cover Studio Album, 2014
2.96 | 9 ratings

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High Life (With Karl Hyde)
Brian Eno Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

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
4.08 | 125 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 | 13 ratings

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Someday World (With Karl Hyde)
Brian Eno Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

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
3.44 | 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
3.76 | 152 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
3.64 | 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
3.44 | 3 ratings

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Curiosities Vol. 2
Brian Eno Progressive Electronic

Review by admireArt
Collaborator PSIKE Team

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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