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</html>";s:4:"text";s:9487:"You can see Eno on the corner outside her house under a halo of weird orange streetlight, picking up a pebble to toss at her window. “Becalmed” and “Spirits Drifting” work this way, pursuing melancholic, pastel-shaded atmospheres unaccompanied by the decisive quality of a melody. Eno accepted it as a gift. The Optimism Remains, Apple’s AirPods Pro Just Went Down to $169 — the Cheapest They’ve Ever Been, ‘Stardust’ Review: Rock & Roll Biopic Suicide, Bruce Springsteen, Morgan Wallen, Dua Lipa to Perform on ‘Saturday Night Live’. Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno's growing virtuosity at handling the recording studio as an instrument in itself (à la Brian Wilson). Together, they make perhaps the artist’s most successful record. Set in the context of the song, a long walk between Eno and his companion “Brown Eyes,” the solo—electricity across the sky—becomes a point of shared beauty, something neither of them expected to see but that overtakes them both. "Another Green World" composer is a crossword puzzle clue. “You get an album like, say, King Tubby Meets the Upsetter, where on the back of the album you get a picture of the consoles instead of the ‘stars’,” he said in a 1975 interview. Pop is a diaristic form: A voice telling you their story, seeking identification. Eno, then 20, added instructions for the instruments to be ground down and cast into blocks of acrylic resin, which should be given to young children. “Everything Merges With the Night,” which opens with the plaintive address to a girl named “Rosalie,” the talk of waiting all summer, all evening. The wordless pieces tend also to avoid melodies but they aren’t unmelodic. Interestingly, almost all of the instrumentals (“Becalmed” is the sole exception) are shorter than the vocals — three of them last less than two minutes. (Talking to the writer Lester Bangs in 1979, he called it “music from nowhere.”). At certain points I get the strange sense that Eno is distracted by something happening at the window, just out of frame. Hire a trombone was another. In the absence of vocals, Eno’s approach, which he once called “vertical music,” becomes a metaphor for intimacy: With every second that the tracks unfold, you feel like you’re getting closer to the heart of something. As an art-school student, he’d fallen in love with Fluxus, a network of sculptors, musicians, performers, and thinkers who privileged the process of making work over the product. Another Green World remains his definitive album. There are related clues (shown below). And I thought that was the supreme irony: that they’d originally left to find something better and arrived in the end—which was actually the same place. “St. Mechanical sound is not, of course, new to rock — feedback and synthesizers have been staples for some time. Although long numbers are certainly no rarity in rock, the music was weaned on two- or three-minute performances. Eno demonstrates on these cuts his striking and conventional sense of melody and rock chord structures, as well as a smooth, pleasant singing style. A year earlier, he and the artist Peter Schmidt developed a set of creative constraints that codified in a deck of cards they called “Oblique Strategies.” Part Fluxus exercise, part I Ching, part high-concept Tarot, the cards presented what Eno and Schmidt called “worthwhile dilemmas,” scenarios artists might pose to themselves while trying to squeeze through a difficult moment. He isn’t commanding the sound around him, he’s inhabiting it. In July 1975, Brian Eno found himself a few days and several thousand dollars into a studio booking with nearly nothing to show for it. The joy is in the passage. Which is how I feel about myself. Send us a tip using our anonymous form. It’s beyond gimmickry and, to a degree, more than just experimentation. Though usually lumped in with Eno’s other early “vocal” albums—Here Come the Warm Jets, Taking Tiger Mountain (by Strategy), and 1977’s Before and After Science—only five of its 14 songs actually have singing. But record companies don’t buy and sell processes, they buy and sell records. Viola Davis Goes BIG and BOLD in 'Ma Rainey's Black Bottom', A Hip-Hop Pioneer Loses His Leg. His first love was doo-wop, the lunar reverberation of echo and percussive babble of backup singers, the uncanny mix of carnal yearning and pure naiveté, of lust without sex. His first two solo albums, Here Come the Warm Jets and Taking Tiger Mountain (by Strategy), had reimagined glam rock as sound sculpture and established Eno not just as a practitioner of pop, but a theoretician of it: Someone whose music doubled as a blueprint for how music could be made. Most people who can’t turn their brains off consider it an affliction. Eno insists on risks, and that they so consistently pan out is a major triumph. I’ve often felt like the most famous “Oblique Strategy,” “repetition is a form of change,” is as applicable to my best friendships or my marriage as it is to the creative process: When you see her face every day, the challenge becomes to notice something new. The effect is like seeing a two-dimensional image rise off the page and then slowly fall again. The real challenge of the Strategies is having the faith to surrender to them. Even some of Another Green World’s instrumental tracks, particularly “Becalmed” and “In Dark Trees,” have the eerie aura of something like Elvis’ “Blue Moon,” at once grounded and hovering three feet overhead. Eno’s eccentric music doesn’t stray beyond rock’s accustomed borders so much as it innovates within those parameters. The story—a modern creation myth—goes that his girlfriend brought him an album of 18th-century harp music, which Eno was too weak to adjust the volume on, exposing him to a blurry, impressionistic convergence of music and light rainfall outside. In the spirit of the endeavor, I have just drawn three cards at random. As told to Geeta Dayal in her book on the album, the bassist Percy Jones remembers him handing out sheets of paper on which musicians were asked to write numbers, which corresponded to a specific note, which Eno wanted them to play on beat with a metronome. But this is not a perfected approach: synthetic percussion always seems like a cocktail-lounge drum machine — a frustrating, though by no means disastrous, distraction on several cuts. Eno grew up in a small, parochial town in postwar England, the son of a third-generation mailman and a Catholic woman from Belgium. There are a few pop songs scattered here and there ("St. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consists of deliberately paced instrumentals that, while often closer to ambient music than pop, are both melodic and rhythmic; many, like "Sky Saw," "In Dark Trees," and "Little Fishes," are highly imagistic, like paintings done in sound that actually resemble their titles. Of course, I don’t hear it as neutral—I hear it as ecstatically calm, an album that by some mysterious grace managed to climb just a few rungs higher on the tower and get a more sympathetic look at what it all means. What if, he thought, you could make music to be heard but not actively listened to? Moreover, Eno is acutely aware of form. Brian Eno has done everything from producing huge pop stars to creating tiny art installations to touring with rock bands to inventing ambient music. There are two basses and an eerie measure from John Cale’s weeping viola, but it’s Eno who carries the piece. The impact lingered. A universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound. I usually shudder at such a description, but Another Green World is indeed an important record — and also a brilliant one. What separates him from the merely pedestrian is his imaginative, even queer arranging — his presentation carries more import than his original compositions. If Fluxus and other performance artists defied the reduction of art to an object, Eno’s ambition was to make records—concrete, immutable, physical records—that reflected process. Though self-consciously not a hippie, Eno seemed to understand that the real promise of psychedelic drugs wasn’t to push one’s thoughts into a new beyond but to restore them to a place they hadn’t been since childhood: Drifting but absorbed, naïve but curious, moving laterally, freely, safely. (An interesting sidelight is the album’s use of fretless, fretted, pedaled, synthesized and acoustic basses.) Phil Collins—yes, “In the Air Tonight” Phil Collins, then the drummer of Genesis—got about 20 beats in before stopping to throw beer cans at a bicycle across the room. Elmo’s Fire,” was made under Eno’s direction to replicate the display of a Wimshurst machine, a generator that creates lightning-like sparks that jump between two metal spheres. More than humor, more than work ethic, more than his ability to see and conceptualize in ways nobody had quite seen and conceptualized before, Eno’s greatest gift was his ability not only to find peace in uncertainty, but progress. Jets and Tiger Mountain bookended a year—November 1973 to November 1974—during which Eno released three other, collaborative albums. ";s:7:"keyword";s:19:"another green world";s:5:"links";s:3008:"<a href="http://digiprint.coding.al/site/page.php?tag=41e064-da97-17395a-samsung-water-pitcher-assembly">Da97 17395a Samsung Water Pitcher Assembly</a>,
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