#ROGER ENO BRIAN ENO FULL#

(SOUNDBITE OF ROGER AND BRIAN ENO'S 'BURNT UMBER') There are traces of Schubert's late piano music and the miniatures of Erik Satie. The melodies he wrote for this project invite contemplation. MOON: Brian's younger brother Roger has recorded spare, ambient keyboard albums of his own and has contributed to the soundtracks of 'Dune' and 'Trainspotting,' among other films. (SOUNDBITE OF ROGER AND BRIAN ENO'S 'DESERT SAND') That's exactly what's up on these short pieces, named for different colors, like 'Rose Quartz,' 'Ultramarine' and this one, 'Desert Sand.' In the liner notes for his groundbreaking 1978 work 'Music For Airports,' he wrote that his goal was to create music that would induce calm and a space to think. Brian Eno, who is older, is revered as a producer and conceptualist. MOON: The brothers Eno have explored these waters for decades. (SOUNDBITE OF ROGER AND BRIAN ENO'S 'WINTERGREEN') TOM MOON, BYLINE: Here's something unusual in these high-anxiety news days - the sound of tranquility. Well, 15 years later, that collaboration is now complete in the form of a new album called 'Mixing Colours.' Our reviewer Tom Moon says it's like a much-needed deep breath and the perfect sound for the current moment. They had been making music for years, but never together as brothers. Maybe that is enough.In 2005, Brian and Roger Eno began sending each other song ideas over email. Instead, it sounds like what it is: a way for two siblings to stay connected over the years and the distance through their shared love of music. Unlike BrianвЂ™s most well-respected work, Mixing Colours does not sound like a secret the listener has just stumbled upon and must share zealously with all who will listen. Whether you prefer Erik Satie or New Age music, you could do far worse than listening to this conversation that the Eno brothers were kind enough to share with listeners. There is a long tradition of background music in both the classical and ambient worlds. And it is a pleasant record, if never all that groundbreaking. That being said, it seems petty to knock an album for simply being content with pleasantness. Over the length of the record, these dynamics grow predictable and, while never grating, demand less and less of the listenerвЂ™s interest.

#ROGER ENO BRIAN ENO FULL#

Beginning with a gentle piano melody, layers of sound are added throughout, coming to a full crescendo before dropping out for the last quarter of the song. вЂњBlondeвЂќ demonstrates a persistent pattern on the album. Less interesting are tracks like вЂњSnow,вЂќ which are merely underdeveloped piano motifs laid over and inoffensive sonic palette. While never exactly amelodic, the track does allow for interesting moments of surprising dissonance. Notes and motifs reverberate and stack up with very little sonic backdrop aside from the sound of striking keys, echoing far into the track. вЂњDeep SaffronвЂќ is a track that uses the piano as a source of ambient sounds itself. By leaving spaces between the delicate keyboard movement, the track allows the notes to resonate and settle within the listeners mind before the melody is developed further or more layers of sound are added.ДЄn exception to this rule of integration is вЂњUltramarine.вЂќ The haunting piano melody takes center stage and, crucially, the low end of the keyboard is utilized to develop a richness often left to the ambient side of these tunes. вЂњWintergreenвЂќ is one of the few tracks that is content to allow silence to expand for a few moments. вЂњObsidian,вЂќ for instance, transfers the keyboard work to a gothic organ sound, which naturally fills the space and collides with the ambient undertones for interesting atmospheric effect. While the piano work on the album is undoubtedly skillful вЂ“ evincing a subtle but emotive touch вЂ“ the individual compositions tend to be most successful when the ambient and melodic sides of the music are most blended. The result of this conversation, then, is an hour and a quarter of gentle, Schubert-ian piano music, embedded in delicate вЂ“ but never over-bearing вЂ“ ambient soundscapes. With Mixing Colours, that possibility comes to fruition. Organically, this collection of stray collaborations grew into the possibility of an album. The brothers have likened this process to a conversation. This album has been long in the works, beginning 15 years ago when Roger began sending improvisational piano pieces as MIDI files to his brother, who would then tinker with them, filling in the absences between the вЂњislandsвЂќ of piano music. The two previously collaborated on Apollo: Atmospheres and Soundtracks alongside Daniel Lanois in 1983, though that album was credited primarily to Brian. The latter is an accomplished вЂ“ if lesser-known for being consigned to the вЂњclassicalвЂќ label вЂ“ multi-instrumentalist. The former is, of course, a legendary forerunner of ambient music. Mixing Colours is the first fully collaborative work by Brian Eno and his brother Roger.

Roger eno brian eno