I remember the first time I heard this. I was living in a very small room at a boarding school and usually had a hard time sleeping, almost feeling claustrophobic. One night I tried to play some relaxing music on a random Playlist I found and this song emerged like a bright light in darkness. It felt like my bed was floating in outer space and that I could sleep there forever.
I remember that the Swedish music critics hated everything that Brian Eno did, but at least acknowledged that he invented Ambient music. I believe there is a Yamaha CS-80 and possibly a modified DX7 involved. And it's possible that some tracks are played backwards, but I can't confirm that.
Eno is another artist where you could do a whole Eno week, and not even scratch the surface. His career has been intertwined with much of the most creative music of the 70’s and 80’s. I particularly like the twisted “pop” of his first four solo albums.
EE-no is the usual pronunciation. He’s probably the most influential and respected producer and electronic musician of the last forty years or more. A lot of people think he’s responsible for major successful periods of musicians like Fripp of King Crimson solo stuff, U2, Talking Heads, David Bowie and Roxy Music (as a founding member rather than a producer). He’s done collaboration with what seems like everyone else ever. He invented the terms ‘ambient music’ and ‘generative music’. That’s ignoring all the video and visual works he’s made and soundtracks etc. Read the Wikipedia entry if you want to be overwhelmed :-). I think part of what he was trying to do here was was create spaces through tones. I think those spaces are each singular though sometimes overlapping and that highlights their individuality and sense of isolation from each other, producing that effect you’re talking about. All in all, I think there’s very few contemporary artists (in any media) whom it would be more difficult to apprehend and appreciate across their careers.
Eno makes electronic music human. This is perhaps the most beautiful piece of music ever made, with his "Prophesy Theme" from the Dune soundtrack being a close second if not equal to it. A delightful reaction and analysis.
You need to understand also that Eno was giving up with this track until in Eno style he turned the tape upside down and played it backwards... This is how you get the tail of the reverb come in and the rise of the attack attenuate, followed by the crazy timbre effect it makes.. what a Legend! You can hear some of it if you play the track backwards.. Takes me back to university days where we spent a lot of time on this production and a crappy break-up, nice one Claire;) For added context, As for the visuals and inspiration, it was made for the film 'Apollo', where they took meters and meters of NASA stock footage, it's a masterpiece of videography and sound together.. #micDrop It's emotionally sublime.
This piece is transcendent. As is the entire album. On first listen to the album, I remember thinking it was slow. On later listenings, I felt it in my soul, and thinking, how can I not have it in my life?
(From wikipedia) "Many of the tracks on the album were recorded with soft "attacks" of each note, then played backwards, with multiple heavy echoes and reverb added in both directions to merge the notes into one long flowing sound with each note greatly overlapping each adjacent note, producing the "floating" effects that Eno desired." He mostly used Yamaha DX7 to make it. Anyway, Deep Blue Day is another beautiful song from this album.
This takes you to places you want to be. And if your life is unfortunate to be coming to an end, I would feel comfortable with this. In fact I want this playing at my funeral
My own personal emotions about this track are feeling like returning to dust after death and drifting in space. It feels like isolation but peacefulness rather than loneliness. In that context the title makes perfect sense to me. I doubt that was in the mind of Eno when he wrote it but it's how it has always hit me.
(Just a note to say his name's pronounced ee-no.) This album was a commission for a film, "For All Mankind" (1989). Eno started his music career playing synth with Roxy Music - I saw them live in 1973. He works in multiple fields and is very prolific, He has done a lot of collaborations, notably with Robert Fripp of King Crimson, and with David Bowie. He's very highly regarded.
Yeah! He has really been THE representative of electronica incorporated into lots and lota of artsy pop/rock stuff in the early days. Even played a small part on Genesis' The Lamb Lies Down on Broadway.
Thanks for the pronunciation. My view on it changes a bit given it was actually created for a film. I takes away from the novelty of my hypothesis, that he created multimedia songs entirely divorced from their visual component. Still, I can't deny that he can create some amazing soundscapes.
@@chips161 A quote from The Guardian 8th July 2009: "When director Al Reinert approached me about doing the Apollo music - which ended up in the 1989 film For All Mankind - he told me there was music on the moon shot. Every astronaut was allowed to take one cassette of their favourite music. All but one took country and western. They were cowboys exploring a new frontier, this one just happened to be in space. We worked the piece around the idea of zero-gravity country music."
I'm a big Eno fan and well done for doing this. Of all his ambient pieces this is perhaps the best known and seems to have taken on a life of its own over the decades. It's a beautiful chord loop but its the timbre of the synth that is just amazing. It has a kind of piercing clarity to it but its ethereal and not harsh. It takes you skyward. Totally transcendent. Seems to resonate (in every sense of the word) with many who discover it.
Stuff like this is why I love ambient and ambient drone. I always wonder what techniques were used exactly, if it was digital or analog, etc. If you end up returning to ambient, I think it'd be cool to look at Moon is Sharp by Grouper.
This album is analogue, there's no DAW at work, maybe Eno used sequencers but I doubt it - I think it was probably more likely tape loops. Funnily enough, I've been listening to this tune (gratefully) for 30+ years and this is the first time I've ever wondered how it was made!!!!
I've loved this song since it release. I would rewind that scene on 28 days later with the horses running in the background and this track being played. I just discovered this version of it and it's simply divine music.th-cam.com/video/O_xFj4BHyho/w-d-xo.html&feature=share
Legend has it that this track is the reversed version of the originally recorded version. Check out the reversed version (i.e. original), I think it will all makes sense when you hear that. Edit: Eno confirms this - see youtube "Brian Eno on Apollo"
Very beautiful, I don't know anyone who doesn't own this album. This track also reminds me of a scene from a very dark UK comedy show called Jam, featuring very inappropriate behaviour from a doctor.
The timbral confusion is likely due to the fact that the whole piece is played backwards from it's original form. Eno likes to play with stuff like that--artists! What can ya say!
Maybe he meant ascent like ascending to heaven as the end of a life. The ascent as a description of an exit. I think the album title, ‘Apollo…’, is the clue. The ascent is how you leave the moon.
I remember the first time I heard this. I was living in a very small room at a boarding school and usually had a hard time sleeping, almost feeling claustrophobic. One night I tried to play some relaxing music on a random Playlist I found and this song emerged like a bright light in darkness. It felt like my bed was floating in outer space and that I could sleep there forever.
I remember that the Swedish music critics hated everything that Brian Eno did, but at least acknowledged that he invented Ambient music. I believe there is a Yamaha CS-80 and possibly a modified DX7 involved. And it's possible that some tracks are played backwards, but I can't confirm that.
Eno is another artist where you could do a whole Eno week, and not even scratch the surface. His career has been intertwined with much of the most creative music of the 70’s and 80’s. I particularly like the twisted “pop” of his first four solo albums.
EE-no is the usual pronunciation. He’s probably the most influential and respected producer and electronic musician of the last forty years or more. A lot of people think he’s responsible for major successful periods of musicians like Fripp of King Crimson solo stuff, U2, Talking Heads, David Bowie and Roxy Music (as a founding member rather than a producer). He’s done collaboration with what seems like everyone else ever. He invented the terms ‘ambient music’ and ‘generative music’. That’s ignoring all the video and visual works he’s made and soundtracks etc. Read the Wikipedia entry if you want to be overwhelmed :-).
I think part of what he was trying to do here was was create spaces through tones. I think those spaces are each singular though sometimes overlapping and that highlights their individuality and sense of isolation from each other, producing that effect you’re talking about.
All in all, I think there’s very few contemporary artists (in any media) whom it would be more difficult to apprehend and appreciate across their careers.
Also can't forget the oblique strategies cards. There's an app but it's not the same. One day I'll own a set.
Eno makes electronic music human. This is perhaps the most beautiful piece of music ever made, with his "Prophesy Theme" from the Dune soundtrack being a close second if not equal to it. A delightful reaction and analysis.
You need to understand also that Eno was giving up with this track until in Eno style he turned the tape upside down and played it backwards... This is how you get the tail of the reverb come in and the rise of the attack attenuate, followed by the crazy timbre effect it makes.. what a Legend! You can hear some of it if you play the track backwards..
Takes me back to university days where we spent a lot of time on this production and a crappy break-up, nice one Claire;)
For added context, As for the visuals and inspiration, it was made for the film 'Apollo', where they took meters and meters of NASA stock footage, it's a masterpiece of videography and sound together.. #micDrop
It's emotionally sublime.
This piece is transcendent. As is the entire album. On first listen to the album, I remember thinking it was slow. On later listenings, I felt it in my soul, and thinking, how can I not have it in my life?
(From wikipedia) "Many of the tracks on the album were recorded with soft "attacks" of each note, then played backwards, with multiple heavy echoes and reverb added in both directions to merge the notes into one long flowing sound with each note greatly overlapping each adjacent note, producing the "floating" effects that Eno desired." He mostly used Yamaha DX7 to make it.
Anyway, Deep Blue Day is another beautiful song from this album.
This takes you to places you want to be. And if your life is unfortunate to be coming to an end, I would feel comfortable with this. In fact I want this playing at my funeral
I heard an interview of a near death experiencer who said that this sound reminded her of what she heard in Heaven.
My own personal emotions about this track are feeling like returning to dust after death and drifting in space. It feels like isolation but peacefulness rather than loneliness. In that context the title makes perfect sense to me. I doubt that was in the mind of Eno when he wrote it but it's how it has always hit me.
(Just a note to say his name's pronounced ee-no.) This album was a commission for a film, "For All Mankind" (1989). Eno started his music career playing synth with Roxy Music - I saw them live in 1973. He works in multiple fields and is very prolific, He has done a lot of collaborations, notably with Robert Fripp of King Crimson, and with David Bowie. He's very highly regarded.
Yeah! He has really been THE representative of electronica incorporated into lots and lota of artsy pop/rock stuff in the early days. Even played a small part on Genesis' The Lamb Lies Down on Broadway.
Thanks for the pronunciation. My view on it changes a bit given it was actually created for a film. I takes away from the novelty of my hypothesis, that he created multimedia songs entirely divorced from their visual component. Still, I can't deny that he can create some amazing soundscapes.
@@chips161 A quote from The Guardian 8th July 2009: "When director Al Reinert approached me about doing the Apollo music - which ended up in the 1989 film For All Mankind - he told me there was music on the moon shot. Every astronaut was allowed to take one cassette of their favourite music. All but one took country and western. They were cowboys exploring a new frontier, this one just happened to be in space. We worked the piece around the idea of zero-gravity country music."
@@progperljungman8218 is that pronounced the or thee? :P
@@whatdothlife4660 THEE of course - my bad 😊
I'm a big Eno fan and well done for doing this. Of all his ambient pieces this is perhaps the best known and seems to have taken on a life of its own over the decades. It's a beautiful chord loop but its the timbre of the synth that is just amazing. It has a kind of piercing clarity to it but its ethereal and not harsh. It takes you skyward. Totally transcendent. Seems to resonate (in every sense of the word) with many who discover it.
Stuff like this is why I love ambient and ambient drone. I always wonder what techniques were used exactly, if it was digital or analog, etc. If you end up returning to ambient, I think it'd be cool to look at Moon is Sharp by Grouper.
Both I would assume as far as this song...DX7 (digital) but then messed with it in the studio with analog tape and such.
Why were you waiting for something to happen? Its simplicity and endless repetition are buiguiling. Change is not always necessary.
It's good that you're branching out from the thumb ring metal. Surprised they didn't teach you about Eno where you studied composition.
Thumb ring metal 🤣
This album is analogue, there's no DAW at work, maybe Eno used sequencers but I doubt it - I think it was probably more likely tape loops.
Funnily enough, I've been listening to this tune (gratefully) for 30+ years and this is the first time I've ever wondered how it was made!!!!
I've loved this song since it release. I would rewind that scene on 28 days later with the horses running in the background and this track being played. I just discovered this version of it and it's simply divine music.th-cam.com/video/O_xFj4BHyho/w-d-xo.html&feature=share
oh you're doing ambient music now O.O you should try the intangible - color of eternity. Maybe you will like it.
Legend has it that this track is the reversed version of the originally recorded version. Check out the reversed version (i.e. original), I think it will all makes sense when you hear that. Edit: Eno confirms this - see youtube "Brian Eno on Apollo"
Very beautiful, I don't know anyone who doesn't own this album. This track also reminds me of a scene from a very dark UK comedy show called Jam, featuring very inappropriate behaviour from a doctor.
Daniel Lanois is a master of the pedal steel guitar
Saddest but force a reflextion for life good synth music
The timbral confusion is likely due to the fact that the whole piece is played backwards from it's original form. Eno likes to play with stuff like that--artists! What can ya say!
What you seem to struggle with here is a subtle sine wave volume modulation
...seems to me.
70's meme: "eno is god"
Current 93 - I Have a Special Plan for This World
Edit: fair warning though, this song, if its even called a song, is highly experimental
maybe it's 2 tracks with one shifted in time 1/4'th of a note duration
Funfact this music was made for Astronauts
Brain One = God.
Leprous - Nighttime Disguise please
Maybe he meant ascent like ascending to heaven as the end of a life. The ascent as a description of an exit.
I think the album title, ‘Apollo…’, is the clue. The ascent is how you leave the moon.
better a my funreal