Brian eno his music and the vertical color of sound
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- Bibliography Update 1995
Eno on the InternetAn Eno site – kind of an electronic fan club – is now maintained on the Internet. If you're interested, you can dial in at http://www.acns.nwu.edu/eno-1. The site's mission statement reads: "This Eno World Wide Web project was created from materials found archived on the Internet at various sites and from contributions from the subscribers to the Eno mailing list. "The intent was in part to create a WWW demo project that would show what can be done with musical discographies and FAQs using the WWW and a good multimedia browser such as Mosaic. "We hope this will inspire other folks to contribute to existing projects like the WNUR Jazz WWW server or the American Resource Server." Through the Internet, it is now possible to read a variety of articles about Eno, to download bibliographies and discographies, and to communicate with other people about Eno and his work. It's kind of like finding a shelf of Eno materials in a library, and so, if you are truly an Enophile, it's an experience highly to be recommended. Reproduced below is one of the more interesting items in the Eno World Wide Web project. I quote it in full because it is vintage Eno. Eno & email A reader of the Eno mailing list contacted someone who appears to be Brian Eno and asked him if he'd like to contribute to the mailing list. The reply: From: Brian One To: zilch Subject: Re: eno-l mailing list Hello Paul. Thanks for getting in touch. You might be surprised to know that I don't want to join your mailing list. Don't misunderstand me - I'm very happy that you're doing it, and pleased that there's enough interest in me and my work to (hopefully) sustain it, but I just don't personally want to be part of it. You must wonder why this is. I think the reason I feel uncomfortable about such a thing is that it becomes a sort of weight on my shoulders. I start to feel an obligation to live up to something, instead of just following my nose wherever it wants to go at the moment. Of course success has many nice payoffs, but one of the disadvantages is that you start to be made to feel responsible for other people's feelings: what I'm always hearing are variations of "why don't you do more records like - (insert any album title)" or "why don't you do more work with - (insert any artist's name)?". I don't know why, these questions are un answerable, why is it so bloody important to you, leave me alone....these are a few of my responses. But the most important reason is "If I'd followed your advice in the first place I'd never have got anywhere". I'm afraid to say that admirers can be a tremendous force for conservatism, for consolidation. Of course it's really wonderful to be acclaimed for things you've done - in fact it's the only serious reward, becasue it makes you think "it worked! I'm not isolated!" or something like that, and irt makes you feel gratefully connected to your own culture. But on the other hand, there's a tremendously strong pressure to repeat yourself, to do more of that thing we all liked so much. I can't do that - I don't have the enthusiasm to push through projects that seem familiar to me ( - this isn't so much a question of artistic nobility or high ideals: I just get too bloody bored), but at the same time I do feel guilt for 'deserting my audience' by not doing the things they apparently wanted. I'd rather not feel this guilt, actually, so I avoid finding out about situations that could cause it. The problem is that people nearly always prefer what I was doing a few years earlier - this has always been true. The other problem is that so, often, do I! Discovering things is clumsy and sporadic, and the results don't at first compare well with the glossy and lauded works of the past. You have to keep reminding yourself that they went through that as well, otherwise they become frighteningly accomplished. That's another problem with being made to think about your own past - you forget its genesis and start to feel useless awe toward syour earlier self "How did I do it? Wherever did these ideas come from?". Now, the workaday everyday now, always looks relatively less glamorous than the rose-tinted then (except for those magic mhours when your finger is right on the pulse, and those times only happen when you've abandoned the lifeline of your own history). So good luck with it, but I won't be taking part. If you need information, contact LIN BARKASS at OPAL INFORMATION BOX 141, LEIGH ON SEA, ESSEX. ----- end forwarded message --------------------------------- Bibliography Update 1995This selective list represents items that have come to my attention since this book was originally published in 1989. A sampling of literature on Eno can be found in the Eno World Wide Web project's "Bibliography of books and magazines." For the period before 1989, the main Bibliography in this book remains definitive. Bertoncelli, R. Brian Eno. Milano, Italy: Arcana Editrice, 1982. Coe, Jonathan. "Music Without Knobs," The Wire (Oct. 1990). "Everyone sees synthesizers as the great breakthrough but what they are, in fact is the aphex of Renaissance music making, in the second part of our occasional series in music in the 90's. Brian Eno unzips a warm jet at democracies. In Art and new technology. Jonathan Coe takes a tiger by the tail by strategy." DeRogatis, Jim. "Don't look back," Request (Feb. 1991). "Rock instigators Brian Eno and John Cale move ahead and apart with Wrong Way Up." Destefani, F., and F. Massoni. Brian Eno: Strategie oblique. Milano, Italy: Gammalibri, 1983. Diliberto, John. "Music for listeners," Audio (Mar. 1993). "Purist producer/artists, sick of gloss, discover distortion." Doershuck, Robert L. "One vision beyond music: on simplicity, context & the neccesity of urgency," Keyboard (June 1989). Long interview. Eno, Brian, and Kevin Kelly. "Unthinkable Futures" and "Unthinkable Stories," Whole Earth Review 79 (Summer 1993). Some hypothetical futures from a conference on the WELL, an online system. ______. "Brian Eno talking at Irvine, Orange County, USA, November 1987," Stride 33-1/3 [UK poetry/music magazine] (1992). ______. "Eno on Miles Davis," The Wire (Dec.-Jan. 1993-1994). Frost, Mark. "Summit Meeting," Option 37 (Mar.-Apr. 1991). Transcription of public talk/interview. Greenwald, Ted. "Pop Goes the Eno," Creem (Feb.-Mar. 1991). "A Wayward art-rocker rediscovers songs, discusses Wrong Way Up and other issues." Kopf, Biba. "Sombre reptile," city limits (Oct. 11-18 1990) Biba Kopf meets brian eno, the lizard king of contemporary electronics, discusses Wrong Way Up and other issues. McLellan, Jim. "The Life of Brian," i-D [UK style magazine] (1993, issue/date unknown). Morley, Paul. "Thoughts of a Coriander King," The Guardian (1993, precise date unknown). Discusses Eno's "Perfumes Defence and David Bowie's Wedding" talk. Oldfield, Paul. "Eno: A Patter of Life and Death," Melody Maker (October 13 1990). Interview. Orlando, Antonio. Feature on Eno and The Shutov Assemby, MAX 114 (Feb. 1993). In Italian. Prendegrast, Mark. "Brian Eno: After the heat," Variant 13 (Winter/Spring 1993). "Brian Eno's recent re-emergence into the British limelight (via a mainstream record deal with Warner Brothers) led to much press coverage and little or no insight. Most writers trawled through the back catalogue, glutted themselves on post-modernist babble and threw the word Ambient around like a cliche." ______. "Brian Eno: Thoughts Words Music and Art, Part One," Sound on Sound [UK music technology magazine] (Jan. 1989); "Part Two" (February 1989). Extensive article on Eno, Opal, and Eno's collaborators. Reboiras, Ramon. "Eno es el mensaje (Eno is the message)," Cambio 16 (June 7 1993). Discusses new video-installations, Neroli, etc. Savage, Jon. "Interview with Eno," The Guardian (Nov. 26 1993). Sinker, Mark. "Discourse fever," Spin (Dec. 1990). "Brian Eno, pop's most uncompromising egghead, is back with two new albums. And he's still talking all that jazz." ______. "Taking Modern Culture by Strategy," The Wire 104 (Oct. 1992). Interview. Tamm, Eric. Robert Fripp: from King Crimson to Guitar Craft. Boston and London: Faber and Faber, 1990. Includes discussions of Fripp's collaborations with Eno. ______. "Soul Robots: Eno and Fripp with Bowie," in Elizabeth Thomson and David Gutman, The Bowie Companion. London: Macmillan, 1993. Z, Pamela. "Brian Eno: Ambiguity, Yams and Ju-Ju Spacejazz," Mondo 2000 4 (date unknown, probably 1991 or 1992). Interview. Also has D'Cuckoo feature where they describe working with Eno. 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