And yet, in an interview with Pitchfork earlier this week, Eno spoke about how some of these tracks began with conceptual briefs in which he instructed his collaborators to replicate popular music from the near future. If that's the case, perhaps Eno's version of the future isn't forged by sonic innovation but rather by recombinence and fashion's unpredictable finger.
When taken as little slivers of a larger poem, Small Craft on a Milk Sea 's song titles present the listener with a notion of the past, present, and future existing as one holistic entity. With Brian Eno, you have a man who sounds uncompromisingly like all three.
Skip to content Search query All Results. Pitchfork is the most trusted voice in music. Share on Facebook Share on Twitter Open share drawer. Every other sound is drowned out and the listener is alone with their thoughts. It's a very surreal feeling and for this very reason Eno succeeds in creating yet another sonic masterpiece. Brian Eno can really make things sound glacial and with Small Craft on a Milk Sea he makes an album that's lush and well-produced and although an ambient record seems to be so much more.
Fans of his previous work will undoubtedly enjoy this album, it's everything they could ask for and more. Imagine yourself, in a dream, floating on a small craft, a wooden ship of sorts on a white foamy sea but the sky is blue and the air is cold.
That's the feeling I get and that's what I expect Eno wanted me to feel. Don't get pinched too hard by the Calcium Needles, 4 stars of beauty. So feel lucky! If you thought, it is quiet impossible to blend the "primitive electronic-toy language" of lets say "Taking Tiger Mountain.. And his now new collaborators: Leo Abrahams, whose electric guitar gives this work its rocking nature when needed and Jon Hopkins on the keys. And of course in the middle of all these, his amazing sonic discoveries in the form of his most "famous" known language "Ambient".
So don't let me be misunderstood. All here is new material that by chance or intention, establish all his musical language discoveries, which he has absorved, sampled, tested, proven, changed and re-modeled, for this project.
Worth the wait, or however you want to call it. PA stars. To be honest, I even got the "Deluxe Edition". It is worth it. It took me a few listens to settle on how I felt about this, but I ultimately came to the conclusion that this is one of Eno's better instrumental albums. Unfortunately, my near total ignorance of contemporary circa the s electronic music is a hindrance for me in making sense of my feelings towards music of this sort generally, I get the sense that I would probably enjoy a lot of it if I allocated significant time towards getting acquainted with it, but unfortunately I just don't have the time to go down that road without giving up something else ; this lack of context means that I can't make assessments that go much beyond "gee that sounds real good yup.
It's hard for me to distinguish which parts belong more to Eno than to the others; a lot of the music on here came from improvisations that were edited down and spliced together, and it's hard to say that any particular member is dominant at a given point.
That said, there are some tracks that at least sound like they come from familiar territory for long-time Eno listeners; the opening "Emerald and Lime" and the later reprise, "Emerald and Stone" is rather pretty based around a slow rolling piano line over assorted other keyboards , "Bone Jump" sounds a lot like a typical track from The Drop in terms of the various keyboard sounds used, and "Lesser Heaven" doesn't sound that different from something that could have been on Ambient 4 or the like.
The closing 8-minute "Late Anthropocene" definitely sounds like it could have been on Ambient 4 , thanks to its repeated slowly ascending synth line and all of the various burblings happening underneath it, and it's a highlight as well. Some other tracks sound vaguely like could have come from Music For Films , but with some unsettling atmospheric wrinkles; my favorite examples of this kind of track but not the only examples are "Complex Heaven" which puts nagging bits of guitar over wandering keyboard plinks and fascinating other noises and "Calcium Needles" full of echoey chime-like noises that would work terrifically as a soundtrack in a scene that involved exploration of a misty cave.
Much of the rest has a more distinctly modern feel to it, such as "Flint March" full of jittery percussion loops , "Horse" which sounds like the backing track to an angrier-than-usual Radiohead song , "2 Forms of Anger" much the same , "Paleosonic" all sorts of processed guitar-and- otherwise noise on top of a percussion loop that would sound goofy on its own , and a few others.
It's not really worth it to mention every other track, but they fit in well with the rest of the album, providing both variety and a sense of sheer competence that make them enjoyable on their own and in context.
Overall, then, this album strikes me as pretty remarkable, and I'd definitely recommend it to anybody who considers themselves a fan of Eno's instrumental work and even to some who don't. As a "keeping up with the youngsters" exercise, it beats the snot out of for instance Nerve Net , and there's enough diversity in sound and style to keep it from getting as monotonous as some of Eno's solo work can sometimes get.
Hats off to Eno for working on his game at such a late date. Eno's effort "Small Craft on A Milk Sea" is a collection of instrumental works with a definite 21st century feel. The album consists a combination of "vertical" sound-scapes, the attraction of which lies in timbrel qualities rather than melodic or rhythmic interest, interspersed with drivin You must be a forum member to post a review, please register here if you are not. Copyright Prog Archives, All rights reserved.
Slow Ice, Old Moon. Lesser Heaven. Calcium Needles. Emerald and Stone. Written, Forgotten. Late Anthropocene. Loose Rein Bonus Track. October 19, 16 Songs, 52 Minutes. Ambient 1: Music for Airports The Pearl
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