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Brian Eno, Discreet Music Full [BETTER] Album Zip

My Life in the Bush of Ghosts is a studio album by Brian Eno and David Byrne, released in February 1981. It was Byrne's first album without his band Talking Heads. The album integrates sampled vocals and found sounds, African and Middle Eastern rhythms, and electronic music techniques.[7] It was recorded before Eno and Byrne's work on Talking Heads' 1980 album Remain in Light, but problems clearing samples delayed its release by several months.

Brian Eno, Discreet Music full album zip

The extensive sampling on My Life is considered innovative, though its influence on later sample-based music genres is debated.[8][9] Pitchfork named it the 21st best album of the 1980s,[10] while Slant Magazine named it the 83rd.[11]

Eno and Byrne first worked together on More Songs About Buildings and Food, the 1978 album by Byrne's band Talking Heads. My Life in the Bush of Ghosts was primarily recorded during a break between the Talking Heads albums Fear of Music (1979) and Remain in Light (1980), both produced by Eno. Eno had also recently recorded Fourth World, Vol. 1: Possible Musics with Jon Hassell, who intended to collaborate with Eno and Byrne on the album, but could not afford to fly to California for the recording sessions. Upon hearing the tapes, Hassell felt "outraged" at what he felt was an appropriation of his music.[12]

According to music journalist Simon Reynolds, many initial reviews of My Life in the Bush of Ghosts dismissed the album as "an eggheads-in-the-soundlab experimental exercise."[35] In Rolling Stone, Jon Pareles rated the album four out of five stars and applauded it as "an undeniably awesome feat of tape editing and rhythmic ingenuity" that generally avoids "exoticism or cuteness" by "complementing the [speech] sources without absorbing them".[36] Village Voice critic Robert Christgau was less impressed, giving it a "C+" and finding the recordings "as cluttered and undistinguished as the MOR fusion and prog-rock it brings to the mind's ear," while lacking "the songful sweep of Remain in Light or the austere weirdness of Jon Hassell".[37]

In later years, My Life has come to be regarded as a highly influential album, particularly in its use and treatment of sampled source material.[38] AllMusic critic John Bush describes it as a "pioneering work for countless styles connected to electronics, ambience and Third World music".[4] The Independent's Andy Gill found the album groundbreaking in its recontextualisation of sampling in a less overtly avant-garde context, with its sampled sounds instead being "marshalled by funk rhythms into repetitive hooks."[29] Writing in The Observer, Jason Cowley said that its immediate influence was felt "in the work of young artists of ambition, from David Sylvian to Kate Bush", and subsequently on later acts, among them electronic artists such as Massive Attack, Moby, and Thievery Corporation.[31] Chris Dahlen of Pitchfork felt that while its sampled vocals had lost some of their revolutionary impact, the album mostly lives up to its critical reputation "as a near-masterpiece, a milestone of sampled music, and a peace summit in the continual West-meets-rest struggle."[32]

In 1975, Brian Eno released his epochal Discreet Music replete with an ambient music manifesto as well as a diagram making explicit the system he used-- a sort of rudimentary analog phase machine-- to create the record. If Discreet Music demonstrated the aural wallpaper aspect of the system of overlapping loops (legend has it hospitals regularly piped in the LP during childbirth), Eno's earlier experiments with guitarist Robert Fripp were somewhat less, well, discreet. In fact, in a lot of ways the equally epochal Fripp/Eno albums No Pussyfooting (1973) and Evening Star (1975) brought ambient music firmly to the foreground. Eno would run Fripp's guitar through his rudimentary synth system, looping the guitarist's increasingly abstract tones into a shimmering cloud of sound, over which Fripp would unspool one of his famed liquid solos in real time.

The only difference between Beyond Even and The Cotswold Gnomes (other than the title) is that initial runs of the former come with a second disc, reprising the album in its entirety but as a single flowing piece rather than a collection of tracks. Repackaging a previous release with a new name but no new content is indeed a dubious proposition. For that matter, little effort has been made to document the origins of these outtakes, at least none beyond the new title's stated time span. Some tracks sound akin to Fripp and Eno's digital-era 2004 collaboration The Equatorial Stars (itself pretty but also pretty inessential). Others sound more in line with Eno's sometimes abrasive and fitfully funky "juju space-jazz" explorations (indeed, the span of the set stretches back to Eno's Nerve Net). But like Eno's own half-assed and aptly named Curiosities collections (compiled from old work tapes by an assistant), nothing here sounds like more than a minimum of effort went into its composition.

Exposure and Here Comes the Flood showcase the guitar soundscapes that Fripp developed for a number of years with musical partner Brian Eno. At the time the system to produce that sound was analog and consisted of two Revox tape recorders, a technique that Brian Eno provided a diagram for on his Discreet Music album cover. The Idea of feeding the signal from one tape to another, thus creating a delay effect, was not new. Electronic music pioneers and later minimalists like Terry Riley already used it in various recordings during the 60s. Riley created the Time-Lag Accumulator, essentially the same setup as the early Frippertronics equipment, but he usually fed it with previously recorded music, for example Music for The Gift from 1963.

Before and After Science is the fifth full length studio album by Brian Eno. Unlike his previous albums, it was recorded in the span of two years, in between his side projects Discreet Music and Music for Films. Like previous Eno projects, he hired a handful of different instrumentalists, including Robert Fripp, Phil Collins, Paul Rudolph, Bill MacCormick and Percy Jones. Eno also hired new instrumentalists for the album, including Fred Frith (whom Eno hired because of his experimentation), Jaki Liebezeit, Andy Fraser, Dave Mattacks and Cluster. Utilizing the Oblique Strategies cards, over one hundred songs were reported to have been written by Eno in the two years he spent working on the album.

It's been a very busy and productive 2019 for Grammy-nominated electronica progenitor BT. Last month his new ambient set, BETWEEN HERE AND YOU (Black Hole Recordings), was released and quickly soared to #1 on the iTunes Electronic chart. Now the companion album, the experimental EVERYTHING YOU'RE SEARCHING FOR IS ON THE OTHER SIDE OF FEAR, is due out December 13th, also via Black Hole Recordings. Click here to access album art for both and please see below for their respective track listings. To purchase BETWEEN HERE AND YOU, please click here. To pre-order EVERYTHING YOU'RE SEARCHING FOR IS ON THE OTHER SIDE OF FEAR, please click here.BT had this to say about the ambient BETWEEN HERE AND YOU, ""This is a record that I've been working on between projects and in my spare time for the last year. I have always been a massive fan of ambient music from Brian Eno and Robert Fripp to Tim Hecker. I've released albums with an ambient slant to them and gotten an extraordinary response from fans. My favorite thing about ambient music is it has an intended purpose. This record is designed, among other things, as a way to deepen your meditation practice, fall asleep after a hectic day or study. I've heard from such diverse people as special forces operators to neurosurgeons that they love listening to this while (respectively) decompressing and operating. Completely blows my mind!"

Of the forthcoming EVERYTHING YOU'RE SEARCHING FOR IS ON THE OTHER SIDE OF FEAR, BT commented, ""This is a continuation of my string of experimental albums starting with THIS BINARY UNIVERSE. These two albums really are companion pieces to one another. I truly can't wait to get this one in people's hands. Whereas BETWEEN HERE AND YOU is more contemplative and introspective, this is designed for attentive listening. There is a universe of complexity in each of these pieces."Grammy-nominated, multi-platinum recording artist BT is a film composer, technologist, multi-instrumentalist, and songwriter. He is credited as the godfather of the Trance and IDM genres and is widely hailed as a ground-breaking electronic music pioneer. He has written and produced for such widely-acclaimed and diverse artists as Death Cab For Cutie, Peter Gabriel, Howard Jones, Tiesto, Depeche Mode, David Bowie, Armin Van Buuren, Sting, NSYNC, Blake Lewis, The Roots, Madonna, Britney Spears and more. To date, BT has released twelve studio albums (including an album with side project, All Hail The Silence) with EVERYTHING YOU'RE SEARCHING FOR IS ON THE OTHER SIDE OF FEAR to be his thirteenth.

After winning the Freedman Jazz Fellowship in 2018, Garbett spent a period of time in Europe. It was during this sojourn that the music on this album was recorded in Berlin. In addition to Garbett on trumpet, the ensemble includes Johannes Schleiermacher saxophones, Mike Majkowski bass and synthesisers, Steve Heather drums and percussion, Tony Buck and Finn Ryan drummers; Matt Smith, guitar, contributes on one track.

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