Phillips recalled the pair doing "piano tennis" in which, after collecting pianos, the two stripped and aligned them in a hall and struck them with tennis balls. Whilst at school, Eno used a tape recorder as a musical instrument  and in he joined his first group, the Black Aces, a four-piece with Eno on drums that he formed with three friends he met at the youth club he visited in Melton.
Inafter separating from his wife, Eno moved to London where his professional music career began. He became involved with the Scratch Orchestra and the Portsmouth Sinfonia ; Eno's first appearance on a commercially released recording is the Deutsche Grammophon edition of The Great Learning by Cornelius Cardew and the Scratch Orchestra which features Eno as one of the voices on the track "Paragraph 7".
He quit and became an electronics dealer by buying old speakers and making new cabinets for them before selling them to friends.
InEno co-formed the glam and art rock band Roxy Music. He had a chance meeting with saxophonist Andy Mackay at a train station, which led to him joining the band. Eno later said: "If I'd walked ten yards further on the platform, or missed that train, or been in the next carriage, I probably would have been an art teacher now". Initially Eno did not appear on stage at their live shows, but operated the group's mixing desk at the centre of the concert venue where he had a microphone to sing backup vocals.
After the group secured a record deal, Eno joined them on stage performing the synthesiser  and became known for his flamboyant costumes and makeup. After touring For Your Pleasure ended in mid, Eno quit the band. He cited disagreements with lead singer Bryan Ferry and the frontman's insistence on being in command of the group, which affected Eno's ability to incorporate his own ideas. Almost immediately after his exit from Roxy Music, Eno embarked on his solo career.
Tiger Mountain contains the "Third Uncle" which became one of Eno's best-known songs, owing in part to its later cover by Bauhaus and Critic Dave Thompson writes that the song is "a near punk attack of riffing guitars and clattering percussion, 'Third Uncle' could, in other hands, be a heavy metal anthem, albeit one whose lyrical content would tongue-tie the most slavish air guitarist. InKing Crimson founder and guitarist Robert Fripp collaborated with Eno and his tape delay system to make experimental, ambient, and drone music.
The pair followed their debut with a second album Evening Starand completed a European tour. Eno went on to work with several performers in the orchestra on his Obscure label, including Gavin Bryars and Michael Nyman. Eno released a number of eclectic ambient electronic and acoustic albums. He coined the term "ambient music",  which is designed to modify the listener's perception of the surrounding environment. In the liner notes accompanying Ambient 1: Music for AirportsEno wrote: "Ambient music must be able to accommodate many levels of listening attention without enforcing one in particular, it must be as ignorable as it is interesting.
Eno was hit by a taxi while crossing the street in January and spent several weeks recuperating at home. His girlfriend brought him an old record of harp music, which he lay down to listen to. He realized that he had set the amplifier to a very low volume, and one channel of the stereo was not working, but he lacked the energy to get up and correct it.
Eno's first work of ambient music was Discreet Musicagain created with an Album) tape-delay methodology which he diagrammed on the back cover of the LP; it is considered the landmark album of the genre. The ambient-style score was an unusual choice for an historical piece, but it worked effectively with the film's themes of sexual obsession and death. Eno stated in the liner notes for On Land, "Teo Macero's revolutionary production on that piece seemed to me to have the 'spacious' quality I was after, and like Federico Fellini's film Amarcordit too became a touchstone to which I returned frequently.
In toduring which time Eno travelled to Ghana for a festival of West African music, he was collaborating with David Byrne of Talking Heads. Their album My Life in the Bush of Ghostswas built around radio broadcasts Eno collected whilst living in the United Statesalong with sampled music recordings from around the world transposed over music predominantly inspired by African and Middle Eastern rhythms.
This album was a last-minute substitution for My Squelchy Lifewhich contained more pop oriented material, with Eno on vocals. Eno also released The Shutov Assembly inrecorded between and This album embraces atonality and abandons most conventional concepts of modesscales and pitch. Emancipated from the constant attraction towards the tonic that underpins the Western tonal traditionthe gradually shifting music originally eschewed any conventional instrumentation, save for treated keyboards.
During the s, Eno worked increasingly with self-generating musical systems, the results of which he called generative music. This allows the listener to hear music that slowly unfolds in almost infinite non-repeating combinations of sound. Eno achieves this through the blending of several independent musical tracks of varying length.
Each track features different musical elements and in some cases, silence. When each individual track concludes, it starts again re-configuring differently with the other tracks. Laid was met with notable critical and commercial success both in the UK and the United States after its release in Wah Wahin comparison, received a more lukewarm response after its release in One of Eno's better-known collaborations was with the members of U2Luciano Pavarotti and several other artists in a group called Passengers.
They produced the album Original Soundtracks 1which reached No. InEno scored the six-part fantasy television series Neverwhere. The album differs from his s solo work due to the impact technological advances on musical production, evident in its semi-electronic production.
In earlyEno collaborated with David Byrne again, for the reissue of My Life in the Bush of Ghosts in celebration of the influential album's 25th anniversary.
This allowed listeners to remix and upload new mixes of these tracks to the website for others to listen and rate them. In lateEno released 77 Million Paintingsa program of generative video and music specifically for home computers.
As its title suggests, there is a possible combination of 77 million paintings where the viewer will see different combinations of video slides prepared by Eno each time the program is launched.
Likewise, the accompanying music is generated by the program so that it's almost certain the listener will never hear the same arrangement twice. The second edition of "77 Million Paintings" featuring improved morphing and a further two layers of sound was released on 14 January He also appeared playing keyboards in VoilaBelinda Carlisle 's solo album sung entirely in French. Miller a. DJ Spooky. Eno released another solo album on Warp in late In NovemberEno released Luxa minute composition in four sections, through Warp.
This was released on 30 June In a statement Eno commented on the unnamed half-hour piece:. We can't experience space directly; those few who've been out there have done so inside precarious cocoons. They float in silence, for space has no air, nothing to vibrate — and therefore no sound. Nonetheless we can't resist imagining space as a sonic experience, translating our feelings about it into music.
In the past we saw the universe as a perfect, divine creation — logical, finite, deterministic — and our art reflected that. The discoveries of the Space age have revealed instead a chaotic, unstable and vibrant reality, constantly changing.
This music tries to reflect that new understanding. The Shipan album with music from Eno's installation of the same name was released on 29 April on Warp.
As well as singing on the track, Eno co-wrote and produced it. The single was released on the band's own record label La Folie Records on 30 September.
Eno's Reflectionan album of ambient, generative music, was released on Warp Records on 1 January. It was nominated for a Grammy Award for 's 60th. Grammy awards ceremony. InEno participated in DAU, an immersive art and cultural installation in Paris by Russian film director Ilya Khrzhanovsky evoking life under Soviet authoritarian rule.
Eno contributed six auditory ambiances. From the beginning of his solo career inEno was in demand as a record producer. Eno describes himself as a "non-musician", using the term "treatments" to describe his modification of the sound of musical instruments, and to separate his role from that of the traditional instrumentalist. His skill in using the studio as a compositional tool  led in part to his career as a producer. Inhe amongst others composed and performed the "Prophecy Theme" for the David Lynch film Dune ; the rest of the soundtrack was composed and performed by the group Toto.
Eno produced performance artist Laurie Anderson 's Bright Red album, and also composed for it. The work is avant-garde spoken word with haunting and magnifying sounds. Eno played on David Byrne's musical score for The Catherine Wheela project commissioned by Twyla Tharp to accompany her Broadway dance project of the same name. Producer Tony Visconti used an Eventide Harmonizer to alter the sound of the drums, claiming that the audio processor "f—s with the fabric of time.
Even though films are listed and described for each song, all but three are bogus. He is credited for "frequent interference and occasional co-production" on their album Whiplash. Eno played on the album Measure for Measure by Australian band Icehouse. InEno provided one of several remixes of " Protection " by Massive Attack originally from their Protection album for release as a single. Also inhe worked with Grace Jones on her album Hurricanecredited for "production consultation" and as a member of the band, playing keyboards, treatments and background vocals.
InEno and Coldplay reunited and Eno contributed "enoxification" and additional composition on Coldplay's fifth studio album Mylo Xylotoreleased on 24 October of that year. The idea came up at the time when I was completely bereft of ideas.
I'd been working Album) my own music for a while and was quite lost, actually. And I really appreciated someone coming along and saying, "Here's a specific problem — solve it. I thought this was so funny and an amazing thought to actually try to make a little piece of music. It's like making a tiny little jewel. In fact, I made eighty-four pieces. I got completely into this world of tiny, tiny little pieces of music.
I was so sensitive to microseconds at the end of this that it really broke a logjam in my own work. Then when I'd finished that and I went back to working with pieces that were like three minutes long, it seemed like oceans of time. Eno shed further light on the composition of the sound on the BBC Radio 4 show The Museum of Curiosityadmitting that he created it using a Macintosh computer, stating "I wrote it on a Mac.
I've never used a PC in my life; I don't like them. Eno has spoken of an early and ongoing interest in exploring light in a similar way to his work with sound. He started experimenting with the medium of video in Eno describes the first video camera he received, which would initially become his main tool for creating ambient video and light installations:.
I'd never really thought much about video, and found most 'video art' completely unmemorable, but the prospect of actually owning a video camera was, at that time, quite exotic. The Panasonic industrial camera Eno received had significant design flaws preventing the camera from sitting upright without the assistance of a tripod.
This led to his works being filmed in vertical format, requiring the television set to be flipped on its side to view it in the proper orientation. I call them 'video paintings' because if you say to people 'I make videos', they think of Sting's new rock video or some really boring, grimy 'Video Art'. It's just a way of saying, 'I make videos that don't move very fast. These works presented Eno with the opportunity to expand his ambient aesthetic into a visual form, manipulating the medium of video to produce something not present in the normal television experience.
His video works were shown around the world in exhibitions in New York and Tokyo, as well as released on the compilation 14 Video Paintings in Eno continued his video experimentation through the 80s, 90s and s, leading to further experimentation with the television as a malleable light source and informing his generative works such as 77 Million Paintings in Eno gives the example of wind chimes.
He says that these systems and the creation of them have been a focus of his since he was a student: "I got interested in the idea of music that could make itself, in a sense, in the mid s really, when I first heard composers like Terry Rileyand when I first started playing with tape recorders. Initially Eno began to experiment with tape loops to create generative music systems. With the advent of CDs he developed systems to make music of indeterminate duration using several discs of material that he'd specifically recorded so that they would work together musically when driven by random playback.
Inhe began working with the company Intermorphic to create generative music through utilising programmed algorithms. The Koan software made it possible for generative music to be experienced in the domestic environment for the first time.
Eno started to release excerpts of results from his 'generative music' systems as early as with the album Discreet Music. Then again in with Music for Airports :. Music for Airports, at least one of the pieces on there, is structurally Album), very simple. There are sung notes, sung by three women and my self. It is in fact a long [recorded tape] loop running around a series of tubular aluminum chairs in Conny Plank's studio.
What I mean is they all repeat in cycles that are called incommensurable — they are not likely to come back into sync again. So this is the piece moving along in time. Your experience of the piece of course is a moment in time, there.
So as the piece progresses, what you hear are the various clusterings and configurations of these six basic elements. The basic elements in that particular piece never change. They stay the same. But the piece does appear to have quite a lot of variety. In fact it's about eight minutes long on that record, but I did have a thirty minute version which I would bore friends who would listen to it.
The thing about pieces like this of course is that they are actually of almost infinite length if the numbers involved are complex enough. They simply don't ever re-configure in the same way again. This is music for free in a sense. The considerations that are important, then, become questions of how the system works and most important of all what you feed into the system. The list below consists of albums, soundtracks and downloadable files that contain excerpts from some of Eno's generative music explorations:.
Several of the released excerpts listed above originated as, or are derivative of, soundtracks Eno created for art installations. Eno has created installations combining artworks and sound that have shown across the world sincebeginning with 2 Fifth Avenue and White Fence, in the Kitchen Centre, New York, NY. I like blurring those distinctions — I like to work with all the complex sounds on the way out to the horizon, to pure noise, like the hum of London.
Since his experiments with sound as an art student using reel to reel tape recorders,  - and in art employing the medium of light,  Eno has utilised breakthroughs in technology to develop 'processes rather than final objects', processes that in themselves have to "jolt your senses," have "got to be seductive.
David A. Ross writes in the programme notes to Matrix 44 in "In a series of painterly video installations first shown inEno explored the notion of environmental ambiance. Eno proposes a use for music and video that is antithetical to behavior control-oriented "Muzak" in that it induces and invites the viewer to enter a meditative, detached state, rather than serve as an operant conditioner for work-force efficiency.
His underlying strategy is to create works which provide natural levels of variety and redundancy which bring attention to, rather than mimic, essential characteristics of the natural environment. Eno echoes Matisse's stated desire that his art serve as an armchair for the weary businessman.
Early installations benefitted from breakthroughs in video technology that inspired Eno to use the TV screen as a monitor and enabled him to experiment with the opposite of the fast-moving narratives typical of TV to create evolving images with an almost imperceptible rate of change.
In a simple but crude form of experimental post production, the colour controls of the monitors on which the work was shown were adjusted to wash out the picture, producing a high-contrast black and white image in which colour appeared only in the darkest areas. Eno manipulated colour as though painting, observing: 'video for me is a way of configuring light, just as painting is a way of configuring paint.
From the outset, Eno's video works, were "more in the sphere of paintings Le Thème. - Def Bond - Le Thème (Cassette of cinema". The low-grade equipment Lack of a tripod meant filming with the camera lying on its side so the tape had to be re-viewed with a television monitor also turned on its side.
Ross, "recontextualize[d] the television set, and Natural phenomena like rain look quite different in this orientation; less familiar but curiously more real. Thursday Afternoon was a return to using figurative form, for Eno had by now begun "to think that I could use my TVs as light sources rather than as image sources.
TV was actually the most controllable light source that had ever been invented — because you could precisely specify the movement and behaviour of several million points of coloured light on a surface. The fact that this prodigious possibility had almost exclusively been used to reproduce figurative images in the service of narratives pointed to evolution of the medium from the theatre and cinema. What I thought was that this machine, which pumped out highly controllable light, was actually the first synthesiser, and that its use as an imager-retailer represented a subset of its possible range.
Turning the TV on its back, Eno played video colour fields of differing lengths of time that would slowly re-combine in different configurations. Placing ziggurats 3 dimensional constructions of different lengths and sizes on top of the screens that defined each separate colour field, these served to project the internal light source upward.
Its slowly changing hues Le Thème. - Def Bond - Le Thème (Cassette striking colour collisions were addictive. We sat watching for ages, transfixed by this totally new experience of light as a physical presence. Calling these light sculptures Crystals first shown in Boston inEno further developed them for the Pictures of Venice exhibition at Gabriella Cardazzo's Cavallino Gallery Venice, Placing plexiglass on top of the structures he found that these further diffused the light so the shapes outlined through this surface appeared to be described differently in the slowly changing fields of light.
By positioning sound sources in different places and different heights in the exhibition room Eno intended that the music would be something listened to from the inside rather than the outside. For the I Dormienti show in that featured sculptures of sleeping figures by Mimmo Paladino in the middle of the circular room, Eno placed speakers in each of the 12 tunnels running from it.
Envisioning the speakers themselves as instruments, led to Eno's 'speaker flowers' becoming a feature of many installations, including at the Museo dell' Ara Pacis Rome,again with Mimmo Paladino and 'Speaker Flowers and Lightboxes' at Castello Svevo in Trani Italy Re-imagining the speaker as a flower with a voice that could be heard as it moved in the breeze, he made 'bunches' of them, "sculptural objects [that] Since On LandEno has sought to blur the boundaries between music and non-music and incorporates environmental sounds into his work.
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