Brian Eno Oblique Music

Description

On the back of his published diary Brian Eno describes himself variously as: a mammal, a father, an artist, a celebrity, a pragmatist, a computer-user, an interviewee, and a 'drifting clarifier'. To this list we might add rock star (on the first two Roxy Music albums); the creator of lastingly influential music (Another Green World; Music for Airports); a trusted producer (for Talking Heads, U2, Coldplay and a host of other artists); the maker of large-scale video and installation artworks; a maker of apps and interactive software; and so on. He is one of the most feted and influential musical figures of the past forty years, even though he has described himself on more than one occasion as a non-musician. This volume examines Eno's work as a musician, as a theoretician, as a collaborator, and as a producer. Brian Eno is one of the most influential figures in popular music; an updated examination of his work on this scale is long overdue.

Promotion info

This collection examines Brian Eno's music, working practices, and artistic collaborations, from his genre-defining Ambient albums to his work with U2 and others.

Author description

Sean Albiez is Senior Lecturer in Popular Music at Southampton Solent University, UK David Pattie is Professor in Drama in the Department of Performing Arts at the University of Chester, UK.

Table of contents

Introduction: Brian Eno: A problem of organization - David Pattie and Sean Albiez PART ONE - Eno: Composer, musician and theorist 1 The Bogus Men: Eno, Ferry and Roxy Music - David Pattie 2 Brian Eno, non- musicianship and the experimental tradition - Cecilia Sun 3 Taking the studio by strategy- David Pattie 4 Between the avant- garde and the popular: The discursive economy of Brian Eno's musical practices - Chris Atton 5 Yes, but is it music? Brian Eno and the definition of ambient music - Mark Edward Achtermann 6 The Lovely Bones: Music from beyond - Hillegonda C. Rietveld 7 The voice and/of Brian Eno - Sean Albiez PART TWO - The University of Eno: Production and collaborations 8 Before and after Eno: Situating 'The Recording Studio as Compositional Tool' - Sean Albiez and Ruth Dockwray 9 Control and surrender: Eno remixed - collaboration and Oblique Strategies - Kingsley Marshall and Rupert Loydell 10 Avant-gardism, 'Africa' and appropriation in My Life in the Bush of Ghosts - Elizabeth Ann Lindau 11 Eno and Devo - Jonathan Stewart 12 Another Green World? Eno, Ireland and U2 - Noel McLaughlin 13 Documenting no wave: Brian Eno as urban ethnographer - Martin James Select Discography