Brian Eno is MORE DARK THAN SHARK
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"Craft is what enables you to be successful
when you're not inspired." - Brian Eno

A.V. Club DECEMBER 8, 2017 - by Sean O'Neal

TOM ROGERSON WITH BRIAN ENO: FINDING SHORE

Brian Eno would probably be the first to say that the design behind his albums can often be more interesting than the music. His first purely ambient work, 1975's Discreet Music, notably featured a schematic of the equipment he used to create it; on his most recent, 2017's Reflection, he stressed the "generative" properties of allowing the systems he's devised to unfold naturally, removing himself from the process almost completely. Finding Shore, his new collaborative album with pianist Tom Rogerson, has an equally fascinating blueprint: Rogerson's piano keys were overlaid with infrared sensors that were set up to trigger vintage Moog equipment, creating new tones that Eno could fiddle with and improvise around. Here the self-proclaimed "non-musician" once again acts as conduit for the flow of Rogerson's ideas, and if the actual product doesn't always measure up to that quirky ingenuity - or if it is, on the whole, just a touch too chamber-music stately to reach the mind-expanding heights of Eno's '70s and '80s team-ups with Robert Fripp, Cluster, Harold Budd, et al. - Finding Shore still contains moments that are plenty interesting, even downright beautiful. In those, it doesn't really matter how they were created.

RIYL: Olafur Arnalds. Nils Frahm. Talking for hours about analog synthesizers.

Start here: Motion In Field features the most evenhanded distribution of their work, with Rogerson's sprightly runs tastefully augmented by Eno's laser-synth pulses.


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