Brian Eno is MORE DARK THAN SHARK

INTERVIEWS, REVIEWS & RELATED ARTICLES

Rip It Up AUGUST 1981 - by Graham Donlon

JON HASSELL/BRIAN ENO: POSSIBLE MUSICS / HAROLD BUDD/BRIAN ENO: THE PLATEAUX OF MIRROR

Plateaux and Possible Musics break away from the ersatz Afrofunk of Eno's David Byrne collaborations and mark his return to ambient music. Unlike his previous sensurround music, Music For Airports and Music For Films, both of these new releases are warm and likeable works.

The Hassell/Eno disc is the more pleasing of the two albums. Born in Memphis and schooled in the contemporary classical and jazz idioms, Hassell blends hand drums with his eerie, long-lined synthesiser and trumpet improvisations. In his won words, a primitive-futuristic blend results.

His admiration for trance music and Indian ragas is reflected in his trumpet-playing which incorporates so many special effects it sounds more like a full choir or orchestra than a single brass instrument.

The Plateaux Of Mirror features the classical piano stylings of Harold Budd, whose compositions recall the ECM school of chamber jazz. With titles like The Chill Air, Among Fields Of crystals and Wind In Lonely Fences, one can tell Budd's music is not aimed at the dance floor. Cool, simmering, gossamer textures are the order of the day.

On both albums, Eno takes more of a back seat role than usual, confining himself to co-compositions, electronic doctoring and production which, as ever, is the last word in clarity.