INTERVIEWS, REVIEWS & RELATED ARTICLES
Rolling Stone SEPTEMBER 4, 1997 - by Josh Kun
BRIAN ENO: THE DROP
On his first album in three years, pioneering ambient architect Brian Eno unveils yet another brand of sonic manipulation, a type of music he vaguely labels "drop." Angular melodies, bent guitar notes, piano drizzles and manipulated effects make up The Drop's mixed bag of seventeen mini-compositions (most clocking in at under three minutes). As usual, Eno is more interested in introducing new musical equations than in actually solving them: He leaves behind the cinematic spaciousness that characterised much of his earlier ambient work and instead creates a series of musical interludes that sound as if they've been stripped of their original contexts - fragmented webs that, strangely, end up connecting nothing.