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Eno, Brian - Music For Films CD Cover Art
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Music For Films CD

 Eno, Brian CDS

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Category Rock/Pop, Rock, Classical, Pop, Electronica, Alternative, Instrumental, Ambient, Enhanced CD, Contemporary, Piece
Music For Films Music


Detailed Music For Films Music Information



List Price $11.94 (You save $0.25)
Label Virgin
Orig Year 3/22/2005
All Time Sales Rank   1140  
CD Universe Part number 6828614
Catalog number 63646
Discs 1
Release Date Mar 22, 2005
Recording Time 41 minutes
Additional Info Remastered; Digipak
Music For Films Music


Music For Films Other Versions



Eno, Brian
.Music For Films  (1978) Limited Edition; Mini LP SleeveAudio Samples
CD$9.55
Eno, Brian
.Brian Eno: Music For Films  ImportAudio Samples
CD$16.05
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Music For Films Songs


Music For Films Songs Detailed Work Information



1. Aragon  (1:37)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
Paul Rudolph (Guitar)
Percy Jones
Phil Collins (Percussion)
   Period  Contemporary
2. From the Same Hill  (3:00)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Genre  Piece
   Period  Contemporary
   Country  England
3. Inland Sea  (1:24)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
4. Two rapid formations  (3:23)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
Dave Mattacks (Percussion)
Fred Frith
Bill MacCormick
   Period  Contemporary
5. Slow Water  (3:16)
   Composer  Brian Eno (1948 - )
   Performer  Robert Fripp
Brian Eno (Electronics)
   Period  Contemporary
6. Sparrowfall  (1:10)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
7. Alternative  (3:15)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
8. Quartz  (2:02)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
9. Events in Dense Fog  (3:43)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
10. There is Nobody  (1:43)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
11. Patrolling Wire Borders  (1:42)
   Composer  Brian Eno (1948 - )
   Performer  Rod Melvin
Brian Eno (Electronics)
John Cale (Viola)
Paul Rudolph (Guitar)
Phil Collins (Percussion)
   Period  Contemporary
12. A Measured Room  (1:05)
   Composer  Brian Eno (1948 - )
   Performer  Percy Jones
Brian Eno (Electronics)
   Period  Contemporary
13. Task Force  (1:22)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary
14. M386  (2:50)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
Paul Rudolph (Guitar)
Percy Jones
Phil Collins (Percussion)
   Period  Contemporary
15. Strange Light  (2:09)
   Composer  Brian Eno (1948 - )
   Performer  Rhett Davies (Trumpet)
Fred Frith
Brian Eno (Electronics)
   Period  Contemporary
16. Final Sunset  (4:13)
   Composer  Brian Eno (1948 - )
   Performer  Brian Eno (Electronics)
   Period  Contemporary

Music For Films Music


Elements featured on Music For Films CD



Composers on Music For Films CD : Brian Eno

Genres on Music For Films CD : Piece

Performers on Music For Films CD : John Cale, Phil Collins, Rhett Davies, Brian Eno, Robert Fripp, Fred Frith, Percy Jones, Bill MacCormick, Dave Mattacks, Rod Melvin, Paul Rudolph

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It was here that Eno first began to experiment with abstract soundscapes, to employ a greater spatial element and the ethereal synthesizer effects that presaged an entire movement of ambient music. While most of the tracks are instrumental, the numbers that feature Eno's peculiar, affectless voice and free-associative lyrics seem to blend into the fabric of the album. Superior guest musicians include John Cale, Robert Fripp and Phil Collins. From the brain-bending riff of "Sky-Saw, through the elemental creeping of "Sombre Reptiles;" from Robert ...
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On two quite different pieces--the closing title-track and "On Some Faraway Beach"--a different side of Eno was laid bare. These mid-tempo, mostly wordless sound-paintings construct melancholy scenes out of grandiose, manipulated sounds, and gesture toward Eno's role as the father of ambient music. Savage guitar lines, erratic synthesizer, and pounding drums (Robert Fripp, Paul Thompson, and Phil Manzanera are among the excellent personnel) provide exciting textures on a collection as beguiling as it is invigorating. With WARM JETS Eno proved he was ready to jump off the edge of the pop universe, and to drag everyone else with him. By the time Brian Eno left Roxy Music and came to record this masterpiece of a debut in 1973, he already held in his grasp the raw tools to revolutionize popular music. HERE COME THE WARM JETS is bathed in his singular pop-with-a-wink aesthetic and free-associative imagination. Whether on the four-on-the-floor pre-punk stomp of "Needles In The Camel's Eye" or the Spector/VU trad-rock-ism of "Cindy Tells Me," the album displays an unabashed love of quirky, catchy pop. Macabre lyrics often subvert the ...
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Eno's last glam-pop album before devoting himself entirely to ambient experimentation, BEFORE AND AFTER SCIENCE showcases two sides of Eno's musical personality. The first half of the disc is characterized by floppy, pop-tinged romps reminiscent of his earlier albums (and heralding later Eno-piloted projects such as the Talking Heads' SPEAKING IN TONGUES). Tunes like "Backwater" and "King's Lead Hat" (a song whose lyrics are reputedly about the Talking Heads, the title an anagram of the band's name) feature bouncy beats and keyboards, silly, riddle-like lyrics and Eno's Muppet-ish vocals. The second half is considerably ...
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Yet Eno's grasp of melody and songcraft is everywhere: on the bouncing, absurdist/philosophical "Burning Airlines (Give You So Much More)," and on straight-out rockers, like the deliciously intense "Third Uncle" (which is propelled by the churning guitar of Roxy Music's Phil Manzenera, and is, arguably, the album's highlight). Concurrent with David Bowie's ALADDIN SANE-era alien aesthetic, Eno's tunes are even more otherwordly and warped than his glam cohort, making use of the full palette of bizarro synthesizer effects and creepy-cheeky postures. The songs, however, are as inventive and appealing as their treatments, and make for Eno's most solid--and experimental--pop album. TAKING TIGER MOUNTAIN holds up magnificently, even years on in the artist's brilliant career. TAKING TIGER MOUNTAIN (BY STRATEGY), Brian Eno's sophomore solo outing, is a grab bag of freaky, science-fiction-dipped confections. Filled with a battery ...
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An invitation to score Al Reinert's film of the Apollo Mission's lunar landing provided Eno with the "opportunity to explore the feelings of space travel." APOLLO is "one small stepŕ" for Eno, here working both within and beyond the conceptual confines of his Ambient series. The disc's dozen gorgeous, evocative miniatures see Eno's first collaborative work with producer/guitarist Daniel Lanois--a collaborator who would prove central to many of Eno's subsequent projects--and with his own brother, pianist Roger Eno. APOLLO contains some of Eno's most carefully crafted melodies, wrought ...
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The whole of THURSDAY AFTERNOON consists of one 61-minute track, itself an edit of a much longer piece designed as the accompaniment for a video piece by artist Russell Mills. In the tradition of 19th century program music, THURSDAY AFTERNOON attempts to musically evoke the feelings of a specific experience. Amusingly, ...
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The sign on the club door says "rock'n'roll tonight" and if you don't like it, come back tomorrow for country night, right? Wrong. Who says a modern day rock'n'roll band can't sound like tomorrow's country music or that an indie pop band can't swing? Who says a trio from Germany can't play Americana? The TriSonics actually thrive on crossing genre borders. Listen to their second album "Welcome to the Club" and you'll find Rockabilly ("These Walls"), Country (the title track), Swing ("Should've Known Better"), and even a homage to Britpop ("Lyla") as well as a cover of a Blondie hit ("Call Me") from 1980. You can also hear a real smoocher ("I Believe in Love"), a bombastic bit of jungle music ("Ooh I Like That Voodoo"), a track that opens with the sound of a shovel hitting dirt ("Digging a Hole"), a ballad ("In My Arms") as well as a song with a grand gypsy finale. And the final track manages to pull all these elements into one song.

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