Label: Not On Label (Donnacha Costello Self-released) - none • Format: 7x, File FLAC, Album • Country: Ireland • Genre: Electronic • Style: Ambient, Experimental
This is the second installment of Eno's Ambient series, which began in with Ambient 1: Music for Airportsidentifiable by its similar cover art which evokes rural terrain on a map. Eno produced Budd's album The Pavilion of Dreams after British composer Gavin Bryars introduced the pair, which led to their collaboration on this album.
Eno said of Budd that he indulged in "live improvisation on The Bass Machine - Various - 3XhARd3R - The Second Chapter of Mirror I would set up a sound, he would improvise to it, and occasionally I would add something: but it was mainly him performing in a sound-world I had created".
Speaking about how Budd discovered new ways of playing on the album simply by bouncing ideas off each other, Eno has also commented. And you would hear him discovering, as he played, how to manipulate this treatment. How to make it ring and resonate. Which notes work particularly well on it. Which register of the piano. What Album) to play at, of course, because some treatments just cloud out if they have too much information in them.
The bulk of the instrumentation is Budd on acoustic piano with treatments by Eno. Eno then reversed the melodic phrase, recorded it and played it to Budd for the first time over the telephone. While the theme is recognisable by its melody line, the treatments are more pronounced. Tracks 2, 4, 7, 8 and 10 are mostly piano-oriented, with little in the way of heavy electronic tinkering by Eno; track 1, also piano-based, has some light synthesizer treatments towards the latter half.
Tracks 3 and 9 feature syncopation, mostly in the form of light chimes, while track 6 has wordless vocal-style effects accompanying the piano. Track 5's piano is backed with some warm synthesizers, the most uptempo composition on the album. Because the album was recorded on analogue equipment, the listener can hear the hiss of the tapes Eno used for his treated sounds in several of the tracks. In its retrospective review, AllMusic described it as "a lovely, evocative work".
One gets the feeling that Harold Budd was after something slightly different from Eno, as his playing seems a bit busy under the concept Phil Green And His Orchestra - Study In Green hand.
Still, left on in the background, Plateaux is a light-filled album that accomplishes the goal of transforming its environment. From Wikipedia, the free encyclopedia. Harold Budd and Brian Eno. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Retrieved 25 May The Austin Chronicle. Retrieved 12 November The Encyclopedia of Popular Music 5th concise ed.
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