Tag Archive: Emeralds


This is a monthly feature where classic and cult albums are revisited and reassessed for the modern listener. The only rule is that it must be a critically acclaimed or cult record released before 2000.

Brian Eno – “Another Green World” (Island/E.G. Records, 1975)

This month’s Classics Critiqued choice is many things. Universally recognised as the best album of Brian Eno’s 40 years plus musical career, a stepping stone to the creation of ambient music as we know it today and a modern classic that hasn’t aged in the way many albums released in 1975 have. “Another Green World” links electronic music’s past while looking forward into its future and would go on to be acknowledged by many as highly influential. Though in 1975 Eno had not yet taken the leap fully into the ambient music genre, it seems odd that “Another Green World” is perceived as a ‘song album and not an ambient album’ as only five of its fourteen tracks feature vocals. Geeta Dayal puts this down to the album’s sequencing as the vocal tracks are well spaced and longer than the brief instrumentals between them. In this article I will explore ideas about Eno’s creative process and the making of “Another Green World”, his ideas of exploiting the studio as musical instrument, the perception of Eno as a studio boffin and how he discovered ambient music and his founding concepts.

Before he made “Another Green World” Eno had released two solo albums in 1973 and ’74: “Here Comes the Warm Jets” and “Taking Tiger Mountain (By Strategy) respectively. With these albums he attempted to throw off people’s perception of him as the strutting peacock synthesizer operator of his previous band Roxy Music, which he was mostly successful at. He arrived at “Another Green World” with a sound that was hinting at a grey area between his rock music past and his ambient music future. This was the first time Eno had gone into the studio without any demos or songs completed. He used the guiding principle of his cybernetics hero Stafford Beer – “Instead of trying to specify in full detail, you specify it only somewhat. You then ride on the dynamics of the system in the direction you want to go.” All Eno had was the talent of his session musicians, a general concept, ideas for which instruments to use and his ace card: his musical ear and skill with synthesizers and processing sound.

Eno’s style is often described as being painterly but as Geeta Dayal expertly pointed out in her book on “Another Green World”, a filmmaking is a better analogy as Eno “has a knack for identifying and assembling the right mix of people to serve a larger vision, and the ability to coax unexpected performances out of collaborators.” This seems be crucial in both the creation of and our understanding of the album. Eno’s collaborators and engineer Rhett Davis recall Eno in a playful and experimental mood during the album’s creation. His experiments included creating 80 foot tape loops in the control room, breaking off in the middle of recording for a slice of cake, treating pianos with bits of metal under the strings or hammer, recording in stairwells and challenging Phil Collins to drum to a mathematical formula he wrote out, which frustrated Collins no end. Regular collaborator and lead guitarist Robert Fripp believed “The key to Brian, from my view, is his sense of play… Although Eno is considered an intellectual, and clearly he has more than sufficient wit, it’s Brian’s instinctive and intuitive choices that impress me. Instinct puts us in the moment, intellect is slower.”

The recording studio was an essential tool that Eno fully exploited on “Another Green World”. Recording in odd rooms/spaces and using the reverb  within Basing Street studio, a deconsecrated church, had a profound effect on the acoustic atmosphere present on the album as did Eno’s desire to push the limited analogue technology as far as it would go. Harold Budd, a future Eno collaborator, said of his use of the studio as an instrument, “The documentary aspect is part and parcel of most recording studios. You perform something and it’s captured, and it’s recorded and pressed and put out in the world. The part with Eno was just the opposite. You use the studio in order to get the sounds that are going to be captured, you know what I mean? It just put a reversal on it.” Eno himself said “… I strongly believe that recording studios have created a different type of musician and a different way of making music… Now this is obviously a very different way of working from any traditional compositional manner; it’s much more like a painting. So it’s clearly a method that is also available to the non-musician. You don’t have to have traditional technical competence to work that way.” In saying this Eno inadvertently planted the seed of the idea of the modern music ‘producer’ who can be anyone creating music with software and recording hardware in their own home, the completely autonomous non-musician and studio producer who needs no proven ability or experience.

“Another Green World” isn’t an album that has many direct decedents as can be said for most of Eno’s best work; he is a distinct artist who stands alone. However, the album and his other pure ambient albums that soon followed have influenced at least two generations of ambient musicians including Aphex Twin, Boards of Canada, The Black Dog, Biosphere, Wolfgang Voigt (Kompakt co-founder) and a new generation that includes Oneohtrix Point Never, Emeralds, M83, Eluvium and others. The greatest legacy Eno and “Another Green World” have is the ideas behind them, the experiments, the imaginative titles that hint at what’s within, the inspirational devices such as the Oblique Strategies employed when the music itself wasn’t enough to fire the imagination. These ideas and the resulting album have remained central to electronic music for 37 years and I have no doubt they will continue to do so.

Stream “Another Green World” here.

Liam Flanagan (Sonic Fiction Editor)

October was dominated by Bjork’s return after a four year break and the exciting news that her album “Biophilia” would be released with imaginative, synaesthesia-inspired iPhone/iPad apps. New Polish production duo Viadrina released their club-orientated “Bodymind” EP. The EP is a three-track collection that gives tech-house a new twist and the title track features one of the best vocal performances of recent techno releases:

Unfortunatly I was unable to listen BNJMN’s “Black Square”.

Here’s a round-up of last month’s recommendations.:

Zola Jesus – “Conatus”

This is a disappointing album so I’ve only presented the highlights. Second track ‘Avalanche’ has its foundations in “Stridulum”. The moody atmospherics and deploring vocals link to “Conatus”’ predecessor while the softer use of these elements bridges us to the album’s overall sound. The strongest track is ‘Vessel’ which recalls “Homogenic” or a gloopier ‘Enjoy’ from Bjork’s “Post”.

‘Ixode’ features an infectious 4/4 electro beat and synth pop pulses amid Jesus’ indecipherable, layered chanting then there’s a fantastic octave leap that pins you into your seat as a thwacking bass drum hits you. From ‘Ixode’ we segue into ‘Seekir’, which sees an ecstatic Zola Jesus raising her arms in a moment of victory as the bubbling bassline calls you to celebrate on the dancefloor before we are pulled into the dull murk of later tracks.

“Conatus” is imbued with crisper production and benefits from having the same-y claustrophobia and high drama that made up “Stridulum” dialled down. Yet if listened to in one session the album flags and suffers from repetitive tempos and themes. Her voice remains a force of nature but there is something lacking in this release. All of Zola Jesus’ songs share the same DNA: a high percentage of woe, a percentage of industrial clangs, a percentage of gloomy chords and a percentage of either hope or desperation. “Conatus” is more enjoyable if a few key tracks, such as ‘Vessel’ and ‘Seekir’, are downloaded and consumed in small bites. Despite Zola Jesus’ clear talent “Conatus” unfortunately seems destined to be broadcast over the system in Urban Outfitters.

Bjork – “Biophilia”

‘Thunderbolt’’s malevolent bass line and electronic drums provide a wild, tense energy underneath a female choir that flock around Bjork’s half sung, half spoken questioning of the human tendency to wish for miracles and plea for universal understanding. First single ‘Crystalline’ recalls the intimacy and fragility of “Verspertine” and once again demonstrates Bjork’s innate use of beautiful harmonies. ‘Crystalline’ is filled with the delicate, glassy timbres courtesy of a bespoke gameleste and fizzing electronic drums before a jungle breakbeat unexpectedly explodes out of the ether in proud celebration of Bjork’s return. The breathless swell of ‘Cosmogony’’s chorus conveys in one track the album’s overall sense of childlike wonder felt when considering the universe’s incredible creation and vastness. Bjork creates an uneasy balance between unsettling and calm in ‘Hollow’. Lulling vocals and a dreamy choir are interrupted by horror-film organs and staccato, digitalised drums. Crashing into life after the tender beauty of ‘Virus’ and ‘Sacrifice’ is the confrontational “Homogenic”-like ‘Mutual Core’, which could easily be the voice of Mother Nature scolding her selfish inhabitants or a song for the heartbroken.“You know I gave it all/ Trying to match our continents/To change seasonal shifts/ To form a mutual core//You know I gave it all/Can you hear the effort”  she admonishes as bass sounds and furious beats roll and thunder around her in thrilling bursts.

“Biophilia” has links with her 2007 album “Volta” and 1997’s “Homogenic” but where “Volta” bursts at the seams with sound, “Biophilia” is, for its endeavour to correlate science and nature with the patterns and structure of music, a restrained and spacious listen. Her voice and words anchor emotions to the science and the thread of innocence and wide-eyed fascination that runs through her celebration of the universe prevents any feeling of pretence or aridity. Even after a four year hiatus “Biophilia” underlines how greatly superior Bjork is from the majority of popular music and, regardless of the way the album has been delivered, she continues to electrify and surpass.

http://www.kompakt.fm/releases/looping_state_of_mind/embedded

The Field – “Looping State of Mind”

‘Is This Power’ opens with krautrock drums and a gorgeous, ecstatic loop that could be enjoyed for hours build and build into a thrilling drop after 5 minutes. Breaking down to an arpeggiated bass line, resonant melody and shuffling drums The Field the expertly pulls the main loop back in and the track endlessly continues. Techno DJ and producer Marcel Dettmann remarked that if you “composed a loop that you could to listen to repeatedly then it’s a good loop”; ‘Is This Power’ embodies this statement. Next track ‘It’s Up There’ recalls his début album “From Here We Go Sublime”. Live drums push through liquid, slowly evolving synths and as with the previous track this song drops at 7 minutes to a dancing bass line and percussion to evoke the grooves of LCD Soundsystem’s “Sound of Silver”, making ‘Its Up There’ the funkiest thing Axel Willner has ever produced.

Techno in its simplest form is music that can built using just a few loops and The Field expands on this method effectively; multiplying shimmering loops of vocals, synths and drums into one luscious, infinite circular track. The layers on ‘Arpeggiated Love’ develop into a vast wall of sound where each instrument feels knitted together until a twinkling synth indicates a quick release and we are left with a singular voice calling out. Feeling the most loose and organic of the release, title track ‘Looping State Of Mind’ is a new direction. Balearic house and smooth guitars interlace with rushing percussion and synth drones that drop in and out in unexpected ways. ‘Then It’s White’ comes as a relief after the frenzy of the title track. Marrying human fluency with technology the track creates a strange combination of bliss and sombre. The piano and mournful, computer-warped voice subtly calls to mind Apparat while confirming The Field’s expanded production ability.

The Field has returned with his third album for Kompakt. “Looping State Of Mind” neatly builds on the landscapes of his previous releases “From Here We Go Sublime”,  a collection of icy yet deeply affecting techno tracks, and “Yesterday and Today”, which covers a warmer krautrock-indebted area, to merge the best of both into a beautiful seven track blend of warm synth arpeggios, droning, pulsing pads and that  Kompakt schaffel. The eponymous loops feel like they could last forever; building and dropping.

Spotify playlist:

October playlist

Recommendations – November

Tresor Records – “20th Anniversary” (7th November, compilation mix, Tresor Records)

Two decades ago Tresor and its founder Dimitri Hegemann cultivated an essential Detroit-Berlin relationship, giving an important platform to techno and thus many heralded Detroit DJs and artists. This “20th Anniversary” compilation, mixed by Mike Huckaby, surveys the label’s expansive and integral Detroit-Berlin catalogue with 22 tracks from techno luminaries such as Robert Hood, Drexciya, Jeff Mills, Surgeon and Cristian Vogel.

Oneohtrix Point Never – “Replica” (7th November, Software)

Oneohtrix returns with the follow-up “Returnal” (2010) the winner of my Album of the Year 2010 on his own Software label. Though I’ve already listened to the album a couple of times I’ve yet to form any solid ideas about it. However I do think its a confident stride forward into a more overtly ‘pop’ (in the loosest sense of the world) direction. It still sounds like OPN but is possibly his most varied and upbeat collection to date.

Cabaret Voltaire – “Johnny YesNo Redux (Boxset” (14th November, Mute)

I’ve been a fan of the Cabs for many years but my rediscovery of them earlier this year has forced me to reassess their importance and the brilliant music they made. In addition to this they also released several videos via their video label DoubleVision. “Johnny YesNo” was the most famous of these and has now been reissued with a new version of the short film short in L.A. and a new soundtrack from Cabs founder Richard H. Kirk plus a CD of additional unreleased material in addition to the original film and its soundtrack.

Marcel Dettmann – “Conducted” (14th November, mix CD, Music Man Records).

Berlin-based DJ and techno producer Marcel Dettmann has gathered the work of his contemporaries Morphosis, Redshape and Shed and two of his all time favourites tracks ‘Sundog’ by Reel By Real  and Cheeba Starks to create only his second commercially available mix to date, following the lauded “Berghain 02” from 2008. According to the distributors, the mix is being sold as an “extensive package”, which will include an “extensive booklet” boasting sleeve notes, two accompanying 12”s and interviews conducted by Marcel Dettmann.

Check out this interview with Marcel Dettmann:

http://www.youtube.com/watch?v=UCGVV_ywnTg&feature=player_embedded

The Fall – “Ersatz G.B.” (14th November, Cherry Red)

The 29th studio album from Mark E. Smith and co., there’s no clue in the press release as to how it will sound but one we can rely on is the how John Peel once described the band “always the same, always different”.

Steve Hauschildt – “Tragedy & Geometry” (14th November, Kranky)

The new solo album from Emeralds synth player Hauschildt comes out on Kranky and will be his best distributed solo release to date. I have to honest, I haven’t heard any of Hauschildt’s previous releases but suspect it’ll be heavily influenced by the ‘kosmische musik’ of Tangerine Dream, Cluster and Ash Ra Tempel.

Chris Watson – “El Tren Fastasma” (14th November, Touch)

Not the sort of release that generally excites, the new album from sound recordist and ex-Cabaret Voltaire member Chris Watson promises much. Made up of recordings on the now retired Ghost Train cross-country route in Mexico ten years, the pre-release track ‘El Divisadero’ has proved more musical than you’d imagine and along with a recent interview on Pitchfork has wetted my appetite ahead of this release.

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