Lux | ||||
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Studio album by | ||||
Released | 13 November 2012 | |||
Genre | Ambient, electronic | |||
Length | 75:23 | |||
Label | Warp | |||
Producer | Brian Eno | |||
Brian Eno chronology | ||||
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Lux is the twenty-fifth solo studio album from Brian Eno, released through Warp on 13 November 2012. [1] The album is a collection of ambient soundscapes that have been installed in art galleries and airport terminals. Critical reception has positively compared it with Eno's previous ambient work and noted that it is both relaxing as well as challenging music for those who engage it critically. In 2013, Brian Eno created a number of limited edition prints featuring the cover artwork from Lux made available only from his website.
The music was originally commissioned alongside work in the Great Gallery of the Palace of Venaria in Turin, Italy. [2] To promote the album, Eno attended listening parties in London, New York City, and Sydney. [3] Following in the tradition of Music for Airports , the album was previewed in Tokyo's Haneda Airport for four days prior to the album's commercial release. [4] On 17 November, Eno curated a "Day of Light" promotion on his website where users were encouraged to submit digital photographs under the theme of "play of light" and chose which photos to display to accompany a live stream of Lux. [5]
Aggregate scores | |
---|---|
Source | Rating |
Metacritic | 75/100 [6] |
Review scores | |
Source | Rating |
AllMusic | [7] |
The A.V. Club | B+ [8] |
Drowned in Sound | 8/10 [9] |
The Guardian | [10] |
The Independent | [11] |
NME | 8/10 [12] |
The Observer | [13] |
Pitchfork | 8/10 [14] |
PopMatters | 8/10 [15] |
Slant Magazine | [16] |
Lux has received largely positive reviews from critics; review aggregator Metacritic has given the album a normalised score of 75 from 31 reviewers indicating that its reception is "generally favorable". [6] Mark Shukla of The Skinny gave the album four out of five stars saying Lux is a return to Eno's ambient roots, concluding "remind us that whilst so called 'ambient music' has mutated in countless ways during the last quarter of a century, Eno's singular ability to elicit its most nourishing qualities remains undiminished." [17] Mark Richardson of Pitchfork Media considers the album a strong continuation of Eno's ambient work, saying that it is "squarely in the tradition of music that can be ignored but holds up (sometimes just barely) to closer scrutiny." [14]
Several reviewers make explicit reference to Eno's previous ambient work. Drowned in Sound's Marcus J. Moore also compares this album favourably to Eno's Discreet Music , calling him a "master of the ethos" of ambient music. [9] Caroline Sullivan of The Guardian compares it favourably to Music for Airports . [10] Andy Gill of The Independent proclaims that "Lux never bores because it's never making foreground demands on your attention." [11] Writing for Uncut , John Mulvey writes that his ambient efforts are perhaps "the best kind of Eno album", noting the textures of the music are compelling and complicated. [18]
Kitty Empire of The Observer was more subdued, calling the album "an engaging antidote to all the frantic maximalism that the future keeps springing" and awarding it three out of five stars. [13] Darryl Wright of PopMatters found the album more challenging, writing, "this is not dinner music, mood music or even music for a rainy day." [15] Jon Pareles of The New York Times echoes the sentiment by emphasising the tension built into Lux, [19] while NME 's Lucy Jones praised the warmth and richness of the album and its ability to subtly shift listeners' moods. [12] The A.V. Club's Jason Heller thought that it compared favourably with previous ambient albums, calling it "a haunting embodiment of one of Eno's greatest paradoxes: music made for specific times and places that captures nothing, evokes nowhere, and is porous enough for nearly any emotion to sift through." [8] Consequence of Sound's Adam Kivel also praises the album's ability to stimulate as well as be background music, stating it "holds up to close listening and background work alike, providing material for deep thinking just as well as the scene in which a character thinks deeply." [20] Slate 's Geeta Dayal praised the music's versatility, saying that it was "music for sleeping or waking," [21] but Mark Lore of Paste explains that without the visuals to accompany the music, Lux "meanders while the listener potentially zones in and out." [22]
Andy Beta of Spin gave the album seven out of ten, commenting that "the whole thing is pretty, if a bit mild" and compares it to the 1985 album Thursday Afternoon . [23] Lee Arizuno of The Quietus shared the same comparison and called this his most successful ambient work, saying that it "is a surprisingly rich experience that's difficult to fault." [24] Matthew Phillips of Tiny Mix Tapes describes the subtlety of the music by saying that it "doesn't move the listener so much as suggest directions." [25] Chris Richards of The Washington Post emphasised the profundity of the album saying, "this is music that will make you think about how much time you have in this life and how you might like to spend it." [26]
All pieces composed by Brian Eno
Another Green World is the third solo studio album by English musician Brian Eno, released by Island Records on 14 November 1975. The album marked a transition from the rock-based music of Eno's previous releases towards his late 1970s ambient work. Only five of its fourteen tracks feature vocals, a contrast with his previous vocal albums.
Ambient techno is a subgenre of techno that incorporates the atmospheric textures of ambient music with the rhythmic elements and production of techno. It was pioneered by 1990s electronic artists such as Aphex Twin, Carl Craig, The Orb, The Future Sound of London, the Black Dog, Pete Namlook and Biosphere.
Ambient 1: Music for Airports is the sixth studio album by English musician Brian Eno, released in March 1978 by Polydor Records. It is the first of Eno's albums released under the label of ambient music, a genre of music intended to "induce calm and a space to think" while remaining "as ignorable as it is interesting". While not Eno's earliest entry in the style, it is credited with coining the term.
Selected Ambient Works Volume II is a studio album by the British electronic music artist and producer Aphex Twin. It was released on 7 March 1994 through Warp Records. Its title follows James's debut Selected Ambient Works 85–92. Unlike that record, most of the tracks are purely ambient music, without the earlier volume's ambient techno beats. James said the music was inspired through lucid dreaming, and likened it to "standing in a power station on acid."
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Ambient 2: The Plateaux of Mirror is a 1980 studio album by Harold Budd and Brian Eno. A work of ambient music, it is the second installment of Eno's Ambient series, which began in 1978 with Ambient 1: Music for Airports. Ambient 2 consists mainly of minimalist composer Budd playing improvisational piano in soundscapes produced by Eno. The album received positive reviews and led to Budd and Eno collaborating again for the sonically similar The Pearl (1984).
Ambient 4: On Land is the eighth solo studio album by Brian Eno, released in March 1982 by EG Records. It was the final edition in Eno's Ambient series, which began in 1978 with Ambient 1: Music for Airports. The album was released to critical acclaim, and is recognised along with its predecessors as a landmark album in the history of the ambient genre.
After the Heat is a 1978 album by Brian Eno, Dieter Moebius and Hans-Joachim Roedelius, credited to "Eno Moebius Roedelius". The album represents the second collaboration by the trio, the first being 1977's Cluster & Eno. As with the previous album, After the Heat was created in collaboration with the influential krautrock producer Conny Plank.
Zuckerzeit is the third studio album by German band Cluster, released in 1974 on Brain Records. It was co-produced by Michael Rother, their bandmate in side-project Harmonia. The music on Zuckerzeit marks a shift from Cluster's abrasive early work toward a more rhythmic, pop-oriented sound. Pitchfork ranked the album at number 63 on its list of the top 100 albums of the 1970s, while writer and musician Julian Cope included Zuckerzeit in his "Krautrock Top 50" list.
Fourth World, Vol. 1: Possible Musics is an album by Jon Hassell and Brian Eno. It was recorded at Celestial Sounds in New York City and released in 1980 by Editions EG, an imprint label of E.G. Records. "Fourth world music" is a musical aesthetic described by Hassell as "a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques." The album received praise from many critics.
Sowiesoso is the fourth studio album by German electronic music band Cluster, released in 1976. It was Cluster's first release for Sky Records. Sowiesoso was recorded in just two days in Forst, Germany in 1976 and mixed at Conny's Studio in Wolperath.
Brian Peter George St John le Baptiste de la Salle Eno, also mononymously known as Eno, is an English musician, songwriter, record producer and visual artist. He is best known for his pioneering contributions to ambient music and electronica, and for producing, recording, and writing works in rock and pop music. A self-described "non-musician", Eno has helped introduce unconventional concepts and approaches to contemporary music. He has been described as one of popular music's most influential and innovative figures. In 2019, he was inducted into the Rock and Roll Hall of Fame as a member of Roxy Music.
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