Reflection is the twenty-sixth solo studio album by English musician Brian Eno, released on 1 January 2017 on Warp Records. It is a single piece of ambient music produced by Eno that runs for 54 minutes in length.
Both Brian Eno and John Cale have always flirted with conventional pop music throughout their careers, while reserving the right to go off on less accessible experiments, which means they've always held out the promise that they would make something as attractive as this synthesizer-dominated collection, on which Eno comes as close to the mainstream as he has since Another Green World and Cale is as catchy as he's been since Honi Soit. The result is one of the best albums either one has ever made. [A 2005 reissue added two bonus tracks: "Grandfather's House" and "You Don't Miss Your Water."]
6 collected Eno tracks from Music from Films III, The Drop and Wrong Way Up. 1/2 Music for Airports track by Bang on a Can + 5 interesting reworks with strings by Popoli Dalpane Ensemble and another 3 reworks by Arturo Stalteri. These latter string reworks include St. Elmo's Fire, By this River, Driving me Backwards, SparrowFall, Another Green World
Drums Between the Bells is a collaboration by producer Brian Eno and poet Rick Holland. It was recorded just after Eno finished work on 2010's Small Craft on a Milk Sea, his debut for Warp, and it followed on the release schedule less than a year later. In that sense, the timing was good for such a risky project. Music and poetry are often difficult companions, and combining them is best left to experts; fortunately, Eno is just such an expert. Although Holland is an obscure poet, he first came to Eno’s notice back in the late ‘90s (through a university project), and his poetry is very good. Although his words and thoughts are impressionistic, his themes are easier to peg: urban living, science, and the intersection of philosophy and biology. The music is almost entirely Eno’s own, with only a few tracks featuring guest credits – much less so than his previous album. While scattered moments here prove that percussion is still not his strong suit, the production is inviting, innovative, and a larger contributor to the general excellence of the record than the poetry.
The possibility of Someday World arose when Brian Eno invited Underworld vocalist Karl Hyde to listen to a series of intros he'd been unable to finish. The pair share a love for African horns and rhythms as well as dance music of all stripes. Eno enlisted 22-year-old Fred Gibson as a co-producer, and numerous friends including Andy Mackay and Coldplay's Will Champion. As much as this album is a collaborative venture – Hyde's vocal and lyrics are indeed signatures – its music is impossible to separate from Eno's career. References to his first four solo records are ample, as is his work with Talking Heads, David Byrne, and even David Bowie.
Picking up where such seminal Eno recordings as Music for Airports and Another Green World left off, the inveterate innovator-producer's first recording in four years is a surreal tableau of loping beats and eerie sounds enveloped in dark yet serene atmospherics. With German percussionist Schwalm contributing softly swinging drumming, Eno is free to dabble in sounds ranging from Middle Eastern string quartets to crying machines and Vocoders to happy, babbling babies. One of Life's many highlights is Laurie Anderson's cameo on "Like Pictures Part #2," as she enunciates her words above the song's spooky, soothing ambiance. "Bloom" contrasts happy baby chatter against distorted heartbeats and sinister samples; "Night Traffic" paints an empty urban center at dusk with shifting shapes and '70s jazz percussion and piano. Throughout Drawn from Life, Eno and Schwalm cast a spell of spectral dislocation and foreboding. It's like what dying prostrate in the snow must be like–slow, sleepy, beautiful, and chilling.
Brian Eno will soon issue expanded versions of four of his albums originally released in the 1990s Nerve Net (1992), The Shutov Assembly (1992), Neroli (1993) and The Drop (1997) will each be reissued as a two-CD deluxe editions containing the original album and an additional disc of unreleased and rare Eno work specific to each record. Nerve Net includes the first ever commercial release of lost Eno album My Squelchy Life; The Shutov Assembly features an album’s worth of unreleased recordings from the same period; Neroli includes an entire unreleased hour-long Eno ambient work New Space Music; and The Drop includes nine rarely heard tracks from the Eno archives. Each album comes in deluxe casebound packaging and is accompanied by a 16-page booklet compiling photos, images and writing by Eno that is relevant to each release.
The Drop finds Brian Eno replicating the floating, trancy sound of Neroli, creating a shimmering collection of ambient music. Although The Drop illustrates that ambient doesn't all sound the same – it can be soothing and scary, sometimes both at once – the album doesn't particularly hold the listener's interest, as the shifting electronic soundscapes never reveal any substantial compositions. It's intriguing for a while, but by the time the 74 minutes of The Drop have finished, the album has made little lasting impression.
For the record, Nerve Net was not Brian Eno's first attempt at rock & roll. Not counting his time with Roxy Music, he also made several solo albums in the 1970s that were clearly intended as approaches to pop music – they were sideways approaches, of course, shaped by the intellectual distance he has always kept between himself and the music that arises from the forces that he puts into motion, and they were far from unqualified successes. But this is his most rocking solo album in years, and also his funkiest.