from Sounds magazine, February 5, 1977 - the end bit of an interview with Vivien Goldman.
Didn't you already post this at the beginning of the year? We had a discussion on artsy vs.non-artsy bands as a result.
Yes over ar Pantheon - it is true my short term memory is in tatters, but this is a bit deliberate recycling. Faves/unfaves seems to have a different, larger readership.I might try assembling a playlist of Eno’s 38
I did that and it's a good listen, especially on shuffle. Most of it is on streaming except for Songs of Paradise and Ralf & Florian. But it is slightly unbalanced by Eno giving 4 minutes to Lee Perry, 2'40" to Mary Wells and 2'30" to Hendrix, compared to 31 minutes for his own Discreet Music
Oh you did? Can you share the link? That's funny about the disproportion given to his own music.
Here you go. Not sure how much use it will be because it’s on Apple and IIRC you are a Tidal subscriber. But just in case: https://music.apple.com/us/playlist/enos-fave-raves/pl.u-zqp6F8apmjXI made a few editorial decisions of my own, such as picking replacements that I thought might be close substitutes where tracks are not available, and using selections from the albums rather than all the tracks, to avoid completely overbalancing the list. But I think it’s turned out pretty well.
I think his justification would be that since Discreet Music was his first experiment with 'generative' music, it wasn't technically by him and can therefore be listened to sans solipsism. (I wouldn't buy it a bit, of course.)Eno is an immensely frustrating figure to me because his first four pop albums are all-timers, and yet you get the feeling that he resents that, because he doesn't like the idea that his own writing would be the most interesting thing about him (he can make those claims of being a 'non-musician' all he wants, but those albums are wonderfully damning suggestions to the contrary). So everything after that has been an increasingly ridiculous effort to negate himself in his work, first by sampling other people (very well, of course) and then upping the ante by removing humans themselves from the picture as much as he can (his recent work where he's just skimming interesting bits from whatever his algorithmic/machine learning composing/lyric-writing programs cook up into a vague album-sized shape, which seems like an insanely inefficient way to be more efficient)Part of that can be attributed to terminal technophilia, obviously (a condition that seems less eccentrically charming and more aggravatingly deluded than ever), but the specific way he's using it is particular to his own neuroses - he wants to be seen as the great scenius-fertilizing systems analyst of pop, and won't see why that's so boring compared to the guy who made 'Baby's On Fire' and 'I'll Come Running'....
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