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Mixing Colours (Expanded)

cover.jpg

Figure 1: Really pretentious. To an art gallery with you.

Brian Eno, huh? Favorite artist of mine. That doesn’t change the fact that he can expunge shit music. Is this shit music?

In comparison to Eno masterpieces, such as Ambient 1: Music for Airports, this album is not as much about music as it is about composition. The mastering, of course, is amazing—we’re talking Eno here, after all. The sound, though? Musically, it’s extremely boring. Throughout all songs the main motif is that there is only one layer of sound. In fact, in most there is only one instrument. One layer and one instrument. And, well, it doesn’t do the album any good.

Now, I don’t want to attack Brian here, as his brother (Roger) is the first artist listed, therefore I would understand that Brian is merely secondary—although on discogs.com he’s listed as the composer as well, in his favor, I shall assume that his main job was producing and mixing. And that’s where this album shines—not in composition or layering, but rather in Brian’s fabulous sound design and production.

Right away you can tell that the composition is really fucking boring (as you can hear on Roger’s solo records, which are mediocre at best, spare for a few minimalist pieces which I enjoyed, such as DeeDee Alone, which by the way sounds like he’s taking a shit alone in his house). I bet you a thousand dollars an 8-year-old with basic music knowledge could compose shit like that. I mean, god damn, instead of trying to be a classical composer and doing a fucking shitty job at it, why didn’t they do something akin to Apollo: Atmospheres and Soundtracks, where simple, repetitive melodies and motifs create rich and interesting soundscapes?

I get that they’re trying to be all pretentious, making a full piano-only album, but it didn’t do any good. I think even adding different instruments (there’s only one or two tracks that use the marimba) could boost this album’s listenability. But nothing could salvage the cuckshit 3rd-grade tier composition.

The production and mixing are great. Somehow, even barring in mind the whole pretentious premise, Brian manages to squeeze out as much sound out of the simple compositions as possible. And this is the only thing that somewhat salvages the album.

In Blonde, we can hear the transition from a pure piano sound to an ethereal, rich, and baroque sound. In Celeste, after every piano note, we can hear a slight, barely noticeable reverberation, which makes it sound incredibly—I suppose—“icy” and “winterly”.

But really, I can’t write anything more about the album. It’s plain boring, failing-at-being-pretentious, and you can clearly see the huge influence Roger had on it. He’s not a great artist.

Rating: C+

Author: zd

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