January 19th | Posted by: NMJ
Brian Eno has a reputation for being a very clever man who thinks far more about his music than most of his peers do. He could almost be regarded more as a musical scientist than a typical musician or – God forbid – Rock Star. And with all these preconceptions comes the suspicion that everything he does musically must be pre-planned and thought-out in immaculate detail before he ever picks up an instrument or touches a dial on the mixing desk.
In fact, in many ways, this couldn’t be further from the truth. Yes, he deserves the ‘egg-head’ moniker he’s sometimes given because he does intellectualise and pontificate about his music (and other people’s) more than most musicians or producers will ever do in one lifetime. But the result of all this intellectulising is, paradoxically, not some kind of pre-planned blueprint, detailing exactly how his music should take shape or should sound. Instead, if he plans anything, it’s how to allow randomness into, and to, shape, his music.