![]() The film offers plenty of ammunition for all those-and there have been many-who regard Eno as a perfumed ponce, an over-analytical egghead, a desiccator of pop who distrusts self-expression, champions sound over meaning, and prefers twiddling knobs in recording studios to the sweaty carnival of live performance. Which I am!” The diaries he has kept since he was ten appear on screen: they’re full of diagrams, doodles, and the word “Switzerland” in dramatic script. “I have attempted to replace the element of skill considered necessary in music by the element of judgment,” he declares at one point. Twenty-four minutes long, Eno is short but priceless. A Year with Swollen Appendices, by Brian Eno, Faber & Faber, 441 pages, $26.95īack in 1973, in the brief interregnum between leaving Roxy Music and starting out on a singular solo career that would encompass art pop, the invention of ambient music, celebrated collaborations with David Bowie and David Byrne, and producing landmark LPs such as No New York, Brian Eno was the subject of a little-known documentary by Swiss filmmaker Alfi Sinniger.
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