My Life In The Bush Of Ghosts

The bass on a few of these tracks is so juicy. My favorite track is Regiment. However, most of the tracks lose the funk and go straight to that herky-jerky percussion that only David Byrne knows how to dance to.

No sé amigo creo que no.

This was a strange one.

No strong feelings. I think Eno and Byrne were mega talents. This isn’t my thing though.

Sikkert nyskapende for sin tid, men utrolig repetitiv og kjedelig for meg.. hadde nok vært spinnvilt å oppleve det når det kom ut

Hey, this album. I've seen it while flicking through the book. I assume it's a matter of reissues and copyright laws, though it's a shame that Spotify uses this ugly, streaked design over the original album cover since I thinks it's pretty neat. Anyways, this is my fourth Brian Eno album, this time coming off the back of Music for Airports. I thought that album was solid and had a unique sound, though it's difficult for me to feel one way or the other about ambient music, which I suppose is by design. I didn't know until now that David Byrne collaborated on this album. I can hear the product of Eno and Byrne's sounds being fused together already, though the question remains as to whether this will feature vocals or not, which will obviously tip the scales as to whether this is more of an ambient or new wave album. Judging by the album cover, I think it's more likely that this will be an ambient album. Here goes. I was kind of right in assuming that this album would be a fusion of Eno and Byrne's sounds, though I was also completely blindsided by the prominent world music influence and the proto-hip-hop sound. I wanted to like this album, though I think the appeal is muddied by the high signal to noise ratio. The quirky instrumentation (notably the funky, Talking Heads-esque bass guitars) occasionally gives way to some solid chord progressions and melodies, though these stretches are few and far between and never last long. I can't say the sampling was implemented in a thoughtful or deliberate way, either. Overall, I found this album to be a bit dull, though I was content to let it wash over me. Book time. Inspired by Holger Czukay's Movies album, which definitely makes sense now that I think about it. How fortunate that I listened to that only a handful of albums ago. Meant to release ahead of Talking Heads' Remain In Light, but was caught up in legal troubles, presumably due to the clearance of its samples. "Qu'ran" was replaced on some pressings of this album with a B-side track after my favourite group of people got on their case for sampling an Islamic chant. Released years ahead of the popularisation of sampling and world music in the West. Wikipedia says the name of this album was taken from a Nigerian novel of the same name and backs up this album for being an innovator in sampling. Critics have been very receptive to this album and a few prominent musicians have cited it as an influence. It only performed modestly in the handful of countries where it charted, though New Zealand especially liked this album, with it peaking at No. 8. Yeah, this seems like a solid pick. I cosign this inclusion.

These concept albums that are for people who want to hear weird experimental music that isn’t very enjoyable to listen to should not be on a list claiming you should hear them before you die. This is for a niche set of fans only. It wasn’t as bad as I was expecting, but it’s not fun to listen to.

This is an oddity and I hear Byrne coming through stronger than Eno on many tracks. Props for the collab with Bill Laswell. Interesting that this was made before there were samplers, so precision playback wasn't a thing, putting the "art" into the artistry. Psychic TV comes to mind, who made similar music around the time of this release, but much noisier and without ethnic field recordings. The improvised instruments gave some freshness to the sounds as well, like cardboard boxes as kick drums. The experimental nature of this piece demonstrated what was possible for the electronic, industrial, and avant-garde music to come. There are some standouts (Solo Guitar with Tin Foil for me), but this stands more as a study on influence and a turning point in music history than an album I'd put on just to enjoy.

A bit Cronenbergesque, which I enjoyed. Otherwise, it is a very boring album.

The repetitiveness of Eno's solo work with the spookiness of some of Byrne's more annoying output. I'm so grateful for both of these men and what they've given music, but this album didn't do it for me.

Started off weird, then it got quite good in the middle, then ended even weirder than it was originally. Not quite sure what to make of this one in all honesty.

Was ready to give the first 1 star, but kind of enjoyed some of it

Not really a fan. DNF

Not very memorable.

Put off listening to this one for a bit because I expected a Brian Eno record to be weird. And it was, although in a slightly different way to what I thought. It was...fine, I guess. The music was OK, I found myself toe-tapping at times. I felt it was a bit of a weird shift into Middle Eastern and African sounds in the middle, then it kind of fizzled out. I've pretty much already forgotten it.

Just because you can, doesn't mean you have to.

I thought it was okay until it got to Mountain of Needles which then turned it into a slogfest. I had to look up the original track listing of the album and beg that this was the last song. Thankfully it was so I stopped after that track.

Best: #5 The Jezebel Spirit

I’m not doing another Eno album. 2 because a 1 without listening wouldn’t be fair.

I enjoyed the David Byrne bits. The Brian Eno bits, not so much.

I respect what it's trying to d and it's originality but it was just not fun to listen to.

I had very low expectations for this album and it met them with flying colours. 2 stars or D-.

Hallmarks of what’s to come, but nearly as good as their other work

Half of it sounds like demos for "Remain In Light" and the other half is just two guys messing around in the studio.

Couldn't get into this one at all.

Why? Why did this make the list? 2 stars for production value. This doesn't need to be an album it's a passion project.

Absolutley not a fan of this weird singing and talking stuff

Well, I had that damn Throbbing Gristle album a couple of days ago, so I guess this is pretty ho-hum by comparison. I could see myself getting used to this (and maybe even liking it) if I listened to it a few more times.

Experimental, weird nonsense. 1.5/5.

Wanted to quit listening after the first 5 seconds. Then I red that this album was a big influence for modern music so i gave it another shot. I like some rythmic parts of it or some melodys but most of the time i was not enjoying it. Really crazy sound effects in "come with us".

It insists upon itself, Lois.

As with anything David Byrne touches, it works best as long as his voice is not heard. The worst moments were built off samples of his voice. By the middle of the album they gave up trying to build a song from the random scraps of sound they produced. I agree with the wikipedia article that the influence of this album on sample-based music is debatable. Because if this was supposed to have convinced me, I'd rather have not bothered with the concept.

Disappointed in this one

Very interesting, but was disappointed not to hear any David Byrne singing. But I’m sure this was ahead of its time, with the synths, samples, and world music vibes.

Instrumentalexperiment mit hohem Anspuch aber langweiligem Doodle-Erlebnis.

Too weird for me

Some very interesting samples, loops and noises. Thought it tailed off in the second half of it, or maybe I just lost interest. Stand out track ‘Regiment’. I’ve been singing it out loud for ages now.

I'm historically a bit of a Byrne skeptic, Talking Heads do nothing for me beyond maybe four or five songs (and don't worry, I've tried all of them!), and the rest of his musical output feels a bit, let's say, 'colonial'. This record also features Brian Eno, the ambient work of whom I'm a tremendous fan, but who's other output often leaves me a little cold. How, then, do you imagine I found this generally well-regarded album from a pair of music giants? It's okay. There's a few good tracks up front and the last couple are interesting, but the middle just devolves into a morass of world music slop. Sorry Dave, sorry Bri, this just ain't doing it for me. 2*

Well. Electronica, not really my thing.

Honestly, my least favorite Eno album so far. Ended up not finishing it because I basically already knew what I was getting (I did skip through the later tracks to make sure, but yeah, just jammy, vibey electronic music that just isn't my thing).

I cannot tell if I like this or not lmaooo. Giving it a 2 bc I don't think I like it as a full project, but there are some songs I like enough that, if I were an indie filmmaker, I would have them in a production of sorts. But even still, idk what to do with that lol.

I understand the experimentation, and why it's cool, but I still don't find this a fun listen. This is what pretentious music snobs will tell you is the greatest album, not something people unironically listen to. Like Tate McRae

When to listen: Aliens have landed and we need to communicate. I respect that this is art, it's just not my kind of art. I love the global elements, but this is pretty dang inaccessible. I agree it belongs in the annals of history, and there it shall stay.

I feel like David Byrne just kinda makes everything less enjoyable. Like I really liked the last Brian Eno project I listened to, and this one was so insufferable. I really just didn't enjoy my time with this until maybe the last five minutes. Tragic stuff to be honest. Favorites: A Secret Life, Come With Us, Mountain of Needles

2.5 stars

Pretty groovy drums, but weird album. Too much talking for my tastes.

An interesting curio. Two stars. Side A 1 "America Is Waiting" (2/5) 2 "Mea Culpa" (2/5) 3 "Regiment" (3/5) 4 "Help Me Somebody" (2/5) 5 "The Jezebel Spirit" (3/5) Side B 1 "Very Very Hungry" (2/5) 2 "Moonlight in Glory" (2/5) 3 "The Carrier" (2/5) 4 "A Secret Life" (2/5) 5 "Come with Us" (2/5) 6 "Mountain of Needles" (2/5) Total - 24 Average - 2.18 303/1001 164/303 albums reviewed were new to me

This week im only receiving sht lowk

Not my type

i don't quite understand what this album is all about. it really just seemed like a bunch of looped sounds that he got from a trip to Africa, and then made it into an album. it was odd...

I guess this is an album that you sell to other artists? Do they just use these songs as samples, or they can chop and screw them? 1 hour is a long time for songs that go nowhere.

This got off to a good start. Played the first half when driving to work. The second half I listened to at work and it was either the location or the songs that didn’t do it for me. To be honest I think it was the tracks, some were pretty weak and weird. Would have been a 3 otherwise

I mean, I get it, but it's still Sims music.

This is the result of two musical geniuses, Logic Pro and far too many yes men

Ambient wank.

Brian Eno has been haunting my spotify for ages, but i have never listened to an album out of pure fear. What if i truly like it and then I am haunted??? NOT THE CASE, I REPEAT, NOT THE CASE. I FEEL SAFE IT WAS NOT THAT GOOD.

This wasn't as good as the Airports record - this felt a lot more random noise which I just wanted to skip

Best Song: Solo Guitar With Tin Foil. This had a sparse, original, agoraphobic feeling that I kind of liked, especially after the rest of the album that preceded it. Worst Song: A Secret Life. This feels like touristic voyeurism. I can almost imagine Brian Eno recording the vocalist his iPhone vertically, whispering to David Bryne, "I wonder what they're saying. I bet it's something spiritual." Overall: The wikipedia page for this album says this about the album's title: 'According to Byrne's 2006 liner notes, neither he nor Eno had read the novel, but they felt the title "seemed to encapsulate what this record was about".' To me, that philosophy pervades the album and makes the whole thing worth less than the sum of its parts. It feels like they've taken important and meaningful cultural vocal samples, stripped them of all meaningful local context (and based on the above quote, were perhaps unaware of that context and meaning), and present them solely for their base aesthetic value, with a bit of electronic accompaniment. And yeah, what results sounds decent, but I always got the sense that the samples that they choose carried a lot more interest in situ, and something intangible is lost when they're used simply because they "sound good". Why did they sound good in the first place? Did it have something to do with the emotional and cultural context in which they were embedded?

Skabet venstrehåndsarbejde.. Ikke i i nærheden af at være interessant som takling heads kan være. Det virker mere som et afløb for alle de lyde som har været forbudte for Eno før.

A few good and funky songs mixed in with experimental noise garbage. Pretentious garbage like the other Eno albums on this list.

It’s unique, but not very good. It’s like they randomized each song’s parts. No vocals, which is probably for the better. I understand what they were meaning to do with this album, but it didn’t work out.

This is what mushrooms and privilege sounds like

As a fan of Talking Heads. I didn’t like this as much as I thought I was.

It has one good track. That's the only reason it's not a one star. Also for the love of all that is holy stop with all the electronica.

Talking Heads On Meth?

Some weird 80s experimental stuff. Definitely hit or miss. Not my idea of a good album though personally.

I have a really hard time rating this. I can see why it's important I enjoyed bits of it. But also it has strong Shoreditch dude sampling cultures they don't engage with. The mixing of jungle sounds with Lebanese folk singers feels not great even fir the time

It's an album

Did they make this album for jungle birds??

Thought I was gonna like this but wasn't really feeling it.

pan eno jest panem eno troche gorzej niz zwykle

No lo terminé

c'est expérimental et certains sons sont cool mais est ce que ça apporte vrmt qqchose

not too impressed, but not a Talking Heads fan, well, maybe a couple of songs

no escapará del 2

Bleep bloop blop

Not much of this worked for me sadly. I liked the idea of using recordings and tapes of news casts and such but I found it began to get a little tedious. I know this probably is in part to thank for the use of sampling found in hip-hop today but it definitely has improved since this. I did appreciate the sound influences from around the world but these moments were often overshadowed by the monotony of the accompanying beat. As influential as it may have been, wouldn’t say it’s for me.

I don't know that I buy that you don't get Air or Moby or Radiohead without this album. There are definitely moments that are interesting but some of the sampling is too dissonant or repetitive to actually enjoy, and I'm not sure I love that Talking Heads feel over a Radiohead/Air-style ambiance. Also, naming your album after a book you haven't read is too pretentious for words.

Okay this was genuinely an experience. not necessarily a good one. I mean I get what he was trying to do but it was so odd. guys like the only songs that I somewhat didnt want to turn off immediately was mountain of needles (it reminded me of the minecraft night time music but like damn why is it so repetitive) the rest of the songs were pretty good to start and then it was the SAME thing. over and over and over again. it was all background music, like I could deadass come up with scenarios in movies where these songs could play in the background (some of them, not all some of them are so odd that they cant even be background music.) i kept checking how far down the album i was and then keep listening in hopes id find a hidden gem in this mess of an album. I read a review saying that it sounds like something you'd come across on SoundCloud, that is literally the best explanation for this. like yes I get it wouldve been awesome in 1981 but right now it feels like some teenage boy just started putting shit together for shiggles (shits and giggles) literally help.

My second sort-of-ambient sort-of-background-music Brian Eno album in three days after Music for Airports, and this is much the same, if giving a different feel. It’s not bad, it’s not good, it’s not interesting, and it’s not getting another play from me. And it’s not getting more than 2 stars.

Mitä tähän nyt sanois. Vissiin kovasti on jannut olleet edelläkävijöitä samplaamishommissa, mutta liekkö tätä kuunnella jaksaa. Kiva kuriositeetti.

Not a very fun listening experience. Yeah, okay, it's "experimental" but it should also be good, instead of just a bunch of disjointed noise with no structure or anything.

I generally like repetitive music, but holy criminy, this was too much.

The Jezebel Spirt

Avantgarde funk techno prob ahead of its time but not really that accessible to modern listeners.

Assuming that all albums have an intended audience, and aren’t just created as an entirely self-centered endeavor (which I am unsure of here), I’d really like to know who this was for. It felt like what would happen if you took a 90s “world music” cd, and gave it along with some dj equipment to a child. It was all over the place and with lots of noises.

This just didn’t go anywhere for me. Sort of interesting sample but not worth an album of it.

It’s just sound

There was no clear direction to it, it is all iver the place and hard to keep up. Although I will say I like the mix of different instruments, makes it chaotic and different from different artists but unfortunately it ultimately became too much for me. 2/5

very cartoonic

Two legends of music produce something not terribly exciting and feels a bit all over the place some of the time.

Música de doente mental. 2,5

I don't know...its not unlistenable, the sounds are all okay but they don't make sense. I want to connect and fall into it but I don't even understand what I am connecting to. Like the Carrier sounded like whale sounds I would hear in an aquarium layered with African tribal chants...why? I could have maybe done a 3, but it just felt so long and unnecessary to continue.

Interesting-ish I guess, though this isn't something I'd ever put on again. It feels more like a science experiment than actual listenable music.

This was an experience. I get why it’s on the list but far out it’s a tough listen. 1 hour of noise music with a cool vibe repeated for 5 minutes and random samples thrown at you gets old quick. I have huge respect and love for Brian eno and David Byrne but I won’t list to this again.

I love both Eno’s and Byrne’s work from other project before and after this, and I get the importance of the record. I don’t really enjoy this one though.

Didn’t impress me

Ik ben geen Brian Eno hater, maar ik vind dit maar een zenuwachtig schijtalbum. En dan druipt m'n niet zo favoriete decennium er ook nog vanaf. Ik kan hier echt bijzonder weinig mee. Vooruit, af en toe zit er een aardig stukje in of een leuk geluidje. Daar kan je niet heel lang op teren als het album bijna een uur duurt. Ik hou het op 2 sterren en ik hou het na 10 tracks lekker voor gezien.

Very repetitive

Very well produced background music. But I don’t really even know how to fairly compare this to other actual records on this list. No real lyrics or songs, just a lot of well produced interesting beats. Didn’t hate, but didn’t really think it was worthy of this list.

Just not worth listening to.

Another zone-out-and-get-shit-done kind of album. Personally didnt find anything special here but was glad to hear it.

Was amped for this Eno/Byrne combo that I’d never heard of. Interesting, but only until the limits of my attention span. Then I found myself craving, no, thirsting, for some solid grounding. At the end of the day, normie bullshit works because we’re all used to it. Props for doing something different. If anything, I learned that I’m agonizingly pretty normie.

I appreciate most of the work Brian Eno does, but this album was way too David Byrne forward - many of the songs sounded like instrumental stems of talking heads songs. That mixed with repetitive audio loops that were too long and uninteresting, and the prayer lean which was taken. Really just a mess that is mildly elevated through Eno's skill. 2/5

idk

I love David Byrne. I love Talking Heads. But this was a foray into something different, which I usually appreciate, but I just didn't connect with it sadly.

Although David Byrne has never been my vibe, I did enjoy several parts of this album. I felt like some tracks really spoke to me and others I tried to tone out. I’ll probably revisit although I do not foresee anything wowing me on the second pass.

Byrne and Eno were all over each other in this era. According to legend, they pushed for Remain In Light to be billed as “Talking Heads and Brian Eno” but the non-Byrne members of the group reverse psychologied them out of it by pointing out that Eno would have to tour in support of the album if his name was on it, which was a thing he didn’t want to do. That has nothing to do with this album but it’s amusing. I just kinda am not knowledgeable enough about production to comment on anything musically here other than to say “very bold use of sampling.” Another amusing anecdote that has nothing to with this album: “He’s a genuine eccentric,” Eno said of Byrne. “He’s always been exactly like that, and I’ve seen him remain like that in quite extreme situations.” Eno continued: “For instance, we were mugged together once in New York. It was quite frightening; we were mugged by 14 people. My enduring memory is of David being dragged off into the bushes, saying, ‘Uh-oh!’ That’s absolutely true; it was like a cartoon scene.” I doubt that happened but it’s pretty funny.

Not my favourite by any means

Meh

This seems to be a more foundational text for the DJ style, a style that through this list I have heard Moby, Avalanches, LTJ butem, DJ Shadow. 85 percent of the listen I am bored. There is one or two tracks that are well written, the rest is repetitive. I felt the same way about this album, however I heard the Byrne Eno sound throughout.

Never understood the Talking Heads and this is just David Byrne going even further.

2/5

not for me

< the Beatles Brian Eno, the world's foremost elevator and hold music composer, has far too many albums on this list. Admittedly, this is easily his best album but I give all credit for the "enjoyable" and borderline listenable parts to David Byrne.

Just another random collection of noise

Don't. Like. Brian. Eno. A bit shite. Lots of sounds =/= music.

An odd album to say the least...

I can't say I really enjoyed this album, but I also kind of get it? It's way more experimental than the Talking Heads, which is saying a lot. And, it's mostly instrumental, so depending on how you feel about Talking Heads vocals that could be a good thing or a bad thing. All in all, this was just a bit too abstract for me, and basically the more the song sounded like a funky groove that the Talking Heads would produce, the more I liked it. And the more it was just weird and out there, the more I was just waiting for the song to be over. I do think it's an interesting sound, and it feels like a precursor to some of the loop stuff we got in the 90s like Moby.

Kinda interesting. Sometimes it sounds like Byrne, sometimes Eno. First half was good, second half was boring. It's aight.

Bad electronic music that is either experimental noise or at best too repetitive. Vocals are random audio clips. The Middle Eastern motifs were strange and did not work well. Album cover sucks.

Nah. Felt like laying down the underlying rhythms for Talking Heads songs that never actually gain the story, complexity, or vitality of actual Talking Heads songs.

This is some very weird shit. It sounds like the backing tracks to a bunch of rap songs without the rapping. I can see this being influential on the rap and electronic music scenes, but it doesn't really hit with me. There are some good parts, but a lot of it is just weird for weird's sake. It might be some kind of highbrow art, but if flew way over my head if that's the case.

this album is very experimental. it did not hold my attention.

I know it's innovative and influential, but at the end of the day it's just samples and I don't care for that. 2.0/5.0: Disappointing

a few good grooves, but mostly just a collage of samples which did not make for a very enjoyable listen

Is this album influential? Yes. Is it fun to listen to? No. 5/10 Favourite track: Regiment

Interesting but not my bag.

Really wanted to like this more

I thought I would enjoy this; I've really enjoyed the other Brian Eno albums this project has given me. This, being a collab with David Byrne, was a bit too out there for me.

Understand why it may have been advanced for its time, wasn't that into musically.

Thought this would be a good choice to help me get some work done today, but it really wasn't. Influential or not, it just sounded like noise. 2/5

Two musical geniuses/pioneers… one bland/forgettable album.

Definitely weird music.

I liked the vibe and a lot of the different types of music used but this didn’t hit as a whole for me unfortunately

Not bad. Some I had to skip over, but mostly a good listen.

I'm sure it's influential, I can almost hear it. Doesn't make it great though.

Not as enjoyable to listen to as it was interesting. A lot of bleep bloop really.

mucho mé

Bunch of some pretty interesting instrumental tracks.

I sat up seeing that this album was by Eno as I have recently come to have a new found appreciation for his talent after paying attention to his work with Roxy Music. I wouldn’t say that the albums they made after he left were bad, but I feel his contribution led to some of the most intricate and interesting songs of their work. But here is the rub – David Byrne – Not really a fan of Talking heads and it feels like he is the dominant partner here. I don’t mind songs that don’t fit into the traditional mould but this felt cold to me hence the score.

I’m a fan of David Byrne, I’m increasingly becoming (thanks to the generator) a fan of Brian Eno, and I’m even a fan of some of the twisted grooves served up on this album, like on the wonderfully deranged Mea Culpa. But I don’t think I’m a particularly big fan of MLITBOG as a whole - the impact wears off after a few tracks. It’s still worth hearing as a document of then-revolutionary sampling techniques, but to these modern ears it doesn’t sound like anything special today. 2.5

How much noise can we make and still get away with calling it music? Not for me. But not entirely unlistenable for avant-garde rock.

I'm sure they enjoyed making this but it's pretty much shit to listen to 1.8

I’m sure this is influential, but it’s also disorganized and hard to listen to in parts.

I just dont get Eno.

I appreciate Brian Eno's contribution to modern music via his collaboration, but his solo stuff...I don't know. I think Kraftwerk was more melodic. I enjoy them more.

An interesting experiment of an album. The pull of all kinds of music can be felt across this record, and I definitely feel Byrne's influence on it as well.

When I saw this album was in collaboration with David Byrne I was very excited. Unfortunately didn’t live up to expectations as I found the patterns repetitive and the sampling to be abit lacklustre.

459/1001

The beginning of "Mea Culpa" made me think of StarFox on SNES. I tried, but I couldn't get into it. There's a certain 'je ne sais pas' about it, but overall it wasn't for me. I did find "Regiment" quite good though. 2.

I'm getting into the track Mia Culpa. This album, it would seem is here for how influential it was. Seems like a direct path to Moby (give Gregor back his CDs) Felt more like a technical demo or an educational field trip than an enjoyable listen.

Sounded like the soundtrack to 3 or 4 different movies that I don't really care if I ever see. There was some interesting stuff in here, but I was bored.

Rating: 3.5/10 Not good...what a disappointment.

I love David Byrne for his originality, uniqueness and innovation and this is all of those. What it's not is entertaining, interesting or fun.

Interesting... but I'm no longer interested.

David Byrne is one of my faves, and I certainly respect Eno’s contributions to music. I can see how this would be influential at the time but in our modern age it feels frustratingly simple, repetitive and overlong.

Didn’t care for it I thought it was unique tho

Better than music for airports

Konstpop! Till en början känns det mer intressant än vad jag väntat mig. Det går emellertid över relativt snabbt. Andra halvan av skivan känns totalt meningslös. Ni kan göra konstiga ljud med era maskiner i studion. Jaha, det är noterat. Var det något annat? Nähä inte det. Då går vi vidare till nästa.

Not for me - bit to 'experimental' not a relaxing listen

I can objectively recognize that this music is good. It's just not for me.

Parts are funky which is really cool but it’s also just a bit too weird

it feels built upon a novelty that is no longer novel

Współczuję członkom zespołu, granie tego musi być strasznie nudne

Okay, I like Brian Eno. I like David Byrne too. And together they've made some incredible music. But this? I'm really not sure what to make of it. It's like an ambient instrumental album, which is the best way I could put it. Favorite track: Solo Guitar with Tin Foil

*two white guys travel to africa and the middle east and have the great idea of making an album with those sounds* the rest of the world: is this the birth of modern day music??

Favorite: Moonlight in Glory

Starts off interesting enough but quickly outstays it's welcome just like that distant cousin who seems quirky, so you invite him over for lunch & it turns out he's just batshit crazy not quirky.

A promising start but loses interest in the middle of the album. Top track: Mae Culpa / Regiment

Influential? Significantly. Important? Sure Listenable? Not in the slightest.

Drugs? Drugs.

You know at EPCOT's Journey to the Imagination where there is that floor and you step on a different tile and it plays a different instrument sounds? It is designed to all play together and flow in the same general direction but it is just a complete hodge podge of everything ... This is an hour long album of that

A bunch of decent song ideas and fragments presented as complete songs. Not for me. But ok. 5/10

3/10

Felt like sketches rather than anything finished

It don't really sucks. But anyway nothing that hooks me or that I even enjoyed. Whether it has been influential or not. Weak two stars for all those colorful, horizontal stripes. 1,5

This was a bit too experimental for my tastes, sacrificing quality for the new. Maybe I’m too shallow of a listener for Brian Eno but I just don’t get the hype.

2 out of 5. While Avant Garde isn't my thing I enjoy David Byrne's music and wanted to give it a chance. This album does have parts with great world music beats but there isn't enough to really sustain me.

Not my favourite 2/10

I was skeptical going in. Then first few sings were fantastic and I thought I'd find a gem. Then the rest was boring and self indulgent. Oh well

Weird space and all over the place. 1.5/5

I’m just not a huge fan of this type of music.

I like Eno and I love Byrne… I don’t like this at all.

Sounds for an art installation? I understand that it's important, but it's not something I'm going to want to put on. There are moments of enjoyable rhythmic musicality, but for the most part, it just feels like sounds.

This style works for me when its just David Byrne,....this just isn't hitting. Feels silly and all over the map. Couldn't get thru it.

Cool that they used sampling, but I feel like it could have been executed a lot better? It almost sounds like they’re trying too hard to be weird.

My Life in the Bush of Ghosts presents an intriguing soundscape and demonstrates an impressive use of sampling throughout its tracks. Yet, despite its experimental charm, the album frequently dips into unpleasant territory, and when it doesn't, it simply left me unimpressed.

Look ma! Samples! An exorcism! Is it good? Well……….. This isn’t as bad as my 1 star albums, so I’ll round up 1.5 to 2.

I always appreciate the new sound textures that Eno brings to his collaborations. Mea Culpa was pretty rad with the driving percussion and deep droning vocals, reminded me of some of the newer indie-electric bands I've heard (Check out "Wow" by Young Fathers). As you dig deeper into the album it sort of diverges into sonic "experiments" more than songs, often times slamming discordant noises together just because they could.

It was ok. Good Background music. I was excited for david byrne, but it didnt seem like he put much into it. It was mostly Brian.

The concept here was take two talented people who were near the peak of their creativity and put them in the studio together. Decent idea. If you like spoken word/chants over quirky melodies then this album is for you.

Artsy fartsy but come on

Bored me. Some interesting sounds. 2.4

Genuinely experimental and atmospheric. I’m surprised to see the ‘81 release date. This is truly ahead of its time. Slippery, strange, and a bit long. Innovative and all that, and I’m glad I listened to it, but I won’t be revisiting. It pains me to give a score this low to artists I admire, but I have to be honest about my personal enjoyment and listening experience. It's interesting but not listenable and I found myself wondering who this was for besides the people who made it.

Is the creator of this list friends with brian eno?

I didn’t finish this album and I’m fine with it.

60% Best: Regiment Must-Hear? No

Kinda weird.

This album kicks off with what I can only describe as a torrential assault against my ears of springy samples. I.. do not understand how this could be particularly enjoyable, but we power through. The song “Mea Culpa” is actually kinda fun, there’s this spooky surf vibe to it, that if I ignore the bizarre vocals, works pretty well. Things don’t really improve from here though, the endless annoying percussion samples that persist throughout this record were outstandingly grating. The final track, “Solo Guitar With Tin Foil” is kind of a shockingly beautiful minimalist guitar track, and it felt like a beautiful oasis in the middle of a springy desert. There’s definitely some positives here, but they don’t come close to outweighing the annoying samples. 2*

Waste of time

I have to admit that I started listening to this while mowing the lawn, which was a mistake. I couldn’t really get a good feel of it, I just knew it was different. Upon a re-listen, I will also admit that I had low expectations. What got me early on was not the creativity of what they brought into the recordings. Frankly, we can call that ingenious or innovative, but if it really only influenced future electronic music and nothing in the pop or rock realm, does it really matter? What I did like and ultimately drew me in to give this a fair shot was the rhythm of some of these songs. Sure there were some early misses like Help Me Somebody. Ok, a lot of early misses, with random screaming / narrative that might have had a place for others, but was totally lost on me. That said, songs like Regiment and Mea Culpa had something about them that I enjoyed. Unfortunately, as the album progressed, those pounding rhythms fell by the wayside, in favor of more and more randomness, which made this an opportunity wasted in my opinion. For those who might rate this a 5, I’d ask two questions: is this something you come back to repeatedly and is it close to a no skip record? I highly doubt you would find anyone to say yes to both. Anyway it’s very, very different and while different can be good, in this case it’s not. Interesting for sure, but I’m confused by why I had to hear it. Again, if it led to something that was huge, or if it was really influential on the direction of music, I could accept its place. But since it appears to have done neither, it’s just a departure that adds up to little more than noise save for a couple of highlights. Worse yet, its inclusion in a list of albums I had to hear at the expense of some tremendous records is really baffling. If you want instrumentals, do yourself a favor and go listen to something more influential and innovative that’s actually musical (and incredibly high level), like Joe Satriani.

Early 80s Brian Eno and David Byrne. Sampled vocals and found sounds, African and Middle Eastern rhythms, and electronic music techniques. Random squeaks and voice snippets over beats and some kind of melody. Very experimental. Long and deeply weird.

Dearest album generator, please spare me another David Byrne or Brian Eno album. Thanks.

Way too experimental for me I'm afraid

The songs that were actual songs were good. The ones that were just weird experimental noises were not that good.

Goddamn this went on forever. In some ways it can be cool and atmospheric but it trends into annoying and grating most of the time.

I like Talking Heads but this is a bit of a mess in all honesty.

Not impressed. Good background music/noise, but that’s about it.

I wanted to like this so much more than I did.

I agree with everyone who says this is ahead of it's time - it does sound like a more recent production than 1981. Sadly it is also a load of self-indulgent cut and paste gibberish set to some reasonably interesting rhythms. Expected better from Byrne and Eno to be honest, I do own this album but hadn't got round to listening to it until now. On a side note, why do so many of the reviews for this album in particular look as if they were written by bots...?

Maso

Albums that seem to be made to reflect skill with cutting edge technology age about as well as a smart phone.

A lot of care and creativity went into these tracks. I love Brian Eno's solo work. I respect David Byrne very much. Unfortunately, Byrne's music makes me feel anxious. Like the Talking Heads, this album leaves me feeling like I've had one too many cups of coffee. Regiment is a perfect example. That groove is so sweet. I was literally adding it to a playlist when that vocal came in. Quarter-tone music gives me vertigo for some reason. Unbelievable.

Weird

Trippy, sample-heavy ambient(?) music. Sometimes sounds like a forerunner to trip-hop. Cool ideas, though I can’t say I care too much.

Probably definitely how it feels to contract some form of aural schizophrenia.

Favorite Track: The Jezebel Spirit

It's something, not sure that works for me Will I listen to again: 2%

2 sterne

Scratchy

Not my thing. Probably takes another listen to appreciate more. Knowing nothing going in, it didn’t hook me right away and got a little bored of it.

Surprising and interesting at times, but "surprising" and "interesting" aren't always compliments when it comes to music.

Recorded before Remain in Light but released after it, My Life In The Bush Of Ghosts is a good companion piece to the Talking Heads' album in that it's a similar study in looping/samples and how to be a culture vulture. Similar to Remain in Light, this album makes extensive use of samples and loops, drawing heavily from African music; but this album also draws from American funk and Arabian music, including using several spoken-word clips from preachers, politicians, and apparently an exorcist? Unlike Remain in Light, this album leans more heavily toward the ambient/electronic sound Eno is known for, creating mostly soundscapes and movements rather than typical songs. It was an interesting listen, at least at first. But at an hour long, it soon gets kind of stale. And as someone who's not all that into electronic music, it definitely overstayed its welcome. It makes for ok background music, but it's not something I'd seek out on my own. I can see how this album would have been considered influential and innovative in its time, but it definitely feels like a cringey art project from a bunch of rich white dudes. 2/5

So, I make mashups. If you've been following my reviews (and if you're not part of my group, how have you been doing that?), I might have mentioned it before. And I gotta tell you, if there's anything I love hearing in a mashup, it's spoken word samples. Like, come on, recontextualizing a bit of dialogue from a film or whatever as an intro, outro or interlude to a track? That can be amazing. I particularly wanna highlight The Kleptones for how they've done it; they're my biggest inspiration on that front. Here we have an album by Brian Eno and Davie Byrne, then, that is famous for its sampling of largely spoken word sources. This should be something right up my alley! Like, yeah, there's only one source sampled per song, but still, I can imagine something incredible being done here. Or if nothing else, it'd be nice to hear to glimpse some DNA that'd be expanded on in later music from other artists. And, y'know... On the one, I can appreciate this for bringing this kind of sampling more mainstream. Brian Eno is an artist with clout — certainly more than I imagine the guy from CAN has — so if this inspired artists to try more of this kind of vocal sampling, then that's only a good thing, and for that alone I'll be happy this album exists. But as an experience; as a collected whole; as an **album**... Well, when you understand vocal samples the way I do, it makes the whole album kind of feel like... Y'know, interludes. Like we're hearing the parts before the actual song starts, or the parts once it's done, or the parts that serve as breaks in-between parts. For most of these tracks, it's like I keep expecting the vocal part to come in, but it never does. They jus' kinda... Run around in a circle for a bit before they decide to stop. And they're not bad for it; this isn't ambient music, but as experimental sampledelia to paint a scene to, it's fine stuff. I'm just thinking, there should be more going on, right? And as much as I wanted to say more about this album... Yeah, no, that's really about the size of it. Just this overwhelming sense of "Is that really it?" And it's not even like I was expecting that much from this album to begin with, and certainly there are instrumental patches in here that sound weird enough to be more interesting, but it's just... Really not to me. Not enough so that I wanna be **too** mean to this thing; my appreciation alone for what it meant to sampling, even as much as I hear it's debated, keeps me from being too down on it all overall. But it's like, I was actually really surprised when this thing ended. It hadn't even sounded like it'd started yet, and now it's over? Gosh, I'm talking about my rating now... Lately I haven't been mentioning my rating in my reviews since I wanna have people focus more on my feelings directly than how they relate to a number, but with this album...! I mean, look, I really give this thing a 3, at minimum. To shrug and go, "Oh, well, not my thing, but I can at least appreciate its impact." But every time I think that, my gut tells me I'm wrong, and, well, who am I to argue with my gut? It does kind of pain me to give a Brian Eno and David Byrne a 2 (even if I have no idea how much Byrne actually contributed to this), but... Eh, as I say, that's just how the pieces fall out sometimes. Ultimately, this album's just too uninteresting to me, and it never sounds like it actually starts. At least Eno's purely ambient work had an excuse. So... Pshm, I'unno. I'm just bummed out this is how this thing turned out. Guess now I don't hafta feel too bad that I could never remember how this thing was titled? "Ghosts In The Bush Of Life?" "Life Of My Bush Ghosts?" "Bush Of Life Ghosts?" Seriously, it just always eluded me... And yet I can remember well more than half of Chumbawamba's THE BOY BANDS HAVE WON, et. all, so go figure.

I get this is a monumental album but it feels like homework.

This one is pretty solid. I like it for what it is, I understand the experimental part of it, maybe it’s because I’m not around when it came out? I think it would’ve had more of an impact back in 1981 if I heard it then. Good beats, I appreciate the incorporation of world music, I think this is a one and done for me, though. Two out of five.

Weird production. Too experimental

I’ve never liked David Byrne or Brian Eno as much as I always felt I ought to, and this collaboration is no different. Sampling works better for me in small doses.

After listening for a while i finally got a song i liked. Then I realized it was because the album was finished and Spotify played a new artist.

Experimental. Uninspiring.

This was kind of hard to get through, but there were some cool Talking Heads-esque grooves here. Aside from that, I was not interested in this.

Was it interesting? Yes Was it inventive? You bet Was it good? Nope

Noise noise noise.

Rock, 1981 -> 2

I'm a gan of the talking heads but nit too sure who brian eno is, in my head he makes movie soundtracks. After a quick search he seems like an interesting guy. But I don't like his music. I just need some more structure here. There are great grooves and little ideas that sound very heads but they sit in the amorphous blob of ambient nothing. It's just not what I'm looking for I guess. I just need more than what is here. Maybe that's a me problem but it gets a lower score than I'd like to give it because of that

Day419 - i guess sometimes when you put two geniuses in a room it’s this mess and not abbey road

Boy, this is a lot. It started out good (probably 3.5 or so) but then just kept dragging on as the songs got longer and same-ier. So we're going with 2.5, rounded down.

Not actively bad for the most part, but too weird for my taste. It felt longer than it perhaps was, and I couldn't really make heads or tails of most of it

This was too experimental for me.

I appreciate that this was ground breaking at the time, but I hated listening to it.

Experimental, weird with electronica bells and whistles, arabic onomatopoeia making up some kind of world music.

A few seconds into this album I thought to myself "Oh. It's one of these albums. Unfortunately for me I was correct." Do people actually enjoy listening to this, or do they think they like it because it makes them feel sophisticated? I understand musicians need to experiment to figure out what is possible, and it gives DJ's and producers a plethora of sounds to use. But I won't be listening to this album a second time.

Not for me

is there something wrong with me i don’t think i like brian eno even a little bit

Pre-listening thoughts: I am so curious about this one. I know Brian Eno produced a lot for Talking Heads so I imagine there will be some sonic similarity there (and bc of David Byrne obviously). I wonder if it will stray into ambient territory though. Hoping it just sounds like a Talking Heads record even though you’re missing every other band member to make that magic happen. So it probably won’t 😭 Post/during listening thoughts: hmmm.. this isn’t really what I was expecting! Lots of sampling here. I thought David Byrne was gonna sing but I guess not. It’s like a collage in music form. It’s definitely well produced, there’s no denying that. I’m just not sure I enjoy it all that much. Like I’m not really sure what I’m listening to. It sounds like scrapped Talking Heads instrumentals with like random speaking bits over it. Brian Eno, you have once again become an opp; and David Byrne, I am not mad, just disappointed. But I’m gonna keep reading your book cause it’s good. 3.5/10 DID I NEED TO HEAR THIS BEFORE I DIE: nope. No matter how influential this was for sampling I don’t think it needed to grace my ears before I croak Fav tracks: Help Me Somebody (I guess. I wasn’t super keen on anything on this album. So disappointed actually) Least fav tracks: Mea Culpa

First half is fine and the 2nd half is atrocious. 2.5

again not offensive but interesting doesn’t necessarily mean a good record

What a mix bag. There are some good, groovy songs and some that are just complete slogs. At times, I felt like I was listening to a movie soundtrack. I appreciate the boldness, but overall, it's a little flat. 2.5/5.

Muslim call to prayer with percussion, although it is admittedly good percussion

Reminded me of a thievery Corp album but a little bit more chaotic.

This is one of those albums that feels like it was really important at the time, but has faded into obscurity, and probably for good reason. The samples make for an interesting listen, and some tracks really groove. But others just drone on for minutes at a time. Both artists are highly influential, but there’s a reason people tend to talk about the music that’s more palatable to listen to when the discussion comes up.

This was… interesting. Odd world music vibes mixed with religious chants.

Allez, on attaque un monument. Un de ces disques qui, rien qu'à l'évocation de son titre et des deux noms sur la pochette, vous oblige à prendre une posture intello, à hocher la tête d'un air entendu en murmurant "Ah oui, bien sûr, un album fondateur". Et sur le papier, mes aïeux, quelle promesse ! Brian Eno, le sorcier-producteur, le pape de l'ambient, l'homme qui pouvait rendre un annuaire téléphonique intéressant en le passant à travers trois synthétiseurs. Et David Byrne, le leader-anguille des Talking Heads, le type le plus bizarrement cool de la planète new-wave, capable de danser comme s'il venait de recevoir une décharge de 220 volts tout en chantant des trucs profonds. Le genre de collaboration qui fait mouiller les critiques musicaux du monde entier avant même la première écoute. "My Life in the Bush of Ghosts" est sorti en 1981. Une date qui a son importance car c'est l'album qui, nous dit-on, a inventé le sampling avant même que les samplers existent. Une pièce maîtresse, une pierre angulaire, le chaînon manquant entre le post-punk, la musique ethnique et l'électro. Un disque qui, si on écoute la légende, a engendré à lui seul le trip-hop, inspiré Moby pour son "Play" et donné des idées à une armée de producteurs qui, sans lui, en seraient encore à enregistrer des solos de guitare. Quand je tenais la boutique ou que j'étais derrière le micro à la radio dans les années 90, cet album était une sorte de totem. On ne l'avait pas forcément beaucoup écouté, mais on savait qu'il était IMPORTANT. On vendait du Massive Attack, du Portishead, du DJ Shadow, et on se disait : "Tout ça, les mecs, ça vient de là. De Eno et Byrne qui s'amusaient avec des bandes magnétiques et des enregistrements de prêcheurs libanais ou de chanteurs égyptiens." Le respect était total, presque religieux. Alors, forcément, quand son tour est venu dans ma liste des 1001, je me suis préparé. J'ai sorti le bon verre, je me suis calé dans le fauteuil, prêt à recevoir la révélation. Et les premières minutes, nom de dieu, quelle claque ! C'est brillant, la production est d'une modernité confondante. On est en 1981 et ça sonne mieux, plus audacieux, plus inventif que 90% des trucs qui sortent aujourd'hui. On entend ces voix venues d'ailleurs, ces "found sounds", qui s'entremêlent avec des rythmiques funk-mutantes, froides et groovy à la fois. C'est hypnotique, c'est intelligent, c'est cérébral. On se dit "Putain, ils avaient tout compris avant tout le monde". Le concept est génial, le son est immaculé, l'album n'a pas vieilli d'un iota. Et puis... Et puis le premier morceau se termine et le deuxième commence. Et on se dit : "Tiens, c'est marrant, ça ressemble un peu au premier". Le troisième arrive. "Ah, ok, je vois le principe". Au quatrième, un léger sentiment de lassitude commence à poindre le bout de son nez. Au cinquième, on se surprend à regarder par la fenêtre en se demandant si on a bien rentré le linge. Au sixième, on se dit qu'on se ferait bien un café. Voilà le drame de "My Life in the Bush of Ghosts", c'est une idée de génie étirée sur 40 minutes. Une démonstration technique incroyable, une thèse universitaire sur le rythme et le son, mais où sont les CHANSONS ? Où sont les refrains, les mélodies qui s'accrochent à votre cerveau, les moments de grâce pure qui vous font oublier que vous êtes en train d'analyser un disque ? Nulle part. C'est une oeuvre d'avant-garde, et ça me fait une belle jambe. C'est une collection de rythmes et de textures, c'est une putain de branlette intellectuelle de producteurs de génie qui ont oublié l'essentiel : l'émotion. Passée la surprise initiale, passée l'admiration pour l'audace et l'innovation technique, eh bien... on se fait chier. Royalement. C'est le même motif, la même formule, déclinée à l'infini. Une voix "exotique" samplée, une boucle de basse funky, une batterie métronomique, quelques nappes de synthé et hop, emballé c'est pesé. C'est un album que je suis content d'avoir écouté, pour ma culture personnelle. Pour comprendre d'où viennent certains courants musicaux que j'adore. C'est un disque essentiel à l'histoire de la musique, c'est indéniable. Mais est-ce que je vais le remettre sur ma platine pour le plaisir ? Pour accompagner un trajet en voiture ou une soirée entre amis ? Jamais de la vie. C'est un album que l'on respecte, que l'on admire, mais que l'on n'aime pas. C'est une pièce de musée. Fascinante à regarder, mais on n'a pas envie de l'accrocher dans son salon. Alors oui, c'est un album "fondateur". Il a fondé les bases de tellement de choses. Mais à force de se concentrer sur les fondations, Eno et Byrne ont oublié de construire une maison habitable. Ils nous ont livré un plan d'architecte sublime, mais sans les murs, sans le toit, et surtout, sans le coeur qui bat à l'intérieur. Une expérience. Indispensable, mais unique. Dans le sens où je ne la referai pas de sitôt.

ummm...yeah. Woof. Not my cup of tea (or my cup of "concept music"). Occasionally I would perk up with some fun beat/grove/sound while this was playing. But mostly I just wanted it to end.

I'm a big time Brian Eno and David Byrne fan from their other projects, so I was excited to hear this album for the first time. Never have heard of it before I started this project. Starts off with America Is Waiting and while I like the weird, funky electronic sounds and samples of what I assume is news media stuff, it didn't really strike me as amazing. From there, the album is getting weirder and weirder. Just not my cup of tea. Random sounds and unincorporated samples and electronic keyboards just isn't music to me. I liked their work with Talking Heads, but this is an album I didn't need to hear before I die. 2/5 because I like both of the artists a lot and I understand they're both a bit weird.

2/5

It would have been nice to fast forward this.

...welp, this was a mess. A reasonably pleasant mess, but still.

Maybe a little too out there for me. Could hear Byrne's influence which was neat.

not for me

2.5

Overall, didn't like this. It wasn't until the last few seconds of the last song that I found it enjoyable.

Not for me

A decent half hour album dragged out way too long to the point where I was begging it to end. Love Talking Heads so was sooo disappointed with this.

I will never understand how listening to tape loops repetitively for 5 minutes for each song is enjoyable. This is listenable, though, so I just listened to the first couple minutes of each track before switching it to the next track.

Starts off okay but slowly drags into a long mind numbing struggle. One and done with this one.

I’ve not got much of an opinion on this one. There’s a lot of Eno on here and I generally find him a bit underwhelming. This album is no different. Meh

Like interesting but sort of boring too?

elettronica ma non si può tanto sentì... va bene come soundtrack per qualche azione nei film...

Brian Eno is a renown producer and musician on his own. Throw in David Byrne and have the executive producer Cocaine behind the board and you have magic! This is ‘80s synth-pop and excess at its best. The Herb Alpert /Notorious BIG bass line in Regiment was a funk variation. Listening to this album made me feel like I went to sleep and woke in 1980’s East Germany, which is fair because he had just got done doing a two year stent with Iggy Pop and David Bowie in Berlin (I don’t know if there was cocaine or those two had just enough for a wore off on him in sobriety). Overall, he is a king of emoting: you can hear a lot of Radiohead, LCD Soundsystem and Nine Inch Nails in this album. I don’t know if I returned this one, only time will tell.

Experimental at best. I'm sure it was mind blowing back in the day, but not super enjoyable now.

Not my favorite

This was difficult to get through. I respect both guys, but no thanks on this.

Very weird experimental music with a lot of electronic parts, I know David Byrne is the Talking Heads guy, I recognize the name Brian Eno but I'm not as familiar with him. Yeah this is definitely not for me, super atmospheric, definitely super non-traditional which I guess I respect in principle, but it's just not that enjoyable to listen to.

Less music and more just experimental noise. Appreciate it for what it is, even though I did not care for it much myself. Best Song: Regiment Worst Song: Very Very Hungry

Weird album, it doesn't really sound like Brian Eno, and it definitely doesn't sound like David Byrne. A classic collaboration, that shows none of their respective talents. I certainly didn't enjoy it and will quickly move to the next one.

Really enjoyed the last album we had from Brian Eno, but this one was less relaxing and more annoying noise.

Not his worst on here, but it wasn't much better.

I don't know who this is for but it's not for me. I'm sure Brian had a great time making it and I guess I'm happy it exists but it just didn't do anything for me.

The purported appeal of this album is it was creative & adventurous; it’s just cooky; bizarre lyrics & a compilation of clambering music annoyingly arranged.

This one was weird. The tracks were cool but not sure I will listen again

..

I like both of these guys but this is just them insulting their worst tendencies.

Vendetta against David Bowie is over, David Byrne is my new enemy. Maybe this was forward-thinking for the time, but Jesus fucking Christ does it have “Culture Vulture” written all over it, for like, 20 different reasons. I won’t deny, sometimes, it hits a groove, but if I feel icky every time it doesn’t groove, maybe there’s a deeper issue at hand.

A bit too experimental for me, can’t say I was really a fan of this.

I was prepared to fully hate this one. I didn’t, it was ok.

I wasn’t previously aware of this album and was a bit low on expectations. Actually not that bad, but entirely forgettable imo. I fess hence why never heard of it before.

I like pioneering use of samplers & all but don't think this one is special. Closer to a Brit trip hop guy's "vision of a psychedelic Africa" than I want to listen to. music: hated. (⌐■_■)

Not sure how I feel about this one. Brian Eno is bringing many awesome sounds together, and it sounds like the specific precursor to Remain in Light. But it also sounds like it's the homework to the final exam. It's a work in process. Innovative, maybe, but I think capturing his sound in something more complete, like his Talking Head albums that are already on this list, is more appropriate for a list like this.

Experimenting and pushing boundaries is good, but shouldn’t always be packaged and sold as music. Some of this is legit good, but I think they front loaded the album. Highlight was the bass line in Regiment.

Much respect to both of these individual artists. This bored the fuck out of me. 2/5

No notes.

Very weird but funky

Just tiresome. Seemed to go on forever just for the sake of going on.

Weird. Political statements that still last, but sounds like Indian percussion in space.

Thank you, next

non ho ancora ascoltato un album di Brian Eno che non mi abbia abbondantemente scartavetrato le palle. basta, vi supplico.

realized while listening i accidentally listened to the deluxe edition which is another ~20 minutes. luckily the extra songs really represent how insane i felt like i was going for having to listen to this for an hour

Background music - of no .usical interest or importance whatsoever. Not unpleasant, just pointless.