BRIAN ENO: APOLLO: ATMOSPHERES & SOUNDTRACKS (1983)
1) Understars; 2) The Secret
Place; 3) Matta; 4) Signals; 5) An Ending (Ascent); 6) Understars II; 7) Drift;
8) Silver Morning; 9) Deep Blue Day; 10) Weightless; 11) Always Returning; 12)
Stars.
One thing I really love about Eno is his sense
of realism, which almost always
shines through even the most bewildering of his experiments. As much as the guy
likes challenging conventions, he is really not an abstract artist — he
produces logical, reasonable soundtracks to different universes, some of them
real, some imaginary and fantastic, but still perfectly visualized with the
minimum effort. This, I believe, is the main reason of this big demand on his
music when it comes to soundtracks for movies that challenge our imagination: it's
not just that Eno is the «obvious choice» because nobody knows any better,
it's that he has this ability to sort of jump right in the middle of any given
ambience and convert its chemical substance to sounds so efficiently that you,
the listener, will be able to reconvert it back even without any clues.
No better place to make this point than the
review of an actual soundtrack to a universe that is not entirely imaginary, but for most of us, is no different from
imaginary — the world of space travel. Curiously, looking back upon all of
Eno's projects before 1983, I fail to see anything that would be directly
related to space: most of his
soundscapes took place here on Earth (or, alternately, there on an alternate Earth), anywhere from jungles to high
mountain peaks, sometimes rising as high as the stratosphere, but never really
making a dash for deep space. Perhaps he thought these associations to be too
trivial or something, already well explored by everybody from Pink Floyd to
Tangerine Dream. But when he was approached by director Al Reinert with a
request to provide a musical backing for a documentary about the Apollo Moon
missions, well... as a dedicated public servant, Seigneur De La Salle just
couldn't refuse.
What also makes a big difference is that this
is his first major collaboration with guitarist and sound guy-extraordinaire
Daniel Lanois — from here, you could draw a straight line to The Joshua Tree if you so wished, which
kind of makes sense seeing as how The
Joshua Tree was, after all, U2's
big attempt to shoot the moon, which is what Apollo: Atmospheres & Soundtracks is all about. Although
Lanois, as anybody familiar with his production style knows well, also has a
penchant for minimalism, he is not extreme about it, and cares more about
depth, echo, and suspense than about riding atop a single soundwave for thirty
seconds. This makes the collaboration ideal for the purpose, and the purpose
ideal for the collaboration.
The record, even if it might be supposed to
just represent a collection of incidental music for an ambitious documentary,
actually seems divided in two parts — call them «the Atmospheres part» and «the
Soundtracks part» if you like, but here's the deal: the first part, from
ʽUnderstarsʼ to ʽDriftʼ, is largely electronic and «atmospheric», but starting
with ʽSilver Morningʼ, the compositions begin to feature a lot more guitar, and
you feel... well, you may feel as if
your scary voyage through black holes and cosmic anomalies has finally led you
out towards a brand new world, be it an imaginary Moon or an imaginary summer
resort for Jon Anderson. In other words, this is by no means a static album — despite all that we know
about Eno, and despite all that we know about incidental music for films, it
can be construed to tell a story.
Even at its most purely atmospheric (in the
first half), the music still acts —
on ʽUnderstarsʼ, for instance, which mostly consists of pulsating electronics
representing the various heavenly bodies, there is this odd creepy bassline,
sounding as if it were an unexpected intruder from some jazz-fusion universe,
like a black snake spirit writhing its way through the twinkle. ʽMattaʼ
portrays some sort of quietly bubbling primordial soup, yet every once in a
while some early predatory life form bursts through to the surface and emits a
deep solitary howl. When the music does not act, this, too, follows a certain
logic — ʽSignalsʼ is a melodic interpretation of radio waves flowing through
ether, and ʽDriftʼ... well, you don't expect much of anything to happen when
you're just drifting, do you? But then ʽDriftʼ takes you directly into ʽSilver
Morningʼ, and that is the point of arrival where the natives send out a
greeting delegation that plays you a nice welcome tune, somewhat influenced by
Indian music... oh wait, it's the Moon, there's nobody there. Well, seeing as
how we're listening to this outside the documentary, why not just make one more
step and allow a bunch of Moon people inside your imagination?
Granted, these Moon people also seem to have
developed a strange taste for blues and country-western: tracks such as ʽDeep
Blue Dayʼ and ʽWeightlessʼ, defined by Lanois' reserved, but melodic and even
somewhat memorable guitar melodies, alternately bring to mind either Bob
Dylan's soundtrack to Pat Garrett or some
of David Gilmour's bluesy musings. But there is nothing really wrong with that,
and some of the chord changes in ʽWeightlessʼ reveal a nice understanding of
musical depth on Lanois' part — after all, Brian does not choose his partners
straight out of the blue, does he? This duet with Lanois sounds and feels
nothing like the Eno/Fripp musical marriage, but is every bit as natural,
simply replacing wild movement and aggressiveness with safe, cozy, and
introspective calmness.
The last track, ʽStarsʼ, brings us back into
the «atmospheres» camp, as if it were a last reminder: Moon people or no Moon
people, all of us are just dust in the... sorry. Anyway, it is a nice conceptual
come-around, where you start out with electronic imitation of The Cosmic
Conscience, progress to having guitars imitate organic life infused with said
Conscience, and then zoom out back to the point of magnification where said
organic life ceases to be significant. And oops, all of a sudden this is a
multi-layered conceptual album like The
Dark Side Of The Moon, rather than just a bunch of ambient tracks for
movies. All it took on our parts was a benevolent desire to bury ourselves in
the little details for a bit. See, not all
of Eno's post-pop-rock career is really worthless — you just have to wait for
the right moment to hit you, and then you can trace the ups and downs of this
ambient stuff the same way you trace the ups and downs of somebody really dynamic
in comparison, say, David Bowie. But yes, it takes a little getting used to.
In one of his interviews Eno mentioned that the odd Country & Western flavor of some tracks in Apollo was actually inspired by what astronauts themselves used to take on their space journey: mainly a bunch of old C&W tapes. It was supposed to evoke a sense of desolation on one hand and bring up that good old "venturing into a great unknown" vibe on the other. Also, four of the tracks are credited to Roger Eno. Who the hell is he?
ReplyDeleteRoger Eno is Brian's brother.
DeleteOh, i didn't know. That's nice, thanks!
ReplyDelete