But what Music for Installations proves beyond a doubt is that, to paraphrase Chevy Chase, he's Brian Eno and they're not. Of course, a streaming service might still label all of the above as “ambient,” part of the new chill-out economy seemingly driving Spotify to its own kind of generative musak. Though Music for Installations contains sound created for specific situations and places, as a box set, it might be used to step outside of time.
Filled with gorgeous washes of bells and drones and unidentifiable luminous shimmers, deep vibrations moving across widescreen stereo fields, one might imagine them all as separate galleries and vestibules in a vast museum, each filled with light and sound, running constantly as night and day change outside and the seasons pass.
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Grown from mid-’80s experiments with four tape recorders looping cassettes of differing lengths, Music for Installations contains what are essentially field recordings from a series of different environments, each its own universe. Each piece here represents its own individual slice of one possible Long Now, with Eno providing the finely considered coordinates so that the music itself can run infinitely, changing into new patterns like a river or an ocean. One project was the 10,000 Year Clock, for which he created patterns for the clock's chimes, each to be rung once and never repeated.īy the mid-’90s, the period representing the general starting point of the six-disc Music for Installations, Eno's “ambient” work had largely fallen under the subtly different rubric “generative” (that is, music that is created according to a system of algorithms, only partly under its maker’s control). Two decades ago, Eno helped start the Long Now Foundation, working to connect the present moment to the far-extended arc of human history. He thought of his then-recent recordings as sound “suspended in an eternal present tense.” Perhaps unconsciously channeling Baba Ram Dass's brand/mantra, Be Here Now, the always-conceptual Eno began to expand his sense of scale. Not long after Brian Eno coined the term “ambient music” in the late 1970s, he generated another Eno-ism with an extended lifespan, one with an appropriately slower dissemination.”I want to be living in a Big Here and a Long Now,” the producer wrote in a notebook.
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