Brian Eno is a bit like God. Always present playing somewhere in the distance. Echoing into collective consciousness now and again. Maybe that’s why he has had the Asteroid 81948 named after him: Brian Peter George St John le Baptiste de la Salle Eno, or Eno for short. Besides, he is undoubtedly one of the most important, significant artists of this, and indeed the previous century with an influence stretching out far beyond any human horizon sculpting sonic masterpieces that resound into the sublime ether from the 1970’s to today. This latest re-release, originating from 1983, revisits the flurry of ambience created alongside his brother Roger and Daniel Lanois was produced to accompany the documentary â€˜For All Mankind’ by Al Reinert, celebrating the Apollo 11 moon landing of 1969. Zoom fast-forwards to now and the 50th anniversary of that surreal, cosmic event now features the original album (remastered by Abbey Road’s Miles Showell), plus an accompanying additional album of 11 new compositions which freshly reimagine the soundtrack. Analytically, as we do like to analyse the man’s work, categorising and theorising as to this and that, for me this isn’t his most important moment. Not that it isn’t great. It’s just not as great as the 1970’s trio from Music For Airports, but music is of course a personal journey and whatever reflects time and space for you is always going to be most significant. What is perhaps most interesting here, in that context, is the comparison of the new music which has been created sonically, as well as highlighting the progression from then to now. â€˜For All Mankind’ occasionally marks a more playful, melodic side while also hitting those atmospheric buttons relieving brilliant sensations, most notably on the piano punctuated Waking Up. Or tearing at the heartstrings via on the picture-postcard, haunting nostalgia of the closing, Like I was A Spectator. Moments that capture time like these don’t come much more elatedâ€¦.
Meandering past the point of no returnâ€¦
Release: July 19