Brian Eno

小简介
姓名：布莱恩·伊诺
性别：男
出生年：1948年
生日：5月15日
布莱恩·伊诺出生于1948年，从小就对音乐感兴趣。后来在艺校学习的时候，他开始接触约翰·蒂尔伯瑞（John Tilbury）、柯尼琉斯·卡迪尤（Cornelius Cardew）、约翰·凯奇（John Cage）、拉蒙特·扬（LaMonte Young）和特里·瑞里（Terry Riley）等音乐家的作品。69年的时候，伊诺加入了Scratch乐队，吹奏黑管。1971年，他进入Roxy Music乐团，主要的工作是音乐合成和电子音乐。他的第一张专辑是73年的《No Pussyfooting》。在该专辑制作期间，布莱恩形成了自己“声音延迟”的独特风格。此后不久，伊诺转向他的单飞事业，发行了曲风狂野的《Here Come the Warm Jets》，这张唱片打入了英国排行榜的前30名。后来因为健康原因，他不得不于74年入院治疗。身体康复后，他来到了旧金山。1975年，，一场车祸让布莱恩卧床几个月，然而这也许是他生命中最为重要的几个月。他意识到音乐中也可以包含光影或者色彩。1975年发行了唱片《Another Green World》之后，布莱恩全力以赴地制作他的下一张乐器专辑《Discreet Music》。77年，他带着《Before and After Science》重返流行乐坛，并在音乐和电影两个领域继续探索着，成长为一名最爱反思的制作人。他同德国的音乐组合Cluster以及大卫·鲍威（David Bowie）等人一起制作了著名的《Low, Heroes》和《Lodger》三部曲。1978年，布莱恩·伊诺推出了新唱片《Music for Airports》，这张专辑是为了是飞机上的乘客精神放松而制作的。到了80年代的时候，伊诺同哈罗德·巴德（Harold Budd）、约翰·哈塞尔（Jon Hassell）以及丹尼尔（Daniel）等人一起，成为当时最赚钱的制作团队。1982年，布莱恩发行了《On Land》，83年又发行了《Apollo: Atmospheres & Soundtracks》。1989年，伊诺刚刚为约翰·凯尔（John Cale）制作完《Words for the Dying》，又开始忙着制作即将于90年发行的专辑《Wrong Way》。该专辑体现了布莱恩·伊诺多年来声音的特色，两年后，他又出了一张单曲碟《The Shutov Assembly》， 随之而来的是93年的《Nerve Net》，94年的《Glitterbug》是一张电影的原声碟。1995年，《Spinner》面世。
布莱恩·伊诺涉及的领域不只是音乐，1996年他还出版了日记《A Year with Swollen
Appendices》。99年，他出版了一张包含了自己以前音乐的唱片以及一本93页的手册，接下来的是伊诺十分忙碌的一年。2000年，他同德国的DJ Jan Peter Schwalm一起制作了仅在日本发行的《Music for Onmyo-Ji》，2001年他们两人的新作品《Drawn from Life》在全世界发行，但是这张唱片也将伊诺同 Astralwerks唱片公司的关系带入了终点。2004年的时候，Virgin 和 Astralwerks公司开始重新发行伊诺早期的音乐作品。2005年，他发行了新专辑《Another Day on Earth》。2006年伊诺推出了《My Life in the Bush of Ghosts》。
Ambient pioneer, glam rocker, hit producer, multimedia artist, technological innovator, worldbeat proponent, and self-described non-musician — over the course of his long, prolific, and immensely influential career, Brian Eno was all of these things and much, much more. Determining his creative pathways with the aid of a deck of instructional, tarot-like cards called Oblique Strategies, Eno championed theory over practice, serendipity over forethought, and texture over craft; in the process, he forever altered the ways in which music is approached, composed, performed, and perceived, and everything from punk to techno to new age bears his unmistakable influence.
Brian Peter George St. John le Baptiste de la Salle Eno was born in Woodbridge, England, on May 15, 1948. Raised in rural Suffolk, an area neighboring a U.S. Air Force base, as a child he grew enamored of the Martian music of doo wop and early rock & roll broadcast on American Armed Forces radio; a subsequent tenure at art school introduced him to the work of contemporary composers John Tilbury and Cornelius Cardew, as well as minimalists John Cage, LaMonte Young, and Terry Riley. Instructed in the principles of conceptual painting and sound sculpture, Eno began experimenting with tape recorders, which he dubbed his first musical instrument, finding great inspiration in Steve Reichs tape orchestration Its Gonna Rain.
After joining the avant-garde performance art troupe Merchant Taylors Simultaneous Cabinet, as well as assuming vocal and signals generator duties with the improvisational rock unit Maxwell Demon, Eno joined Cardews Scratch Orchestra in 1969, later enlisting as a clarinetist with the Portsmouth Sinfonia. In 1971 he rose to prominence as a member of the seminal glam band Roxy Music, playing the synthesizer and electronically treating the bands sound. A flamboyant enigma decked out in garish makeup, pastel feather boas, and velvet corsets, his presence threatened the focal dominance of frontman Bryan Ferry, and relations between the two men became strained; finally, after just two LPs — 1972s self-titled debut and 1973s brilliant For Your Pleasure — Eno exited Roxys ranks to embark on a series of ambitious side projects.
The first, 1973s No Pussyfooting, was recorded with Robert Fripp; for the sessions Eno began developing a tape-delay system, dubbed Frippertronics, which treated Fripps guitar with looped delays in order to ultimately employ studio technology as a means of musical composition, thereby setting the stage for the later dominance of sampling in hip-hop and electronica. Eno soon turned to his first solo project, the frenzied and wildly experimental Here Come the Warm Jets, which reached the U.K. Top 30. During a brief tenure fronting the Winkies, he mounted a series of British live performances despite ill health; less than a week into the tour, Enos lung collapsed, and he spent the early part of 1974 hospitalized.
Upon recovering, he traveled to San Francisco, where he stumbled upon the set of postcards depicting a Chinese revolutionary opera that inspired 1974s Taking Tiger Mountain (By Strategy), another sprawling, free-form collection of abstract pop. A 1975 car accident which left Eno bedridden for several months resulted in perhaps his most significant innovation, the creation of ambient music: unable to move to turn up his stereo to hear above the din of a rainstorm, he realized that music could assume the same properties as light or color, and blend thoroughly into its given atmosphere without upsetting the environmental balance. Heralded by the release of 1975s minimalist Another Green World, Eno plunged completely into ambient with his next instrumental effort, Discreet Music, the first chapter in a ten-volume series of experimental works issued on his own Obscure label.
After returning to pop structures for 1977s Before and After Science, Eno continued his ambient experimentation with Music for Films, a collection of fragmentary pieces created as soundtracks for imaginary motion pictures. Concurrently, he became a much-sought-after collaborator and producer, teaming with the German group Cluster as well as David Bowie, with whom he worked on the landmark trilogy Low, Heroes, and Lodger. Additionally, Eno produced the seminal no wave compilation No New York and in 1978 began a long, fruitful union with Talking Heads, his involvement expanding over the course of the albums More Songs About Buildings and Food and 1979s Fear of Music to the point that by the time of 1980s world music-inspired Remain in Light, Eno and frontman David Byrne shared co-writing credits on all but one track. Friction with Byrnes bandmates hastened Enos departure from the groups sphere, but in 1981 he and Byrne reunited for My Life in the Bush of Ghosts, a landmark effort that fused electronic music with a pioneering use of Third World percussion.
In the interim, Eno continued to perfect the concept of ambient sound with 1978s Music for Airports, a record designed to calm air passengers against fears of flying and the threat of crashes. In 1980, he embarked on collaborations with minimalist composer Harold Budd (The Plateaux of Mirror) and avant trumpeter Jon Hassell (Possible Musics) as well as Acadian producer Daniel Lanois, with whom Eno would emerge as one of the most commercially successful production teams of the 1980s, helming a series of records for the Irish band U2 (most notably The Joshua Tree and Achtung Baby) that positioned the group as one of the worlds most respected and popular acts. Amidst this flurry of activity, Eno remained dedicated to his solo work, moving from the earthbound ambience of 1982s On Land on to other worlds for 1983s Apollo: Atmospheres & Soundtracks, a collection of space-themed work created in tandem with Lanois and Enos brother Roger. In 1985, Eno resurfaced with Thursday Afternoon, the soundtrack to a VHS cassette of video paintings by artist Christine Alicino.
After Eno produced John Cales 1989 solo effort Words for the Dying, the duo collaborated on 1990s Wrong Way Up, the first record in many years to feature Eno vocals. Two years later he returned with the solo projects The Shutov Assembly and Nerve Net, followed in 1993 by Neroli; Glitterbug, a 1994 soundtrack to a posthumously released film by Derek Jarman, was subsequently reworked by Jah Wobble and issued in 1995 as Spinner. In addition to his musical endeavors, Eno also frequently ventured into other realms of media, beginning in 1980 with the vertical-format video Mistaken Memories of Medieval Manhattan; along with designing a 1989 art installation to help inaugurate a Shinto shrine in Japan and 1995s Self-Storage, a multimedia work created with Laurie Anderson, he also published a diary, 1996s A Year with Swollen Appendices, and formulated Generative Music I, a series of audio screen savers for home computer software. In August of 1999, Sonora Portraits, a collection of Enos previous ambient tracks and a 93-page companion booklet, was published.
Around 1998, Eno was working heavily in the world of art installations and a series of his installation soundtracks started to appear, most in extremely limited editions (making them instant collectors items). In 2000 he teamed with German DJ Jan Peter Schwalm for the Japanese-only release Music for Onmyo-Ji. The duos work got worldwide distribution the next year with Drawn from Life, an album that kicked off Enos relationship with the Astralwerks label. In 2004, Virgin and Astralwerks began a reissue campaign of his early EG albums. The campaign continued into 2005, the year Eno released his first solo vocal album in 15 years, Another Day on Earth. My Life in the Bush of Ghosts was reissued in 2006 with seven unheard tracks added to the album.