Brian Eno - Small Craft on a Milk Sea
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CD Details
Artist: Brian EnoEdition: Music CD
Audio: English (Unknown); English (Original Language)
Published: 2010
CD Release Date: 2010-11-02
Music Label: Warp Records
Product features:
- Rock
- Emerald and Lime
- Complex Heaven
- Small Craft on a Milk Sea
- Flint March
- Horse
- 2 Forms of Anger
- Bone Jump
- Dust Shuffle
- Paleosonic
- Slow Ice, Old Moon
- Lesser Heaven
- Calcium Needles
- Emerald and Stone
- Written, Forgotten
- Late Anthropocene
Music reviews of Small Craft on a Milk Sea
Music Review: Full of Wonderful, Fascinating Sound Collages
Rating: 5 Stars
I've seen several misleading reviews, including the one in Rolling Stone, that imply this is somehow Eno's return to rock n' roll. There are indeed a few songs in the middle of the album that feature some invigorating propulsion, but over half the album is completely devoid of percussion, firmly entrenched in the ambient medium. There is so much to listen to here if you take the time to sit down, chill out, and REALLY listen. If you can appreciate this kind of music, SMALL CRAFT ON A MILK SEA is fantastic.
"Emerald and Lime" - The melody is absolutely beautiful, the most gorgeous track on the album. I would say it's composed of treated piano, harmonica and bass although it's hard to be sure considering Eno's unconventional methods.
"Complex Heaven" - creates a more mysterious mood featuring a contemplative guitar, heavily treated piano and ghostly effects. Spacey.
"Small Craft on a Milk Sea" - Subdued yet strident rhythms underlie this evocative, subtle mood piece.
"Flint March" - Here the album takes a dramatic turn with a militant techno beat full of pounding polyrhythms and icy waves.
"Horse" - is even more intense and hyper-kinetic, loaded with sputtering static electricity, staccato sounds and rhythms, sawing instruments and mechanical bass. Ominous.
"2 Forms of Anger" - a tribal beat enshrouded in electric insects, creepy noises and other trippy sounds, before it bursts into a full-on rock blast, presumably the "second form of anger." Lasting only a minute, this segment of "2 Forms of Anger" is argueably the only real "rock n' roll" moment on the whole album.
"Bone Jump" - A steady beat guides this strange track which would work well on a modern "Twilight Zone" update.
"Dust Shuffle" - Indeed, this one sports a shuffling hip hop-tinged techno beat, loaded with a dazzling array of intriguing sounds.
"Paleosonic" - a lurching, watery rhythm loaded with music that sounds like computer noises. Full of disorienting instrumentation. A Fripp-esque guitar workout which eventually builds in intensity to a mind-bending little climax.
"Slow Ice, Old Moon" - Returning once again to percussion-less atmosphere, this particular piece is perhaps more ambient (think Eno's ON LAND) than musical; its title is quite descriptive of its mood. Rather eerie.
"Lesser Heaven" - quite placid and beautiful, yet slightly unsettled.
"Calcium Needles" - a foreboding, airy track full of reverb and heavily distorted, clanging chimes. Hazy, uncertain.
"Emerald and Stone" - a slower, stately reprise of the opening track. Sublime.
"Written, Forgotten" - an amazing ambient piece full of wonder and awe, peppered with alien voices.
"Late Anthropocene" - Most of these tracks tend to be short and to the point, but this final track extends to nearly eight minutes. It's more calming and placid compared to the somewhat disturbed atmospheres of certain previous pieces. Stray radio transmissions drift in and out along with several other atmospheric textures that add their own particular mood and feeling.
Description of Small Craft on a Milk Sea
''The work in this collection is a result of an occasional collaboration between myself, Leo Abrahams and Jon Hopkins. The two of them are gifted young player/composers whose work, like mine, is intimately connected to the possibilities and freedoms of electronic music. Over the last few years we've worked together several times, enjoying exploring the huge new sonic territories now available to musicians. Mostly the pieces on this album resulted not from 'composition' in the classical sense, but from improvisation. The improvisations are not attempts to end up with a song, but rather with a landscape, a feeling of a place and perhaps the suggestion of an event. In a sense they deliberately lack 'personality': there is no singer, no narrator, no guide as to what you ought to be feeling. If these pieces had been used in films, the film would complete the picture. As they stand, they are the mirror-image of silent movies - sound-only movies.'' --Brian EnoDance & DJ CDs
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