The album’s cover songs are rendered so pristine that they lose all sense of identity.
The album is a paradoxically delicate yet fearless plunge into the unknown.
For Eno, late adulthood doesn’t just bring forth new perspectives on humanity or the universe at large, but on one’s own existence as well.
The musician seamlessly blends the digital explorations of Western ambient tradition with the music of his homeland.
The album collects ambient music crafted expressly to fit and reflect spaces both natural and manmade.
This is music that’s never the same but sounds like it is, obsessed with the fact that it isn’t.
The album’s chief strength is its fine balance of the concrete and the abstract.
Brian Eno and Karl Hyde’s Someday World is the EDM equivalent of top-shelf dad rock.
Lux functions as a welcome excuse for half-occupied reflection.
Burns weaves Doug’s dream life into the two books along with his memories, creating one continuous hallucinatory, cascading narrative that skips across different times and realities.
Like many of Eno’s projects, Drums Between the Bells skips around fitfully off a loose central theme.
The Beastie Boys’s “Don’t Play No Game That I Can’t Win” gets the Major Lazer treatment.
One of our favorite indie labels, Paper Bag Records, has released a track-for-track cover of Madonna’s True Blue album.
Despite its quiet release, Small Craft on a Milk Sea comes loaded with all kinds of external baggage.
More than just spatial white noise, Music for Airports is the sonic equivalent of visual art.
We polled journalists, DJs, and record-label folk to find out what they thought were the most important electronic albums of the 20th century.