As with Eno’s greatest ambient work, Lux seems to complement something just beyond reach, absent but not unknowable
On one end, it sounds like a straightforward film score. In another instance, it’s perfect headphone music for self-study or personal contemplation.
If Lux does nothing else, it suggests that there's a reason Eno's name has become synonymous with "ambient" and why his thoughts on the music remain the gold standard.
If ambient music is designed to "modify one's perception of a surrounding environment," LUX is an unqualified success
The detail of individual tracks is almost irrelevant, as the album drifts from sunrise strings to rise-and-fall synths to piano notes as delicate as foals taking their first steps.
Like any good artist pushing the boundaries of his medium, Eno does away with the easily digestible progression through brief poems of sounds and opts instead for four movements, barely distinguishable to the impatient ear, but demanding to be taken seriously.
Eno’s Lux takes you on a journey that allows your imagination to run wild – a record that will create differing landscapes for everyone who listens to it.
We didn’t need further proof that Eno is a masterful ambient music maker, but here we are anyway.
Whether it plays like the soundtrack to peace, loss, or twinkling lights, LUX is a composition that is no more static than its listener.
LUX holds up to close listening and background work alike, providing material for deep thinking just as well as the scene in which a character thinks deeply.
I held up the album cover and fell instantly in love with the cover art. My first listen was pleasurable. But, something is missing? Hmm. Oh, variance of style. Eno seems to rarely leave the realm of his em coloring which, by now, are his trademark sound. Being a fan, I say, so what. Brilliant ambient em by the master of em ambient style. Word. Peave. - @daFigz™
1 | [untitled] 19:22 | 75 |
2 | [untitled] 18:14 | 75 |
3 | [untitled] 19:19 | 75 |
4 | [untitled] 18:28 | 50 |