Day 283: Brian Eno – Here Come The Warm Jets

8 Dec

Baby’s On Fire

And the suggest-apocalypse has begun.  Yes, somehow, some way, a guy like me has managed to have never listened to a Brian Eno record.  Oh, of course, I’ve heard the freaking MGMT track named after him, but I’ve never gotten around to the man himself.  I’m pretty sure that he invented electronic music as we know it today or something like that, so this was just some ignince on my part.

I think a few things kept me away from Brian Eno—the man, as well as his music, are intimidating for a few reasons.  There’s so much of it that it’s hard to figure out where to start, and it’s supposed to be really important—this can sometimes keep me away from certain records, for some unknown reasons buried deep within my subconscious mind.

Anyway, all ridiculous reasoning aside, this record is crazy-interesting.  Even today, amongst all of the weird modern nonsense that I subject myself to, this record holds up fairly well in the Strange Department.  There’s so much going on in Here Come The Warm Jets; I found my senses overloaded.  First of all, there’s the instrumentation. Every instrument touched by Eno becomes fairly unrecognizable.  The lyrics are crazy too—I usually had no idea what Eno was saying because I was preoccupied trying to figure out what animal must have sat on his keyboard. However, I did notice that the delivery is often extra creepy.  Don’t get me wrong, this is a cool record, but it definitely needs a few more listens before I’ll have it fully digested.


2 Responses to “Day 283: Brian Eno – Here Come The Warm Jets”

  1. Dead Chops Don't Talk December 8, 2011 at 6:42 pm #

    While you are digesting…

    If you want to hear more modern Eno influence, look no further than Damon Alborn on the third Blur album:

    This album was made in a totally different environment in terms of the capabilities of technology from what Blur had at its disposal. That crazy guitar sound in the solo on Baby’s On Fire is not made on someone’s Apple using software. Here is how it was done according to the man who was playing said guitar:

    RF: Yes. I record on the left machine, the guitar is recorded on the left
    machine, the signal passes along the tape to the right machine where it’s
    played back to the left machine and recorded a second time.

    RG: OK.

    RF: The signal recorded the second time passes along the tape to the right
    machine where it’s played back a second time and recorded a third.

    They would vary the sound by playing with the distance between the chairs that the two tape decks were kept on.

    Don’t knock yourself out trying to figure out the lyrics. Eno is taking a pretty much Sigur Ros approach here. He was free-associating and whatever sounded good stuck. A lot of his work deals with coaxing creativity through deliberately-created accidents.

    I am amazed how modern this album sounds almost 40 years after it was released and how Eno expanded the musical palette far beyond the sounds that most bands were putting out.

    In 1974, one Rolling Stone critic said: “[Eno’s] record is annoying because it doesn’t do anything…the listener must kick himself for blowing five bucks on baloney.”

    Where do you come out?

  2. Dan Efram December 9, 2011 at 9:07 am #

    We are performing this album from start to finish LIVE in nYC on Jan 8, 2012!!!

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