Brian Eno

小簡(jiǎn)介
姓名：布萊恩·伊諾
性別：男
出生年：1948年
生日：5月15日
布萊恩·伊諾出生于1948年，從小就對(duì)音樂(lè)感興趣。后來(lái)在藝校學(xué)習(xí)的時(shí)候，他開(kāi)始接觸約翰·蒂爾伯瑞（John Tilbury）、柯尼琉斯·卡迪尤（Cornelius Cardew）、約翰·凱奇（John Cage）、拉蒙特·揚(yáng)（LaMonte Young）和特里·瑞里（Terry Riley）等音樂(lè)家的作品。69年的時(shí)候，伊諾加入了Scratch樂(lè)隊(duì)，吹奏黑管。1971年，他進(jìn)入Roxy Music樂(lè)團(tuán)，主要的工作是音樂(lè)合成和電子音樂(lè)。他的第一張專輯是73年的《No Pussyfooting》。在該專輯制作期間，布萊恩形成了自己“聲音延遲”的獨(dú)特風(fēng)格。此后不久，伊諾轉(zhuǎn)向他的單飛事業(yè)，發(fā)行了曲風(fēng)狂野的《Here Come the Warm Jets》，這張唱片打入了英國(guó)排行榜的前30名。后來(lái)因?yàn)榻】翟颍坏貌挥?4年入院治療。身體康復(fù)后，他來(lái)到了舊金山。1975年，，一場(chǎng)車禍讓布萊恩臥床幾個(gè)月，然而這也許是他生命中最為重要的幾個(gè)月。他意識(shí)到音樂(lè)中也可以包含光影或者色彩。1975年發(fā)行了唱片《Another Green World》之后，布萊恩全力以赴地制作他的下一張樂(lè)器專輯《Discreet Music》。77年，他帶著《Before and After Science》重返流行樂(lè)壇，并在音樂(lè)和電影兩個(gè)領(lǐng)域繼續(xù)探索著，成長(zhǎng)為一名最愛(ài)反思的制作人。他同德國(guó)的音樂(lè)組合Cluster以及大衛(wèi)·鮑威（David Bowie）等人一起制作了著名的《Low, Heroes》和《Lodger》三部曲。1978年，布萊恩·伊諾推出了新唱片《Music for Airports》，這張專輯是為了是飛機(jī)上的乘客精神放松而制作的。到了80年代的時(shí)候，伊諾同哈羅德·巴德（Harold Budd）、約翰·哈塞爾（Jon Hassell）以及丹尼爾（Daniel）等人一起，成為當(dāng)時(shí)最賺錢(qián)的制作團(tuán)隊(duì)。1982年，布萊恩發(fā)行了《On Land》，83年又發(fā)行了《Apollo: Atmospheres & Soundtracks》。1989年，伊諾剛剛為約翰·凱爾（John Cale）制作完《Words for the Dying》，又開(kāi)始忙著制作即將于90年發(fā)行的專輯《Wrong Way》。該專輯體現(xiàn)了布萊恩·伊諾多年來(lái)聲音的特色，兩年后，他又出了一張單曲碟《The Shutov Assembly》， 隨之而來(lái)的是93年的《Nerve Net》，94年的《Glitterbug》是一張電影的原聲碟。1995年，《Spinner》面世。
布萊恩·伊諾涉及的領(lǐng)域不只是音樂(lè)，1996年他還出版了日記《A Year with Swollen
Appendices》。99年，他出版了一張包含了自己以前音樂(lè)的唱片以及一本93頁(yè)的手冊(cè)，接下來(lái)的是伊諾十分忙碌的一年。2000年，他同德國(guó)的DJ Jan Peter Schwalm一起制作了僅在日本發(fā)行的《Music for Onmyo-Ji》，2001年他們兩人的新作品《Drawn from Life》在全世界發(fā)行，但是這張唱片也將伊諾同 Astralwerks唱片公司的關(guān)系帶入了終點(diǎn)。2004年的時(shí)候，Virgin 和 Astralwerks公司開(kāi)始重新發(fā)行伊諾早期的音樂(lè)作品。2005年，他發(fā)行了新專輯《Another Day on Earth》。2006年伊諾推出了《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.