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Brian Eno's Another Green World (33 1/3) von [Dayal, Geeta]
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Brian Eno's Another Green World (33 1/3) Kindle Edition

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Mention in Nottingham Evening Post, February 2010

"Dayal's lucid, elegant deconstruction of Brian Eno's most beguiling album is also an inspiring, delightful inquiry into the nature of creativity and constraint. Anyone interested in art making needs to read this." Ed Park, author of Personal Days

"Dayal's unique and fresh take, which also delves into Discreet Music, is a must read for Eno fans and makes a great primer for the uninitiated."-Flagpole Magazine

Selected by Flavorwire as one of "10 Great Books about Music by Female Writers" http: //

Article by author Geeta Dayal in Frieze, 1st June 2010, with a puff for the book in the end.

."..the best short introduction to Eno's work and ethos going." The Wire, February 2010

The book itself is a masterpiece; it's not just a book about the making of a record, it's a book about how to make art and how to think about how to make art.--Amanda Palmer


The serene, delicate songs on Another Green World sound practically
meditative, but the album itself was an experiment fueled by
adrenaline, panic, and pure faith. It was the first Brian Eno album to
be composed almost completely in the confines of a recording studio,
over a scant few months in the summer of 1975. The album was a proof
of concept for Eno's budding ideas of "the studio as musical
instrument," and a signpost for a bold new way of thinking about

In this book, Geeta Dayal unravels Another Green World's abundant
mysteries, venturing into its dense thickets of sound. How was an
album this cohesive and refined formed in such a seemingly ad hoc way?
How were electronics and layers of synthetic treatments used to create
an album so redolent of the natural world? How did a deck of cards
figure into all of this? Here, through interviews and archival
research, she unearths the strange story of how Another Green World
formed the link to Eno's future -- foreshadowing his metamorphosis
from unlikely glam rocker to sonic painter and producer.


  • Format: Kindle Edition
  • Dateigröße: 432 KB
  • Seitenzahl der Print-Ausgabe: 135 Seiten
  • Verlag: Continuum; Auflage: 1 (1. November 2009)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B00LGSQ30G
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Aktiviert
  • Verbesserter Schriftsatz: Aktiviert
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen 1 Kundenrezension
  • Amazon Bestseller-Rang: #594.523 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

  •  Ist der Verkauf dieses Produkts für Sie nicht akzeptabel?


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Format: Taschenbuch Verifizierter Kauf
Für den "Brian Eno" Fan und Liebhaber dieses "Jahrhundert" Albums ein Muss!
Es gibt viele Infos aus anderen Dokumenten, wie Artikeln und Interviews in einen leicht verständlichen Englisch.
Das Jahr 1975 und seine kulturellen und künstlerischen Einflüsse werden am Beispiel von anderen Bands und Alben verdeutlicht.
So wird Enos "Discreet Music" mit dem verstörenden Album "Metal Machine Music" von Lou Reed (RIP), einem seiner "Heroes" von "Velvet Underground", gegenüber gestellt. Dies zeigt wohl die gesamte Spannbreite des Musikjahres 1975.
Die Platte wird Stück für Stück analysiert und beispielsweise der Einfluss auf das "Low" Album von David Bowie (RIP),
an dem "Brian Eno" auch massgeblich mitgearbeitet hat, thematisiert.
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Die hilfreichsten Kundenrezensionen auf (beta) 3.6 von 5 Sternen 20 Rezensionen
31 von 36 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Excellent short guide to a landmark recording and its environment. 5. November 2009
Von Steven Yates - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
Geeta Dayal's contribution to Continuum's 33 1/3 series was delayed several times; finally in print, it was definitely worth the wait. Geeta Dayal has successfully walked the tightrope between giving us an extended review of a record that (incredibly!) will be 35 years old next year and a biography of its creator, Brian Eno. What we get are touches of both--in the context of a nice, accessible guide to the total environment that went into the making of that amazing record, Another Green World. We are reminded that Eno's way of working drew on such devices as the Oblique Strategies cards, what he'd learned from other adventurous composers such as John Cage, Cornelius Cardew, Steve Reich and Terry Riley, and the gold mine of ideas available in books he'd read ranging from Stafford Beer's ventures into cybernetics and management to Morse Peckham's exploration of the relationship between art and biology. Eno's way of working, which treated musical composition as one species of system creation and used the recording studio as a de facto instrument, lifted Eno out of the boxes that confined, e.g., the majority of "prog rockers." Among the results was removing vocals/lyrics from the center of the picture resulting in "flatter" productions where no single instrument dominates. This mindset would lead to the development of ambient music in the late 1970s/early 1980s and, later, to generative music in the 1990s. It's amazing that any one person could pull all this off--but Eno is undoubtedly a genius, having gone from visually-stunning (and cross-dressing) Roxy Music glam rocker to one of the world's most in-demand producers and most respected visual artists.

While drawing on the numerous interviews Brian Eno has given for the music press, Dayal's treatment also makes use of observations by other musicians who have worked with Eno and agreed to be interviewed for her book: Robert Fripp, Harold Budd, Percy Jones, David Toop, Leo Abrahams, and others. Dayal also draws on past statements by David Bowie, John Cale, and others. All these insights reveal the strange combination of playfulness and occasionally frustration that came with working in the studio with Captain Eno, who had been educated at an art school (Ipswich) whose instructors deliberately set about to upset all their students preconceptions about their subject matter. From those who have worked with him we get a near-unanimous vote of confidence. He knew what he was doing; his aim was to unlock hidden potential: undertaking the musical equivalent of planting seeds and then just observing what they grew into (one of the Oblique Strategies does read "Gardening, not architecture").

Another Green World itself is, to my mind, an immortal album, almost like magic set in sound. Many of its fourteen tracks are unlike anything recorded either before or since. Five are songs, with lyrics and fairly standard structure. Sample titles: "St. Elmo's Fire," "I'll Come Running," "Everything Merges With the Night." The other nine are instrumental sound paintings evoking various moods and images. Sample titles: "Becalmed," "In Dark Trees," "Little Fishes," "Spirits Drifting." The opener, "Sky Saw," begins as an instrumental but then brings in vocals, forming a kind of bridge between the two. One of Geeta Dayal's later chapters (interestingly titled using the Oblique Strategy "Ask people to work against their better judgment") walks us one-by-one through the various tracks on Another Green World, integrating commentary from the musicians that worked on these tracks often with no idea what other musicians were doing or what the results would be like.

Geeta Dayal is to be congratulated for pulling together a lot of information and insight into this one slim volume. For some reason I was expecting a book with physically larger dimensions, but that's neither here nor there. This is a useful contribution to a slowly growing literature on Brian Eno and belongs in every serious Eno collector's library.
33 von 41 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen Disappointing 13. Januar 2011
Von Mark Malamud - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
This was the second 33 1/3 book I read (the first was Hugo Wilcken's excellent Low) and I can't overstate my disappointment. Unlike Wicken's book which always kept the album in focus, Dayal's work hardly even keeps the album in sight. Despite asserting in the preface that the book would not be a biography, an excessive amount of time is spent repeating old stories about Eno's history (pre- and post- Another Green World) that have little or no bearing on the album in question. In over 100 pages, less than a dozen actually focus on the album's tracks. In short: this book is not a source for anyone interested in learning something specific about Another Green World.
24 von 30 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen A Gauche and Ill-informed Book 18. April 2013
Von Graham Duff - Veröffentlicht auf
Format: Taschenbuch
Geeta Dayal's lengthy, self-absorbed preface describes, in great detail, how difficult she found the writing of this insubstantial book. And it's impossible to deny that her discomfort and awkwardness shine out of the text. It reads like a bundle of hastily scribbled notes for a book she lacked the genuine desire - or more likely the actual ability - to write.

Dayal says she wanted "to write an exploratory book on the ideas underpinning the music". The result however, is a work in which she sprinkles fleeting mentions of cybernetics, Fluxus and architecture, amongst a batch of over familiar cut and pasted interview quotes.

Her writing is meandering, uneven and unfocussed, whilst her powers of description are severely lacking. Especially when it comes to music itself. For example, the best description she can summon up to define Eno's single `The Seven Deadly Finns' is "goofy". She also describes the single version of Kraftwork's `Autobahn' as "goofy". She finds the liner notes to Lou Reed's `Metal Machine Music' "goofy". The chorus of Eno's `I'll Come Running' is "goofy". Even Marshall McLuhan's I Ching style Distant Early Warning cards are apparently "goofy". Meanwhile, Eno's own Oblique Strategy cards are singled out as being "quirky".

Repeated use of such glib and incongruous short hand to define this wide range of cultural artifacts serves to complete the impression of an author capable of only a very shallow reading of her subject matter. Her description of Can, Cluster and Harmonia as "offbeat German bands" is laughably simplistic. Unfortunately, "offbeat" is another of Dayal's favorite catch-all words. A number of Eno's life experiences were apparently "offbeat". His art tutor Roy Ascott's teaching methods were "offbeat". The mix of musicians on `Another Green World' is "offbeat". And so on. No insights, just bland and lazy labelling.

With her endless repetition and seemingly limited vocabulary, Dayal comes over as gauche and ill-informed, with only a superficial grasp of Eno's work and the concepts and influences which inspire him.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen especially since the book is short (a little over 100 pages) and I wanted to pledge to be Dayal's patron if I liked her book (an 15. Mai 2016
Von Christopher Tower - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
Dayal's book gripped me, and I found that I wanted to keep reading and finish sooner rather than later, especially since the book is short (a little over 100 pages) and I wanted to pledge to be Dayal's patron if I liked her book (and I expected that I would like it, and I did).

And then, I started listening to Another Green World, a lot. OVER AND OVER. Dayal mentioned this occupation herself, claiming that she has possibly listened to this album more times than Eno has, which, I suspect, is not a difficult task to accomplish.

Do artists listen to their own work as much as we listen to their work?

Dayal has shared emails with Eno, and in one, he said that he does not like looking back and avoids doing it. However, Geeta Dayal's book inspired me to look back, to start listening to Another Green World repeatedly. I also try to imagine how my life would have been different had I discovered this album in 1975 or even 1976. Would I have been able to appreciate it at the age of 13 or 14?

And the more I listen, the more I cannot get enough of it. I want to listen more. And so I do. And then I think I should listen to something else, and I just go back to this album again. I am not tired of it.

More can be found at slash 2016 slash 05 slash hey-mom-talking-to-my-mother-313 dot html
3 von 4 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Beware the wrong trim size! 11. November 2011
Von Designing Books - Veröffentlicht auf
Format: Taschenbuch Verifizierter Kauf
Although all the books in the 33-1/3 series, including this one, are advertised as 6.6x4.8 inches, some copies of Another Green World seem to be manufactured on a print-on-demand book machine incapable of trimming books down to this small size, so the book arrived (three times ) as a 6x9 paperback, the small text block awkwardly centered on the page with huge margins. Not only does it look ridiculous, it doesn't match the others in the series, and amazon customer service proved incapable of sending one at the proper trim (shouldn't amazon warn us that the book will arrive as a print-on-demand edition that may not match the format advertised on their site)? I wasted a lot of time sending the book back and forth, and finally bought it at my local indie bookstore. And thankfully, because it's a great little book. Dayal is an astute listener, but focuses by and large on Eno's process for making this album, which relied heavily on his Oblique Strategies card deck. The story is a fascinating one, and it's hard to believe that such great music came out of a studio session where almost nothing was planned, nothing scored, and songs were built out of next-to-nothing; random sounds, loops, words, rhythms, and so on. The book (and album) proves Eno's theory that "everything comes from nothing," that even Beethoven didn't carry the Ninth Symphony around in his head just waiting to write it down. I found the book inspiring in this way, and it deepened my appreciation of Another Green World; I recommend it highly to any Eno fan as well as any musician or other individual interested in the creative process.
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