[ambient, classical] (2023) Roger Eno - The Skies, They Shift Lik...

    Roger Eno - The Skies, They Shift Like (2023)

Review:
Classical music is undergoing a transformation. It’s no longer just Mozart sonatas and Bach preludes; there is real growth and experimentation, as well as complex expression, in what contemporary composers are doing. As with Ola Gjeilo or Caroline Shaw, the soundscapes are changing, using more electronics or synths in addition to falling back on more minimalistic tendencies. Multi-instrumentalist and composer Roger Eno’s second album with Deutsche Grammophon, The Skies, they shift like chords, is breathtaking in many ways. The ambiance it provides is not simply to be put on as background music; it is thoughtful, meditative and gorgeously composed. The first track “Chordal Drift” starts the album with lush strings and a beautiful atmosphere. There is a winter chill, a sky that is battling clouds and slanting sunlight. At once symphonic, it sort of lulls the listener in with a false idea of what’s ahead. Like Stravaganze consonanti by Trovesi and Montanari, it plays with expectations of what classical music is and what it can do. Eno plays with structure and form, with some pieces being much more en style libre. “Illusion” starts off almost like an Arvo Pärt piece with strings and pauses, then it morphs into a bit more Philip Glass with piano and then goes back to the former. It is simplistic and casts a sort of haunted shade. Some of the pieces, like “Above and Below,” play with that ancient-meets-otherworldly sound one finds in fantasy films (think new age composer Kitarō or even John Hollenback). These tracks are not gimmicky or overdone, though. They are mysterious, mystical. The allure is in their graceful spectrum of color, of instruments and synths that come together to create a whole world. They float and are almost effervescent, as if they are gauze streamers drifting in the breeze. The piece evokes a magical atmosphere, as if walking through ruins or an abandoned building. Yet, it also has a desolate, creepy side as well. This mix gives it a unique tone, a sort of bitter and sweet that’ll surprise you. “Through the Blue” almost begins like a song by Enya (something off her Watermark album). But it develops and goes elsewhere. It then almost fits in a period film score, maybe Pride and Prejudice or a contemporary remake of one of the Brontës’ books. The versatility is what makes the album go by so fast, yet one doesn’t really want it to end. Eno might change the music a bit, from track to track, but it is never startling. One never goes, ugh, or gasps in alarm at what is unfolding. And, unlike some contemporaries, Eno does find a nugget of melody or a musical riff to give the listener so they aren’t just sinking or wandering lost in an unfamiliar landscape. Some songs like “Mind the Gap” start off a bit more strangely. The strings here are shrill and seem to be used in a more straightforward way, to mimic the sound of doors squeaking closed. Yet, it becomes a bit more beautiful. Once again, one’s expectations are challenged, and that makes for fun listening, though not always the easiest listening. Not every piece is amazing or will charm you. Unlike musicians like John Scofield (where you know what you’ll get throughout the entire album), Eno keeps you guessing a bit more. There is a consistent musical tie from start to finish, though. The mystical theme remains the glue, even if the instruments or sound effects differ as we go along. If you’re a fan of his previous release The Turning Year, you’ll find much of the same here. And in a good way; he doesn’t copy what he’s already breathed into being. It’s more like he continues to be inspired by what he was before, that the creative fuel and energy hasn’t tapered out and left him looking for new horizons. His pieces can be so gentle and tender, too, like “Arms Open Wide.” When he scales back the sound, Eno really creates a lovely piece. Some might say they are slightly hollow or empty, but as with any minimalist, the need for space and minute repetition is essential. The reverb—that accompanies most classical crossover or ambient music—helps these pieces from feeling too frail or brittle. The Skies, they shift like chords has so many textures to it. My favorite pieces are those with strings that have a British folk or Celtic vibe to them, think “Strangely, I Dream.” Eno has really allowed his heart to express itself. These tracks are not by a composer who’s in it for the money or tired of searching the world for new ways of musical expression. This release feels new and energized, but it further contains moments of peace and calm. What’s more, the compositions blur and blend and bend into one another so well. Eno’s so flexible, carefully crafting the pieces and then conscientiously fitting them in order. It is a remarkable release that unsettles with haunting lines and simultaneously makes one tingle with warmth at a display of beauty—a richness only found in a passion for music. — by Konstantin N. Rega at spectrumculture.com

Track List:
01 - Chordal Drift
02 - Tidescape
03 - That Which Is Hidden
04 - Illusion
05 - Above and Below (Crepuscular)
06 - Through the Blue (St. Swithin’s)
07 - Mind the Gap
08 - Arms Open Wide
09 - Strangely, I Dreamt (Featuring – Cecily Eno)
10 - Japanese Rain Garden
11 - If Only for a Moment
12 - Where Does This Lead Us


Media Report:
Genre: ambient, classical
Country: Woodbridge, UK
Format: FLAC
Format/Info: Free Lossless Audio Codec
Bit rate mode: Variable
Channel(s): 2 channels
Sampling rate: 44.1 KHz
Bit depth: 16 bits
Compression mode: Lossless
Writing library: libFLAC 1.2.1 (UTC 2007-09-17)


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