Editors’ Notes Composed to accompany a gallery show in Turin, LUX’s music is best approached as a continuous composition extending over four sections. As it unfolds, Brian Eno displays his mastery of mood and texture as well as his ability to imply dynamic movement beneath placid surfaces. Long-time admirers of his ambient albums will hear echoes of Music for Airports and The Plateaux of Mirror in its misty pastel contours. Lending musical support are Leo Abrahams on Moog guitar and Neil Catchpole on violin and viola, who add discreet but crucial embellishments to the keyboard figures providing the main structure. As LUX progresses, Eno and his collaborators lead the listener through a vast interior space that opens up with a steady, quietly mesmerizing flow. Bell-like murmurs suggest distant lights; firm piano chords lend weight to slowly billowing synthesizer daubs. LUX’s final two sections begin to take on the dimensions of a modern classical piece, hinting at a sense of final completion. Ultimately, Eno blurs the distinction between composer and collaborator as he merges his musical vision with the listener’s own inner environment.


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