Table Of ContentBrian Eno
Brian Eno
Oblique Music
EDITED BY SEAN ALBIEZ
AND DAVID PATTIE
Bloomsbury Academic
An imprint of Bloomsbury Publishing Plc
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First published 2016
© Sean Albiez, David Pattie and contributors, 2016
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British Library Cataloguing- in- Publication Data
A catalogue record for this book is available from the British Library.
ISBN: HB: 978- 1- 4411- 1745- 8
PB: 978- 1- 4411- 2912- 3
ePDF: 978- 1- 4411- 5534- 4
ePub: 978- 1- 4411- 4806- 3
Library of Congress Cataloging- in- Publication Data
Names: Albiez, Sean, editor. | Pattie, David, 1963– editor.
Title: Brian Eno : oblique music / edited by Sean Albiez and David Pattie.
Description: New York : Bloomsbury Academic, 2016. | Includes index.
Identifiers: LCCN 2016003576 (print) | LCCN 2016006402 (ebook) |
ISBN 9781441117458 (hardcover : alk. paper) | ISBN 9781441148063 (ePub) |
ISBN 9781441155344 (ePDF)
Subjects: LCSH: Eno, Brian, 1948—Criticism and interpretation. |
Electronica (Music)–History and criticism. | Ambient music–History
and criticism. | Glam rock music–History and criticism.
Classification: LCC ML410.E58 B75 2016 (print) | LCC ML410.E58 (ebook) |
DDC 780.92–dc23
LC record available at http://lccn.loc.gov/2016003576
Cover design: Clareturner.co.uk
Cover image © Henk Badenhorst/Getty
Typeset by Newgen Knowledge Works (P) Ltd., Chennai, India
For Jacqui, Cameron, Celie, Joe and Ben O’Rian
CONTENTS
Contributors ix
Introduction: Brian Eno: A problem of organization 1
David Pattie and Sean Albiez
PART ONE Eno: Composer, musician and theorist
9
1 The Bogus Men: Eno, Ferry and Roxy Music 11
David Pattie
2 B rian Eno, non- musicianship and the experimental
tradition 29
Cecilia Sun
3 Taking the studio by strategy 49
David Pattie
4 B etween the avant- garde and the popular: The discursive
economy of Brian Eno’s musical practices 69
Chris Atton
5 Y es, but is it music? Brian Eno and the definition of
ambient music 85
Mark Edward Achtermann
6 The lovely bones: Music from beyond 105
Hillegonda C. Rietveld
7 The voice and/ of Brian Eno 119
Sean Albiez
viii CONTENTS
PART TWO The University of Eno: Production and
collaborations
137
8 Before and after Eno: Situating ‘The Recording Studio as
Compositional Tool’ 139
Sean Albiez and Ruth Dockwray
9 Control and surrender: Eno remixed – collaboration and
Oblique Strategies 175
Kingsley Marshall and Rupert Loydell
10 A vant- gardism, ‘Africa’ and appropriation in My Life in
the Bush of Ghosts 193
Elizabeth Ann Lindau
11 Eno and Devo 211
Jonathan Stewart
12 Another Green World? Eno, Ireland and U2 235
Noel McLaughlin
13 Documenting no wave: Brian Eno as urban
ethnographer 257
Martin James
Select Discography 269
Index 275
CONTRIBUTORS
Mark Edward Achtermann is a historian and erstwhile college liberal arts
instructor. He studied guitar method under Robert Fripp and musical
composition under Crawford Gates. He is currently (2016) editing the
papers of social advocate F. Nelsen Schlegel (1901– 1987).
Sean Albiez is senior lecturer in popular music at Southampton Solent
University. He co- edited Kraftwerk: Music Non- Stop (2011) with David
Pattie, and has published studies on electronic and popular music. Subjects
have included Krautrock; John Lydon and PiL; French electronic music;
Madonna; punk and post- punk; Techno and Detroit; and the infamous
Sex Pistols 4 June 1976 gig at the Lesser Free Trade Hall in Manchester.
He has contributed entries on a number of electronic music genres to the
Bloomsbury Encyclopaedia of Popular Music of the World. He was a
member of the industrial- electro- EBM band WMTID in the 1980s, and
currently produces electronic music as obe:lus. Further information can be
found at www.seanalbiez.com.
Chris Atton is professor of media and culture in the School of Arts and
Creative Industries at Edinburgh Napier University.His books include
Alternative Media (2002), An Alternative Internet (2004), Alternative
Journalism (2008) and the Routledge Companion to Alternative and
Community Media (2015).He is a co- founder of the Journal of Alternative
and Community Media. He has made special studies of fanzines and the
media of new social movements, as well as the cultural value of avant-
garde and other ‘difficult’ forms of popular music. His work on music has
appeared in Popular Music, the Journal of Popular Music Studies, Popular
Music and Society and the European Journal of Cultural Studies.
Ruth Dockwray is senior lecturer in popular music and popular music
performance BA programme leader at the University of Chester. Her
research and teaching focuses on historical, critical and analytical studies
of popular music and the musicology of popular music production. Her
current research includes studying the sound and music of racing video
games, and sonic spatialization in the music of Queen.
