After putting out four highly influential pop albums during the mid-1970s, he became intrigued by minimalist composers like Steve Reich and Terry Riley and began to think less about melody and more about texture. Eno called his experiments “ambient” music-works intended for a particular place or to set a particular mood-1978’s Ambient 1: Music for Airports was inspired by a gleaming new terminal in Cologne. He has also been a pioneer of “generative” music, wherein songs build and morph endlessly according to a set of rules determined by the composer. LUX, out this week, is Eno’s 17th album and his first solo album in seven years. He is not calling LUX an ambient album, but it was commissioned for a specific place: the Great Gallery, a high-ceilinged hall in an 18th-century palace near Turin, Italy. I reached Eno by phone in London to talk about LUX, his “elaborate lifelong failure,” and how he accidentally re-created a Dolly Parton hit. Mother Jones: The notion for Music For Airports struck you while you were at an airport.
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