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LUX

Rate It! Avg: 4.0 (19 ratings)
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LUX album cover
01
LUX 1
19:21  
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LUX 2
18:14  
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LUX 3
19:19  
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LUX 4
18:28  
Album Information

Total Tracks: 4   Total Length: 75:22

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Wondering Sound

Review 46

Andrew Parks

Contributor

When he's not filing news stories, shooting a live show or contributing the occasional feature for Wondering Sound, Andrew Parks edits and publishes self-titled...more »

11.13.12
Brian Eno, LUX
2012 | Label: Warp Records

Well it’s about goddamn time. After years of padding his already-ridiculous resume – dude’s down with Bowie, Bono and Byrne, not to mention Robert Fripp, Cluster and Coldplay – with such experimental flourishes as a shambolic poetry slam (Drums Between the Bells) and “film manipulations” for Daníel Bjarnason and Ben Frost (Music For Solaris), Brian Eno has finally given his fans what they’ve wanted all along: Music For Airports! Part Deux. Or LUX for short,… read more »

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Maybe Expectations Too High

MusicLab

I wanted to love this. Ever since the days of "No Pussyfooting" with Fripp, "Music for Airports" as well as the penultimate "Evening Star, " there is little doubt that Eno's work is the paragon, if not definer, of the genre. "Lux" does have the lilting repetitive loops of those classics, but there is a wavering, inconclusive appeal to this album that does not sit well with me. It has a Steve Roach feel or something from a movie soundtrack that suggests unease or unresolved emotions. To me, it hangs there and looks for resolution but rarely finds it. It is unlike Fripp's dissonance in King Crimson that ultimately was resolved by crescendo or transition into something fully melodic or tranquil. Here, with "Lux" I don't get that. I still feel like I am hanging...

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Return to Formlessness

Muse8

A return to the formlessness of Eno's classic ambient albums of the 70s, like Music for Airports and Thursday Afternoon. Gentle, lilting, unsynced loops and phrases form never-repeating patterns. Hypnotic, enchanting, wondrous. This is classical music for the future. Highest recommendation.

eMusic Features

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Six Degrees of Brian Eno’s Another Green World

By Richard Gehr, Contributor

It used to be easier to pretend that an album was its own perfectly self-contained artifact. The great records certainly feel that way. But albums are more permeable than solid, their motivations, executions and inspirations informed by, and often stolen from, their peers and forbearers. It all sounds awfully formal, but it's not. It's the very nature of music — of art, even. The Six Degrees features examine the relationships between classic records and five… more »