Brian Eno has reverted to the long-form ambient style of Music For Airports and Discreet Music, considering Lux the latest extension of his long-term "Music For Thinking" project.
It's a subtle, deceptively simple design of delays and distances, with quiet tones settling like snow, a succession of piano, percussion and string timbres held in suspension, decaying at different rates – the sonic equivalent of interplanetary dust drifting slowly away from not-so-Big-Bang origins. The cool, beautiful result plays tricks with time: whereas most 75-minute albums of short songs swiftly pall, Lux never bores because it's never making foreground demands on your attention. As music for thinking, it bores only as far as one's own thoughts bore.
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