Lux was conceived to play in the backround of an art gallery in Turin. Which, as is so often the case with Eno, raises questions about the utilitarian, form-follows-function, context-reliant nature of ambient music.
I once put some shelves up for a mate, but I don't expect people to regard them as art. This album consists of four numbered 19-minute movements. It's often barely there, notably the final minutes of "Lux 4". This is musical homeopathy.
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