“Produced in the same year that the ex-Roxy Music synth player would record his second collaboration with Robert Fripp and earn a credit for ‘direct injection anti-jazz ray gun’ on Robert Wyatt’s second solo album, Ruth Is Stranger Than Richard, it’s a reasonable assumption that he employed the same system of daisy-chained delay units. It’s a modus operandi Eno would accuse Terry Riley of copying from him – an accusation that would be a lot more plausible if only history travelled backwards – and is an early example of his now all-consuming passion for generative composition, inspired by the cybernetics of Norbert Wiener, the process-based minimalism of Riley and Steve Reich, and the generative grammars of Noam Chomsky. But what sounds contemplative and quietly zen on its near contemporaries is here unearthly, unsettling, goose-pimpling stuff. One of the real highlights of Eno’s soundtrack career – and an unfortunate omission from his two Music for Films compilations.”
Read the rest of my column on Brian Eno’s music for Land of the Minotaur at Electric Sheep Magazine