Apollo
 
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Apollo

June 26, 2012

$8.99
Song Title Artist
Time
Popularity  
1
Signals Icebreaker
3:04
2
Stars Icebreaker
7:28
3
Drift Icebreaker
2:58
4
An Ending (Ascent) I Icebreaker
3:49
5
The Secret Place Icebreaker
2:45
6
Under Stars II Icebreaker
5:57
7
Matta Icebreaker
3:55
8
Deep Blue Day BJ Cole
4:00
9
Under Stars I BJ Cole
4:41
10
Silver Morning BJ Cole
2:26
11
Weightless BJ Cole
4:13
12
Always Returning BJ Cole
2:15
13
An Ending (Ascent) II BJ Cole
4:01

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Product Details

  • Original Release Date: June 26, 2012
  • Label: Cantaloupe Music
  • Copyright: (C) 2012 Cantaloupe Music
  • Total Length: 51:32
  • Genres:
  • ASIN: B0084166UA
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #41,710 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews
13 of 13 people found the following review helpful
4.0 out of 5 stars Excellent interpretation of the original June 30, 2012
By maelje
Format:Audio CD|Verified Purchase
I was very, very dubious when I heard about this disc. The original "Apollo" album is one of the classic discs in Brian Eno's vast catalog. Recorded and composed with the help of Eno's brother Roger and Daniel Lanois, that record has been a favorite of mine since its release in 1983. Like much of Eno's instrumental work, it can be considered as part of the "ambient" sub-genre, although, unlike "Music for Airports" and several other Eno releases, it isn't specifically labeled as "ambient" music.

And indeed, the Eno/Eno/Lanois "Apollo" is a much more POWERFUL disc than, say, "Ambient 4: On Land." Yes, there are commonalities -- the sweeping synthesizer textures, for example. But the bass register is more aggressive, which is quite fitting, since this music originally was composed for what was supposed to be a mostly wordless documentary on the Apollo space missions. The direction, alas, changed, and the final result, "For All Mankind," was a much more conventional film.

This new version by Icebreaker and B.J. Cole exists, in fact, largely because the London Science Museum's Tim Boon wanted to revive that idea of a wordless film accompanied by this music -- and played live! The result is this fine, fine disc, which remains faithful to the spirit of the original while establishing its own identity.

One of the obvious differences between the two projects is that the original was created by three people whereas the new disc takes a more orchestral approach. That is, Eno, Eno and Lanois played all the instruments on the first incarnation, which meant that a lot of the sounds were generated by synthesizers.
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6 of 6 people found the following review helpful
5.0 out of 5 stars A Few Words About The New "Apollo" July 1, 2012
Format:Audio CD|Verified Purchase
"Apollo" is not my very favorite of Eno's works, but it is one of them. This new version recreates the original pieces using, for the most part, actual instruments. True, keyboards are listed as instruments used, but also various woodwinds, guitar and so forth.

Rather than delve into a lengthy analysis of the album, I would say, simply, that the new arrangements add a more folksy quality to the pieces. If you are addicted to the electronic tones of the original, you might be somewhat surprised by the orchestration of this new version. The pieces sound warmer, more traditional-- some of the tracks with B.J. Cole could almost have been lifted from a country radio station.

I enjoyed the pieces, in that they provided a fresh listen. Certainly they don't ruin or destroy Eno's works.

They do raise an interesting question-- is "Apollo" actually better known as a series of compositions, musical for their own sake, or is it known for Eno's signature electronic sounds? Do the pieces hold up as music? And that question I will leave to the listener to decide.
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5 of 5 people found the following review helpful
5.0 out of 5 stars Furniture Music: Sublime, Serene Space August 14, 2012
Format:Audio CD|Verified Purchase
Goethe said "Writing about music is like dancing about architecture," so if I could do a little interpretive dance for you instead of writing this review, I would. Given the constraints of the format, however, I want to recommend this new release by Icebreaker with complete architectural fluidity. Brian Eno, the original composer of this music, participated in the recording along with maestro B.J. Cole on pedal steel on several cuts. Even if you know the original *Apollo" music as released in the 80's, this new version revivifies and re-illuminates the serene space created by Eno's original "air sculpture." Eno is fond of quoting the term invented by Erik Satie, "furniture music," as a way to describe his brand of sonic spatial tones, and this gorgeous set of evocative, architectural sound-scapes delivers the serenity we all deserve in our aural furnishings.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Eno as 20th century classical composer. December 6, 2012
Format:Audio CD|Verified Purchase
When one thinks of Classical music, you think of trained musicians playing notes on their instruments that they are reading off a piece of sheet music, usually by a long dead composer. Eno and other modern composer/ players redefined the creation of music in the modern world of electronics. The player composer/ performer played directly to tape(or digital tape, medium, or hard drive) Often, in Eno's case, tapes and other means of sound manipulation were employed along side real time performances. Well for this recording, Icebreaker ,who I consider a classical musician, has meticulously recreated all the music Eno recorded for the Apollo film soundtrack. So a work once conceived exclusively for tape, is now performed in real time by live musicians . It seems like the standards of classical performing will not be denied. All works, no matter how radically they were conceived are going to be notated in standard music notation. I am waiting for classical trained ears to notate James Brown's screams complete with harmonic roll offs. Electonic composers sought to bend and break perimeters by utilizing sonically extreme devices to create a new music. Now we find that once abstract works are now playable in a live context. I can't say the results are bad. The best thing is to listen to the samples of these composition and decide if you would like a more acoustic rendition of Eno's music.
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