And he is capable of that. For example, Music For Airports, Apollo and The Plateaux Of Mirror are very listenable when your immediate plan is to stay awake; the same can’t always be said for the likes of Neroli, The Drop and even Thursday Afternoon. With Lux, however, he’s managed to illustrate “the light of day” with a full CD’s worth of content that echo the better examples above. The instrumentation is mostly keyboards, a softly pinging piano, and strings that sound both real and computerized. Split into four 19-minute sections—the equivalent of a two-record set—it’s a soft and soothing program, though there is a shift to a minor key about halfway through, and a more melancholy mood by the fourth part. If you’re going to pick and choose from the man’s catalog, this is definitely one to grab.
Brian Eno Lux (2012)—3