‘Reflection’ premium generative editions released on 1 January

Brian Eno 

‘Reflection’ premium generative editions released on 1 January

15/12/2016

Brian Eno returns to the 'Ambient' arena with his new album ‘Reflection’, released on New Years Day 2017. We can now announce details of premium generative editions of the album.

Available from 1 January on Apple TV and iOS, the premium versions of ‘Reflection’ reflect Eno’s decades long work in music, visual and generative arts. Created with long-time collaborator Peter Chilvers, the pieces feature generative sonics and imagery, an extension of landmark Eno software projects such as ‘77 Million Paintings’ and ‘The Ship’.

Pricing for the premium editions will be as follows:
iOS & Apple TV - £29.99 / $39.99 / €39.99

See a selection of screenshots from the iOS version below.

‘Reflection’ will also be available on CD in case bound sleeve with 6 page booklet, 2LP Vinyl in printed inners, in printed outer sleeve with download card and Digital below,

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  1. Brian Eno - Reflection

“REFLECTION is the most recent of my Ambient experiments and represents the most sophisticated of them so far. My original intention with Ambient music was to make endless music, music that would be there as long as you wanted it to be. I wanted also that this music would unfold differently all the time - ‘like sitting by a river’: it’s always the same river, but it’s always changing. But recordings - whether vinyl, cassette or CD - are limited in length, and replay identically each time you listen to them. So in the past I was limited to making the systems which make the music, but then recording 30 minutes or an hour and releasing that. REFLECTION in its album form - on vinyl or CD - is like this. But the app by which REFLECTION is produced is not restricted: it creates an endless and endlessly changing version of the piece of music.

The creation of a piece of music like this falls into three stages: the first is the selection of sonic materials and a musical mode - a constellation of musical relationships. These are then patterned and explored by a system of algorithms which vary and permutate the initial elements I feed into them, resulting in a constantly morphing stream (or river) of music. The third stage is listening. Once I have the system up and running I spend a long time - many days and weeks in fact - seeing what it does and fine-tuning the materials and sets of rules that run the algorithms. It’s a lot like gardening: you plant the seeds and then you keep tending to them until you get a garden you like

– Brian Eno