Music for Installations [Box Set] Image

Generally favorable reviews - based on 11 Critics What's this?

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  • Summary: The six-disc collection of music made by the British ambient artist/producer for art exhibitions was co-produced with Nick Robertson.
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Score distribution:
  1. Positive: 8 out of 11
  2. Negative: 0 out of 11
  1. May 3, 2018
    This collection of his most ambient and interesting soundtracks is presented here in a contemporary art crescendo; and features the good, the better and the synthesized from his artsy endeavours.
  2. Dec 6, 2018
    From quirky ("Needle Click") and Zen ("Chamber Lightness") to dystopian ("Kites III"), Music for Installations surveys Eno's myriad musical personalities, but what rationalizes the hefty price tag is an oversized art book. Packed with rare photos and a new essay, the book captures its subject's most ephemeral work in images that will be new to even the biggest fans. It's basically coffeetable porn for ambient music nerds.
  3. May 3, 2018
    he only complaint (quibble really), is that a number of the pieces don't have endings. ... Otherwise, this is an enjoyable and important document. One of many for a pioneer we are all grateful to have discovered.
  4. Q Magazine
    May 3, 2018
    Dive in unreservedly. [Jun 2018, p.119]
  5. May 7, 2018
    Its pieces are beautiful and always different, and yet always the same, generic without losing character.
  6. May 16, 2018
    Music For Installations has its fair share of the unexpected. Not content to just explore sonic textures and processed sounds, Eno shows off his creative ambition by tinkering with tempo, rhythm, percussion, and even an occasional melody. But it's all done within the constraints of integrating music with the environment to elicit emotions and establish moods. And this is where Eno excels.
  7. May 3, 2018
    This might be music that is superficially clean and minimal but, at its best, you’ll hear the toil and effort underneath the seemingly frictionless surfaces. ... Some of these pieces, particularly the rather lazy-sounding final CD, Music for Future Installations, sound as if they were made on an iPhone and took less time to write than they do to listen to.

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