In talking about his work, Brian Eno, record producer, sound conceptualist, futurist, and artist extraordinaire, draws on a remarkably broad pool of ideas. Presented along with the East Coast premiere of his audio-visual installation, “77 Million Paintings”, Eno may speak on generative art, music history, screwdrivers, and the vast complexities behind them all – in true Red Bull Music Academy fashion.
Electronic music didn’t start with Eno, but it was certainly never the same after him. On Roxy Music’s first two albums he helped make synthesizers and tape effects part of a rock lineup, pricking the ears of future synth-pop creators such as Human League. As a solo artist he forged a new genre, which he dubbed ambient music, before effectively becoming a one-man genre himself, lending touches to Genesis (where he’s credited with ‘Enossification’), John Cale, and Bowie during his golden Berlin period. There wasn’t much in the way of experimental ‘70s music that wasn’t made a little odder by Eno’s touch. But that touch could also be a multiplatinum one, as he showed as a producer for U2 in the mid-‘80s and Coldplay 20 years later. In the ‘90s he created perhaps the most widely heard music of all: the six-second start-up sound for Microsoft’s Windows 95 operating system. Typically mischievous, he later let it be known that he’d created it on a Mac.