Classical music is changing. Roger Eno’s third full-length album would never have been accepted by a label as iconic of art music as Deutsche Grammophon 40 years ago. But here we are: Eno is releasing a third full-length album on the yellow label. The Skies, They Shift Like Chords is perfectly consistent with the English composer’s approach over more than 40 years: ambient music that evolves slowly and stirs its sonic universe very little. There are almost no disturbing asperities, apart from a few ghostly apparitions from synthesizer glissandos, or a few delicate drops on the piano, for example. Here, Eno adds electric guitar, clarinet and bass clarinet, vibraphone and strings. In other words, he has considerably expanded his palette of sounds compared with his previous, essentially solo DGG albums. As a result, the landscapes suggested broaden the composer’s horizons, leading him to caress other sound worlds such as those of Arvo Pärt, Philip Glass or, closer to home, Chilly Gonzales. For those who like to be wrapped up in a bubble of soothing zenitude, albeit a little more sophisticated in terms of harmonies (there are a few occasional dissonances) than today’s neo-classicists, this album will certainly be much appreciated.
One caveat: It’s a shame that musical minimalism comes with an explanatory equivalent, i.e. there are no liner notes and no indication of the names of the musicians, at least in digital format. Seriously, an effort should be made.
