{"id":147785,"date":"2025-11-01T19:51:05","date_gmt":"2025-11-01T23:51:05","guid":{"rendered":"https:\/\/panm360.com\/records\/roger-eno-without-wind-without-air-album-deutsche-grammophon\/"},"modified":"2025-11-03T11:42:02","modified_gmt":"2025-11-03T16:42:02","slug":"roger-eno-without-wind-without-air-album-deutsche-grammophon","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/roger-eno-without-wind-without-air-album-deutsche-grammophon\/","title":{"rendered":"Roger Eno – Without Wind, Without Air"},"content":{"rendered":"\n

Without Wind, Without Air<\/em> is the third encounter between the British multi-instrumentalist Roger Eno and the German yellow label, the undisputed realm of classical music, Deutsche Grammophon. The title refers to the fragility of the human condition and, in the context of the climate crisis, becomes (according to Eno) a warning.<\/p>\n\n\n\n

Here, Eno seems to gain confidence as a “classical” composer by returning to a more orchestral sound than the previous, The Skies, they shift like chords… <\/em>and by exploring with greater acuity the multiple capabilities of a larger orchestra than in The Turning Year. <\/em>He also dares some dissonant passages, which may surprise those who are well acquainted with this ambient pioneer and his albums from the 1980s-1990s. For example, the surprising opening track, “Forgiveness,” with its sometimes almost atonal choir supported by a slow double bass pulse, acrid clarinet and lush strings, immediately transports you to a mysterious, almost unsettling world. It reminds me a little of the more tranquil moments of Peter Sculthorpe’s fabulous “Earth Cry,” for didjeridoo and orchestra. It segues into “Mist,” and another expressive clarinet, here languid, over a backdrop of tinkling synth chords. A haze evocatively constructed and beyond the conventional ambient exercise. “Tapestry” <\/em>has a Satie-esque Gnossienne <\/em>side, over which he layers Grace Davidson’s orientalizing soprano, still dressed in warm, but slightly sombre strings. It’s a bit Hans Zimmer in Gladiator<\/em>. It continues like this for an hour, with a few episodes of neoclassical zen, with Eno himself at the piano.<\/p>\n\n\n\n

\n