We had a lot to talk about. We had both come through experimental music traditions – the European one, as exemplified by Stockhausen and Cornelius Cardew, and the American one of Cage and Terry Riley and LaMonte Young. At the same time, we were aware of the beauty and sophistication of all the music being made outside our culture – what is now called “world music”. And we were both intrigued by the possibilities of new musical technology.

Our leaders would undoubtedly be happy if we “moved on” from Iraq. They don’t want to talk about it any more: it was a dreadful blunder, and reflects little credit on any of them. Presumably this is why the question has hardly been debated in parliament. Although the majority of the public were always against the war, this was not reflected by their elected representatives. The government behaved in a way that was transparently undemocratic but the Conservatives won’t call them on it, for without their almost unanimous support the whole project couldn’t have happened.

It was the strange and mystical Another Green World (1975) that was the cosmic bridge between Old Eno and New Eno, between Rock and Ambient, between the guitar and the synthesizer, between the old world and electronic music as we know it. Another Green World was a total paradigm shift, an introduction to a new way of thinking: for Eno, and for the world of popular music. For this book, Geeta Dayal will interview Eno, and his many collaborators on this album. She’ll dig into the album, excavate its odd past, and untangle how, exactly, it was a link to the future of electronic music – by foreshadowing how powerful, personal, and emotional this music could be.

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From the official press release:

“Here Is What Is” is a sonic, filmic, journey to unique and captivating places from the last year and a half of Lanois’ life. The camera work is classic, uninterrupted and deadly committed. The film opens with a magical performance on the piano by Canada’s national treasure, Garth Hudson. The film includes moments of Lanois philosophizing with his old friend Brian Eno during an exotic visit to Morocco, where the Eno Lanois production team has been working with Irish friends, U2. Lanois also travels to the birthplace of the groove – the Deep South, Shreveport, Louisiana and sits in with Brian Blade at the Zion Baptist Church where a roaring rendition of “This May Be The Last Time” is delivered by Brian’s father, Brady Blade Sr.

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