Roger Eno to release forthcoming second solo album

The lone vocal piece on the album, ‘Strangely, I dreamt’, is co-written and sung by Eno’s eldest daughter, vocalist, and visual artist Cecily Eno. Its lyrics began life as part of a poem by one of her father’s friends, but Cecily adapted them to include “The skies, they shift like chords”, a line that invites us to contemplate the nature of impermanence. That same idea lies behind ‘Tidescape’. “It owes its name to a poem by Mary Markwell written in 1976,” notes Eno. “I happened upon it in a Suffolk Poetry Society anthology, one of my favourite poetry collections. I loved the name, implying, as it does, how the tide creates a changing landscape unique to that environment.”

As ‘Tidescape’ began taking shape for the album, Eno invited his guitarist friend, Jon Goddard to fashion a high guitar drone above the existing music for flute organ. “Jon’s additions allowed me to hear two other elements in the piece, my beloved clarinet, and bass clarinet, which sound like aural velvet. The resulting openness perhaps prompted my producer at DG, Christian Badzura, to have the courageous idea of adding reversed distorted guitar. I thoroughly enjoyed watching how the piece developed as though on its own, like a river finding its own path to the sea.”

By contrast, ‘Arms Open Wide’ returns to the simplicity of Eno’s solo piano, although despite the track’s gentle, intimate feel, it is underpinned by a sense of strength. “There always has to be something strong or utterly beautiful, otherwise there’s the danger that it becomes like lift music…” The album’s other expressive titles include ‘Japanese Rain Garden’, ‘That Which Is Hidden’, ‘Mind the Gap’, ‘Illusion’, ‘Above And Below (Crepuscular)’ and ‘Through The Blue (Crepuscular)’. “I always name pieces after I’ve composed them,” says Eno. “I try to match them to poetic titles, to trigger feelings, emotions and thoughts as the music plays.”

One of the emotional threads running throughout the album is Eno’s relationship with his native region of East Anglia. The tracks are inspired by its landscape – a mix of small market towns, medieval churches, wheatfields, meadows, rivers, and open skies – as well as by the work of local poets and the Norwich School of artists, active in the early 1800s. The album’s melancholy tone has much to do with the threat now posed to the region’s biodiversity by intensive farming and climate change.

“The overall mood is one of transience,” says Eno of his new recording, whose moments of stillness are vital, allowing the music to breathe and listeners to explore their own emotional and imaginative response to it. “There are lots of gaps, silent pauses, throughout the album, which are a really important part of it. When a track finishes, you’re still ‘there’ in the music, and unless the next one comes in at just the right moment, something’s going to jangle with either or both of them. The composing part is only one part of the process – these other, constructive details are very important.”