Brain One’s interest in doing things in the present rather than trading off his considerable reputation means he’s almost constantly at work in his studio; it’s not unusual for him to turn up for a radio interview clutching a new piece he’s finished off that morning. That many of these tracks never see the light of day was a source of concern to Brian’s assistant Marlon Weyeneth, who’s compiled this album from the heaps of DATs littering the Eno studio.

Brian’s fans are split by a desire to hear him repeat old glories and a simultaneous longing to hear him do something groundbreaking. It’s a lot to live up to. Curiosities sort of sidesteps that anticipation by just presenting the music – no conceptual baggage, no sleevenotes. Just Brian and his machines making some rather lovely noises.

Apart from two remixedtracks from the unfortunate Headcandy CD-ROM (one with trusty old mucker Robert Fripp) and one extended version of a track from The Drop, all of the music here is previously unreleased. It runs the gamut from mechanistic digital funk (slithery basslines, stiff drums and ghostly percussive clatter) to the ‘Unwelcome Jazz’ of The Drop. There’sspectral ambient meanderings and a spot of the experiments with processed vocalese that he’s lately become interested in. There’s even a rather beautiful little organ solo, entitled “My Lonely Organ” (Fnaaar).

The thing that unites most of this stuff is Eno’s rhythmic sense. Despite his reputation as the Godfather of Ambient, Eno’s love of funk and Africangrooves has been as strong an influence on his work as Cardew or Cage. There’s a kind of non-funky funkiness (what do you expect from a fifty-something white Englishman?)at work, which gives his rhythmic constructions a distinct personality.

Eno also gets some of the best bass sounds known to man, and that’s the key to what makes him so great. In an age where any off-the-shelf synth or software gives anyone access to instant sonic wonderment,he still has an immediately recognisable sonic palette. As he said to Lester Bangs 25 years ago, it takes a day to learn how to use a synthesizer, and five years to learn what not to do with it. Even at its most sketchy and provisional, Eno’s music resonates and seduces in a way that little other electronica can.

I did some shopping on ebay and found this two Eno Compilations (cheap too!!) Some songs we know well but most of the material is unreleased elsewhere. Volume II is one of my many favorite Eno albums.

London-based All Saints Records decided to celebrate its relaunching (it was mostly silent from 2001-2004) by releasing Compounds + Elements, an 18-track compilation album showcasing the span and quality of the label. Though All Saints started in 1991 with producing almost solely ambient music, it has expanded since its birth and now concerns itself more with innovation in the approach to the music rather than genre. This is not to say that there are any particularly unexpected pieces here: Harold Budd and Brian Eno, the label’s biggest names, are both heavily featured.

There are songs from six of Eno’s records, which does make sense — he is the father of ambient music, after all. “Neroli,” from the album of the same name, with its calm, meandering bass, is roomy and suggestive, a true minimalist masterwork. Eno describes “Neroli” as “like opening your window onto an orange grove in high summer,” which might be a bit of an exaggeration (especially since the song is mixed at such a low decibel level that it’s difficult to even hear), but his point is well taken.

These songs do present an image, an idea, a fleeting sensation, a story, and it’s up to the listener to decide what exactly that is. While the first part of the album offers a modal exploration into the world of ambient music and soundscapes, the second part picks up the tempo and adds some groove, beginning with Jon Hassell’s “Out of Adedara.” Driven along by rolling jungle beats, Hassell shows off his trumpet skills by turning his instrument into traffic sounds and train horns, a jazz guitar accenting the movement of the piece.

Newcomer Vacabou offers the most traditionally structured of any of the tracks, the Europop-ish “Russia in White,” and even Eno’s “Fractal Zoom” has a funky feel. Surprisingly, the strangest — and perhaps best — piece on this album is one that is the least ambient. John Cale (of Velvet Underground and punk-producer fame) presents an orchestral interpretation of 20th century Welsh poet Dylan Thomas’ “Do Not Go Gentle into That Good Night,” using a children’s choir, plenty of strings, and Cale himself passionately singing the poem’s stanzas. Compounds + Elements is certainly not all-encompassing, either of genre or of All Saints’ catalog, but it’s a nice collection of well-put-together and thoughtful songs, and a good way to reintroduce the label to the world.

Kieser Velten – No Showdown

I love this Dub, Acid Jazz, and Downtempo sound that this Austrian producer makes. It’s so amazing it’s driving me wild oh yeah music! Love that fat TB-303 in tracks like Addicted To Wave (Kieser Velten Remix)

Asura – Afterain EP

This is the best Ambient EP at the moment! When i close my eyes I travel true space and time listening to this EP.

^^ Isao Tomita for “fun” or Brian Eno Apollo for “moody”