| Ambient 4: On Land | |
| Type: | studio |
| Artist: | Brian Eno |
| Cover: | Brian_Eno_On_Land.jpg |
| Released: | March 1982 |
| Recorded: | September 1978–January 1982[1] |
| Genre: | Dark ambient |
| Length: | 44:35 |
| Label: | EG |
| Producer: | Brian Eno |
| Prev Title: | My Life in the Bush of Ghosts |
| Prev Year: | 1981 |
| Next Year: | 1983 |
Ambient 4: On Land is the eighth solo studio album by Brian Eno, released in March 1982 by EG Records. It was the final edition in Eno's Ambient series, which began in 1978 with Ambient 1: Music for Airports. The album was released to critical acclaim, and is recognised along with its predecessors as a landmark album in the history of the ambient genre.
On Land is a mixture of synthesizer-based notes, nature/animal recordings, and a complex array of other sounds, most of which were unused, collected recordings from previous albums and the sessions that created them. As Eno explained, "... the making of records such as On Land involved feeding unheard tape into the mix, constant feeding and remixing, subtracting and "composting".[2]
In the three-year process of making the album, Eno found that the synthesizer came to be of "limited usefulness" and that his "instrumentation shifted gradually through electro-mechanical and acoustic instruments towards non-instruments like pieces of chain and sticks and stones ... I included not only recordings of rooks, frogs and insects, but also the complete body of my own earlier work".[3] Cognizant of the music's deeper aural qualities he said: "On the whole, On Land is quite a disturbed landscape: some of the undertones deliberately threaten the overtones, so you get the pastoral prettiness on top, but underneath there's a dissonance that's like an impending earthquake".[4]
In the liner notes, he suggested listening to the album through "a three-way speaker system that is both simple to install and inexpensive, and which seems to work very well on any music with a broad stereo image", a diagram of which was included.
The album makes reference to definite geographical places, such as Lizard Point, the exposed southernmost tip of mainland Britain in Cornwall.
"Tal Coat" refers to Pierre Tal-Coat (Pierre Louis Jacob),[5] a proponent of the French form of abstract expressionism, Tachisme. This interest in painting is reflected in Eno's statement that the album was "an attempt to transpose into music something that you can do in painting: creating a figurative environment. At the beginning of the 20th century, the ambition of the great painters was to make paintings that were like music, which was then considered as the noblest art because it was abstract, not figurative. In contrast, my intention in On Land was to make music that was like figurative painting, but without referring to the history of music – more to a "history of listening""[6]
"Lantern Marsh" was a place in East Anglia near where Eno grew up. He remarks, "My experience of it derives not from having visited it (although I almost certainly did) but from having subsequently seen it on a map and imagining where and what it might be".[7]
"Leeks Hills", Eno explains, "is a little wood (much smaller now than when I was young, and this not merely the effect of age and memory) which stands between Woodbridge and Melton. There isn't a whole lot left of it now, but it used to be quite extensive. To find it you travel down the main road connecting Woodbridge and it lies to your left as you go down the hill".[8] [9]
"Dunwich Beach, Autumn, 1960" is named after the once prosperous seaport of Dunwich, Suffolk, which eroded into the sea over a period of three hundred years.
| Country | Label | Cat. No. | Media | Release Date |
|---|---|---|---|---|
| US | Editions EG | EGED 20 | LP | 1982 |
| France | Polydor | 2311 107 | LP | 1982 |
| Australia & NZ | Editions EG | 2311 107 | LP | 1982 |
| UK | Editions EG | EEGCD 20 | CD | 1986 |
| UK | Virgin | ENOCD 8 7243 8 66499 2 8 | CD | 2004 |
Works cited
