Quote from: Allmusic At the outset, Double Night Time might be met with some degree of slight, partially greed-related aggravation. The music on Before and After Science at times resembles Another Green World ("No One Receiving") and Here Come the Warm Jets ("King's Lead Hat") and ranks alongside both as the most essential Eno material. Cluster joins Eno on the mood-evoking "By This River," but the album's apex is the final cut, "Spider and I." With its misty emotional intensity, the song seems at once sad yet hopeful. These compositions take on an occasional pastoral quality, pensive and atmospheric. Before and After Science opens with two bouncy, upbeat cuts: "No One Receiving," featuring the offbeat rhythm machine of Percy Jones and Phil Collins (Eno regulars during this period), and "Backwater." Jones' analog delay bass dominates on the following "Kurt's Rejoinder," and he and Collins return on the mysterious instrumental "Energy Fools the Magician." The last five tracks (the entire second side of the album format) display a serenity unlike anything in the pop music field. When mixed with the music, these lyrics create a new sense or meaning, or the feeling of meaning, a concept inspired by abstract sound poet Kurt Schwitters (epitomized on the track "Kurt's Rejoinder," on which you actually hear samples from Schwitters' "Ursonate"). Eno also experiments with his lyrics, choosing a sound-over-sense approach. Despite the album's pop format, the sound is unique and strays far from the mainstream. Quote from: AMG Before and After Science is really a study of "studio composition" whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Unlike some of his later, full-fledged ambient work, Eno's gift for melodicism and tight focus here keep the entirety of the album in the forefront of the listener's consciousness, making it the perfect introduction to his achievements even for those who find ambient music difficult to enjoy. Most of Another Green World is like experiencing a soothing, dream-filled slumber while awake, and even if some of the pieces have dark or threatening qualities, the moments of unease are temporary, like a passing nightmare whose feeling lingers briefly upon waking but whose content is forgotten. Lyrics are infrequent, but when they do pop up, they follow the free-associative style of albums past this time, though, the humor seems less bizarre than gently whimsical and addled, fitting perfectly into the dreamlike mood of the rest of the album. Elmo's Fire," "I'll Come Running," "Golden Hours"), but most of the album consists of deliberately paced instrumentals that, while often closer to ambient music than pop, are both melodic and rhythmic many, like "Sky Saw," "In Dark Trees," and "Little Fishes," are highly imagistic, like paintings done in sound that actually resemble their titles. There are a few pop songs scattered here and there ("St.
Despite the stripped-down arrangements, the album's sumptuous tone quality reflects Eno's growing virtuosity at handling the recording studio as an instrument in itself (à la Brian Wilson). Quote from: AMG A universally acknowledged masterpiece, Another Green World represents a departure from song structure and toward a more ethereal, minimalistic approach to sound.
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