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Roger Eno — The Flatlands
(Hannibal HNCD 1518, 1998/2006, CD)

The Flatlands Cover art

In a 1990 Wire magazine interview, Brian Eno described a work in progress involving the performance of his synthesizer compositions by the Kreisler Orchestra. This intriguing idea never bore fruit, but here, Eno’s younger sibling Roger has crafted a suite of 18 miniatures for chamber orchestra that fulfills much of the promise of that unheard undertaking. Some pieces offer the players options for collective improvisation, imparting a refreshing spontaneity to the performance. The 11 players gracefully navigate the gentle swells of Eno’s simple melodies, with the extemporaneous passages virtually indistinguishable from the closely-composed sections. Roger Eno’s compositions have an open, unresolved character that sets his work apart from the classical tradition. While the composer never plumbs the profound emotional depths of such 90s neoclassical landmarks as David Darling’s “Dark Wood” or Gavin Bryars’ “The Last Days,” “The Flatlands” cultivates melancholy and loss into luxuriant beauty. By far surpassing Roger Eno’s earlier chamber efforts such as “Between Tides,” “The Flatlands” is the strongest work to date by a composer previously distinguished primarily by his family connections. The only flaw with The Flatlands is the lack of a strong closing track; the suite doesn’t conclude so much as evaporate.

by Michael Draine, Published 1999-04-01

Roger Eno's fifth individual release, The Flatlands, is solo piano and small string section focused on poignant themes, but delivered passionately. Imagine Brian Eno's Discreet Music without the tape loops, but just as passive, soothing, and thought-provoking. "Somewhere Above" begins the disc on a hopeful premise of English beauty, evoking unique claims for ownership of that modest commodity. Some of the arrangements remind me of Steve Morse's semi-classical pieces for the Dixie Dregs on "Just Once" or the Mahavishnu Orchestra as on "Mr. Johnson Watches the Sky." The fine set of eight violinists includes Lucy Shaw who recently toured with Bryan Ferry on his 2000 tour. Kate St. John is also a featured player on tracks such as "Walsingham" and "The Third Light," a mood-shaping vignette. "Missing Piece Number One" and "Missing Piece Number Four" rely on reflective keyboard passages which introduce altogether sorrowful remorse. Eno was very on target with this much overlooked masterpiece of sensitive splendor.

by Jeff Melton, Published 2002-04-01

Filed under: Reissues, Issue 17, 2006 releases, 1998 recordings

Related artist(s): Roger Eno, Kate St. John

More info
http://rogereno.bandcamp.com/album/the-flatlands

 

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