Ambient 2: The Plateaux of Mirror
01. First Light (6:59)
02. Steal Away (1:29)
03. The Plateaux of Mirror (4:10)
04. Above Chiangmai (2:49)
05. An Arc of Doves (6:22)
06. Not Yet Remembered (3:50)
07. The Chill Air (2:13)
08. Among Fields of Crystal (3:24)
09. Wind in Lonely Fences (3:57)
10. Failing Light (4:17)
- Brian Eno / other instruments & treatments
- Harold Budd / acoustic & electric piano
Though Brian Eno seems to have done minimal work on this material, this is among the best ones that were released under his mark, under his thoughts and designs or, least to say, under his production. In a formal way, the two artists succeed into creating a work of great quality and of really impressive scales regarding the style and the cohesion. Being a second project under the probably most prominent set of works Eno made, the Ambient volumes, The Platteux Of Mirror does not only preserve the characteristics that makes the set and the compact concept one of blistering performance, but also evolved the state of play to an ever greater moment of ambient delight (that if you consider a relation with the precedent "Ambient" album; then again, even if we consider the evolution of Eno's music up to this point, constant improvements seem to have reached their climax; or, better said, one climax among others), perfectioned the glitches and misappropriate details that described the first one from the set and managed to impose greatly in a meadow and a knowledge where most of the works are, by definition, a reasonably high standard. All I'm implying is that this one, above all, should be close to the (or even in the) quintessential works of ambient that Brian Eno brought up to reflection and up to an appreciation. I love this expression very much and I consider it, through many aspects, one of intuitive appearance and one of keen touch within mastered keys.
Music belongs to Harold Budd, another important name in the ambient artists echoes (or, if he is not strictly into the genre, he sure does impose very much through his performance) and, why not, in the music itself. Brian Eno seems to have done only polish work and sound rendering, being more acknowledged as the producer rather than the artist (better situation anyway than in Ambient 3, where he is strictly a producer, does getting very shallow credits- Ambient 3 is actually a pseudo-reference of Eno, at least the way I see it) Funny references speak of Budd sending his music by mail to Eno's workshop.Still the impression works for me up to a main collaborator project. Harold Budd will make another album in the future with Brian Eno, The Pearl, one that will reach the same valences of great, impeccable, impressive side of imagination and of perception. Overall the two statements that exist, but most importantly Plateux Of Mirror, denote how Budd is an important artist among the collaborators or the musical friends of Brian Eno (at how euphorically great the works done with Budd, I would certainly place him among Fripp, among Bryne, among such that emit, in a modest way, attention and applauds).
The wonder of Ambient 2 is the minimalist that creates the powerful atmosphere. Where Ambient 1 slightly falls into a disambiguate fluoridation and where Ambient 4 more than slightly fails to impose at all, this one give the main pulse and the interesting definition: small, short and simple, but magical. The repertoire is made of concise matter, stretching to moments, to themes, to different and individual portraits. All united under the same qualitative undiminishable standards and under the pleasant look into a musical enlightening experience. Reaching such scales with such a short call is another phenomenon of doing something masterfully with resources that looks rather rudimentary. A stickler for promptness is Eno. But even more, an artist going on for clean crystal attributes. Think it may too much of a raised value, in condition that appear very accessible? Well I couldn't agree more on dense, epic-sized, intense moments of ambient composition being more of an ideal than the rest. Still not many make it to the deserved spot. This one does, with aplomb.
The Plateux Of Mirror means music, emotion, improvisation beyond the reality, ambient personification of the voiled refined force that creates surroundings, motion and dreams. The experience is wonderful, tempting (once entered the game) and inspiring. Quality here becomes just a background for confidence. Impression takes over and portrays a perfect world of lights, of distant echoes, of shivering bliss. It's a wonderful world, one surreal, one of utopia in the stress of the heart's constant beat. Ambient becomes not rule, but support. Expression becomes not essence, but sole symbol and connection with what's left of reality. Peaceful piano works, in a mood that settles on subtle tranquility and distilled scenery. Diverse colors, stratified nuances. For the passive, for the passing, for the "pasting". A message that needs of course to be understood, but leisure, as a burden of context is totally out of the subject. Rich emission, grand scapes, mastered idioms.
Highly recommended, if we've reached this point of speaking of final words and remarks. Three main reasons, the album being a main reference for an Eno experience, being a masterwork done by great artists of the style and of the caricature and splendid music, shaped nice, yet exploring the beyond that is always out there, to be deciphered, are the ones you should just know as to enjoy and assure yourself of an enchanting, styled musical wave. Above the best works, and absolutely among the important points of view. Five stars mean more than a full success. They mean the grand thought resumed to a complete session of acknowledgement.