Often denigrated due to its proximity to "Another Green World", "Before and After Science" is in many ways a more mature and experimental record than its beloved sibling. First, a few particular things to recall about the original release: The very sentimental watercolor reproductions originally struck this listener as utterly out of sync with the rather strident adherence to some twentieth century art music ideas explored in the compositions. A more fitting approach to the visuals was demonstrated a few years earlier, in the portfolio created for "So Far" by Faust, which in turn set the template followed by Peter Gabriel's "Us" portfolio. Second, and more importantly, was Eno's printed insistence that no noise reduction systems were used in the recording. This is itself interesting to note because the sound quality of BAAS is decidedly un-commercial. It doesn't "sparkle" and there are no detectable artificial peaks -- the usual spots being cranked up between 1kHz and 2kHz -- that used to be so essential to successful airplay. Instead, the overall tonality is round, warm and, in context, completely out of touch with most of the recordings of the late 70s let alone early 00s, and this reissue still respects his decision for what might be called an "unadulterated" approach to the sound -- an interesting decision from someone known for manipulating audio signals.

To be clear, this should be considered a very positive attribute, despite the sometimes nagging low frequency compromises due to the equally interesting absence of compression. The point seems to simply be a dedication to the sound of the instruments "as is", in direct opposition to the completely non-referential definitions of fidelity that determine most music production today. How many critics and listeners this apparently "muted" sonic presence added to the ranks of the record's detractors is hard to say, but it does seem likely that many people did not get past the non-commercial sound to allow themselves to actually hear what was going on, as still evidenced by some of the reviews posted here which seem puzzled by the character of the sound, mistakenly referred to as the "sound quality".

In addition to its clearly non-commercial orientation there are many brilliant conceptual and performance moments spread throughout. Hard to ask more of the contributions of Percy Jones and Phil Collins, fresh in love with Brand X, or Kurt Schwitters' posthumous vocals which presage the still astonishing collaboration with David Byrne on "My Life in the Bush of Ghosts". There is the wonderfully simple and beautiful mesh of pattern and lyric that is "By This River", the collaboration with Cluster and the "Caucasian Lullaby"-like instrumental exchanges of "Through Hollow Lands" with Fred Frith. And of course the nearly erotic yet somnolent, minimalist and wide-open "Julie With..." (no pun intended). Not to forget Bill MacCormick, Brian Turrington and others covering the range from pop to experimental rock.

Considering that vast span of pop to experimental and the artists and influences present here, BAAS is now something of a time capsule, with each track representing an epitome, of sorts, of the various styles and theories running behind the most interesting musics of its day. Thirty years on, the ideas are still compelling, and the artistic decisions still stand out as remarkable.

Brand	N/A
Rating	4.7 (439 ratings)
Price	$9.99
Category	Ambient

Before & After Science

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