Roger Eno

It’s hard not to mention the name of Roger Eno without also uttering that of his more famous, elder brother, Brian. They’ve collaborated closely over the years—beginning with the sonic spacescapes of Apollo: Atmospheres and Soundtracks that kickstarted Roger’s career, and continuing the following year with the “Prophecy Theme” from David Lynch’s sci-fi epic Dune. Even on Roger Eno’s first solo album, 1985’s Voices, inspired by his favourite composer Erik Satie, you’ll hear treatments by Brian Eno. But it was only in 2020 that the brothers released their first full-length collaboration, Mixing Colours, and it’s here, in the late-Schubert-inspired piano, that you’ll hear the younger Eno’s classical training as an instrumentalist coming to the fore. As someone who has felt a close affinity with East Anglia where he was born and lives, Eno is no stranger to pastoralism: you’ll hear it, for example, in the soft-focus shades of Delius and Vaughan Williams in his album The Familiar, featuring piano, oboe, cor anglais, and the vocals of Kate St John, and in the acoustic chamber music accompaniments of his second solo album, Between Tides. When it comes to exploring sonic landscapes, it seems the sky’s the limit.