Brian Eno: Lux – review

One of the side-effects of digital innovation has been that, with every passing hit, pop music has become ever more busy and over-saturated. It's in this context that synthetic innovator Brian Eno's latest album conveys its calm grandeur best. Since inventing the ambient genre with 1975's Discreet Music, Eno's influence has gradually bloomed, much as a note in one of his sound paintings might. Lux, his 17th album or so, began as another of Eno's periodical sound installations but it has coalesced into an album of four nominal tracks in which unanchored piano motifs unfurl like ink in water. It is an engaging antidote to all the frantic maximalism that the future keeps springing.