Rolling Stone (9/4/97, p.70) - 3 Stars (out of 5) - "...Angular melodies, bent guitar notes, piano drizzles and manipulated effects make up THE DROP's mixed bag of 17 minicompositions..."
Entertainment Weekly (7/25/97, p.73) - "...Like most of his ambient forays, this one takes time to shape....But once he locks into confident bass tones, the fluttering notes at the high end seem to find their compliment..."
- Rating: B
The Wire (p.55) - "[T]here are mesmerising pieces here..."
Liner Note Authors: C.S.J. Bofop; Brian Eno.
Photographers: Edwin Maynard; Richard Dean .
On THE DROP, Brian Eno's first non-collaborative full-length work in four years, one of the master sculptors of late Twentieth Century sonic landscapes is once again off on an expedition to discover new moods and textures. Comparatively speaking, each of these seventeen instrumental pieces contains more physical motion than some of Eno's older ambient albums.
Some vignettes are drenched with a computerized soul that is nearly impossible to pin down -- particularly the Eastern-tinged, sorta funky, quasi-hip-hop of "M.C. Organ," and the syncopated rhythms and synth of the indescribably catchy "Swanky." But the THE DROP's standout is unquestionably the closing, half-hour-long "Iced World." With a mid-tempo backdrop of light, bell-like percussion and muted bass drum, Eno plays minimalist piano notes and synth figures. Throughout, a mid-to-high frequency drone whisks the listener off to an ambient netherworld. It's magical, if you're in a magic-receiving mood.
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