常にイノベイティブであり続けるイーノが、クラブ・サウンドをも視野に入れ、自身の存在を再びポップ・フィールドに知らしめた1992年の傑作。よりロック寄りのサウンドに回帰しつつも歪みが有り、遊び心が有り、ファンキーさと不穏な美しさをも醸し出す作品。(M-1,M-7)のイーノ自身のヴォーカルも素晴らしい。盟友ロバート・フリップ、ロバート・クワイン、レッド・ツェッペリンのジョン・ポール・ジョーンズ、ベンモント・テンチ、EMFのイアン・デンチも参加。

発売・販売元 提供資料 （2020/11/20）

For the record, Nerve Net was not Brian Eno's first attempt at rock & roll. Not counting his time with Roxy Music, he also made several solo albums in the 1970s that were clearly intended as approaches to pop music -- they were sideways approaches, of course, shaped by the intellectual distance he has always kept between himself and the music that arises from the forces that he puts into motion, and they were far from unqualified successes. But this is his most rocking solo album in years, and also his funkiest. That's not say it's either funky or rock & roll, but it does manage to be lots of fun in a slightly inhuman, claustrophobically funky sort of way. The list of participants includes several of the usual suspects (Robert Fripp, Robert Quine, Roger Eno), as well as a few surprises (Benmont Tench, John Paul Jones) and a raft of unknowns. The sound, which doesn't vary much from track to track, is compressed and dense, with lots of heavily treated and synthesized percussion. On "What Actually Happened," for example, drummer Richard Bailey plays a distinctly organic funk part through what sounds like a battery of effects, while a bassist and guitarist do indistinguishable things and Eno messes around with everything and throws in samples. "Juju Space Jazz" features both Quine and Fripp (the latter credited with "early '50s club guitar") as well as Eno playing such instruments as "African organ" and "tenor fax." Overall, this album is quite fun but nothing to get too awfully excited about. ~ Rick Anderson

Rovi