New Disquietude podcast episode: music by Lesley Flanigan, Dave Seidel, KMRU, Celia Hollander, and John Hooper; interview with Flanigan; commentary; short essay on reading waveforms. • F.A.Q.Key Tags: #saw2for33third, #field-recording, #classical, #juntoElsewhere: Twitter, SoundCloud, Instagram

Listening to art. Playing with audio. Sounding out technology. Composing in code. Rewinding the soundscape.

Eno’s Jacket

This is a household where DVDs are rented, on occasion, based not on the director, or actors, but the score’s composer. Usually it’s just to see the music in action, as it were — to witness, say, how Cliff Martinez’s contribution to the lesser thriller Wicker Park functioned (it abetted the stylized visuals, but certainly didn’t save the show), or whether David Holmes’ tracks in Code 46, an above-average dystopian sci-fi mystery, made sense in a future setting (they did). In both those cases, CDs of the music are (or, at least, were, as score CDs quickly go out of print) available commercially, but not every situation is as fortunate.

Brian Eno has, since the turn of the millennium, contributed full or partial scores, or pre-existing tracks, to at least a dozen movies (from Moulin Rouge! to Fear X) and television shows (Numbers), according to, the Internet Movie Database, and very little of that has been made available as a straight audio recording. So, if you want to hear his music for, say, The Jacket, the time-travel tale starring Adrien Brody and Keira Knightley, you pick up the DVD and witness Eno’s contribution in situ. Some DVDs offer, as a bonus feature, a score-only viewing, but The Jacket does not. So, you pop the DVD (released within weeks of Eno’s new pop album, Another Day on Earth) into your Netflix queue in order to check out the soundtrack cues.

The Jacket opens with a piano theme, reminiscent of Eno’s collaborations with Harold Budd, set against images of the first Gulf War. Familiar Eno found elements, such as Middle Eastern voices, come into play, and what follows fits well with the film’s overall sound design, which is often foregrounded to aid the director’s interest in disorientation. The Eno cues in the film range from hazy shades of digitalia to rhythmic loops that lend the scenes dramatic tension. At times, they mix particularly well with the external elements, such as in two scenes where the sound of approaching cars is lightly distorted. The Jacket soundtrack, by the way, includes a pre-existing track by Roger Eno (Brian’s brother), and another by one of its supporting actors, Brad Renfro. Also included, to cement the early-’90s period, is EMF’s pop hit “Unbelievable,” which Eno remixed for the Red Hot + Dance compilation. (Maybury’s best-known previous work is Sinead O’Connor’s “Nothing Compares 2 U” music video, which he directed.)

Eno’s music doesn’t appear in films by chance. The Jacket was directed by John Maybury, whose Love Is the Devil: Study for a Portrait of Francis Bacon was scored by Eno contemporary Ryuichi Sakamoto. (In many ways, The Jacket resembles Jacob’s Ladder, another supernatural psych-ward drama, and one in which the visuals were based on Bacon paintings.) The Jacket was produced by Steven Soderbergh, who has favored electronic musicians in his scores, temp-tracked his directorial debut (sex, lies and videotape) to Eno songs, and included a segment of Eno’s Apollo: Atmospheres & Soundtracks in his Traffic. The same piece, “An Ending (Ascent),” later appeared in 28 Days Later, based on a screenplay by Alex Garland; The Beach, based on Garland’s novel of that name, featured original work by Eno. Beyond all of which, we can just wish and wait for Music for Films 3. View Eno’s filmography here.

By Marc Weidenbaum

Tags: , / Leave a comment ]

Post a Comment

Your email is never published nor shared. Required fields are marked *

You may use these HTML tags and attributes <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <s> <strike> <strong>


Subscribe without commenting

  • about

  • Marc Weidenbaum founded the website in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects. He has written for Nature, Boing Boing, The Wire, Pitchfork, and NewMusicBox, among other periodicals. He is the author of the 33 1⁄3 book on Aphex Twin’s classic album Selected Ambient Works Volume II. Read more about his sonic consultancy, teaching, sound art, and work in film, comics, and other media

  • Field Notes

    News, essays, surveillance

  • Interviews

    Conversations with musicians/artists/coders

  • Studio Journal

    Video, audio, patch notes

  • Projects

    Select collaborations and commissions

  • Subscribe

  • Current Activities

  • Upcoming
    • December 13, 2022: This day marks the 26th anniversary of the founding of
    • January 6, 2023: This day marked the 11th anniversary of the start of the Disquiet Junto music community.

  • Recent
    • April 16, 2022: I participated in an online "talk show" by The Big Conversation Space (Niki Korth and Clémence de Montgolfier).
    • March 11, 2022: I hosted a panel discussion between Mark Fell, Rian Treanor and James Bradbury in San Francisco as part of the Algorithmic Art Assembly ( at Gray Area (
    • December 28, 2021: This day marked the 10th (!) anniversary of the Instagr/am/bient compilation.
    • January 6, 2021: This day marked the 10th (!) anniversary of the start of the Disquiet Junto music community.
    • December 13, 2021: This day marked the 25th (!) anniversary of the start of the Disquiet Junto music community.
    • There are entries on the Disquiet Junto in the book The Music Production Cookbook: Ready-made Recipes for the Classroom (Oxford University Press), edited by Adam Patrick Bell. Ethan Hein wrote one, and I did, too.
    • A chapter on the Disquiet Junto ("The Disquiet Junto as an Online Community of Practice," by Ethan Hein) appears in the book The Oxford Handbook of Social Media and Music Learning (Oxford University Press), edited by Stephanie Horsley, Janice Waldron, and Kari Veblen. (Details at

  • My book on Aphex Twin's landmark 1994 album, Selected Ambient Works Vol. II, was published as part of the 33 1/3 series, an imprint of Bloomsbury. It has been translated into Japanese (2019) and Spanish (2018).

  • disquiet junto

  • Background
    Since January 2012, the Disquiet Junto has been an ongoing weekly collaborative music-making community that employs creative constraints as a springboard for creativity. Subscribe to the announcement list (each Thursday), listen to tracks by participants from around the world, read the FAQ, and join in.

    Recent Projects

  • 0544 / Feedback Loop / The Assignment: Share music-in-progress for input from others.
    0543 / Technique Check / The Assignment: Share a tip from your method toolbox.
    0542 / 2600 Club / The Assignment: Make some phreaking music.
    0541 / 10BPM Techno / The Assignment: Make some snail-paced beats.
    0540 / 5ive 4our / The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond.

  • Full Index
    And there is a complete list of past projects, 544 consecutive weeks to date.

  • Archives

    By month and by topic

  • [email protected]

    [email protected]

  • Downstream

    Recommended listening each weekday

  • Recent Posts