History Music / LookIntoTheEyeball

''Look into the Eyeball'', released in 2001, is the fifth solo album and sixth studio album overall by Scottish-American AlternativeRock musician Music/DavidByrne. [[http://davidbyrne.com/explore/look-into-the-eyeball/about As stated on his website]] in the leadup to the album's release, it was born out of a desire to mix the artsy emotion of orchestral music with the catchy danceability of mainstream pop, hoping "to move people to dance and cry at the same time."

As a result, the album moves away from the TripHop stylings of ''Music/{{Feelings}}'' before it and ramps up the use of acoustic and orchestral arrangements, presaging the overt BaroquePop approach of ''Music/GrownBackwards'' three years later and marking the start of Byrne's new art pop sound, which he would stick with under varying permutations for the remainder of his career. Working with his greatest volume of guest musicians since ''[[Music/UhOhDavidByrneAlbum Uh-Oh]]'' nearly a decade prior, the songs were pieced together over the course of two years, starting work in Andalusia, Spain before being further fleshed out in New York.

As a result, the album moves away from the TripHop stylings of ''Feelings'' before it and ramps up the use of acoustic and orchestral arrangements, presaging the overt BaroquePop approach of ''Music/GrownBackwards'' three years later and marking the start of Byrne's new art pop sound, which he would stick with under varying permutations for the remainder of his career. Working with his greatest volume of guest musicians since ''[[Music/UhOhDavidByrneAlbum Uh-Oh]]'' nearly a decade prior, the songs were pieced together over the course of two years, starting work in Andalusia, Spain before being further fleshed out in New York.

* FranchiseCodifier: After several decades of making music, the album set the template for all of his following ones. The eclectic art pop sound that mixed electronic and orchestral elements became the basis for subsequent releases in varying permutations, being mixed with Byrne's long-established lyrical eccentricity to craft a niche that he would spend the rest of the 21st century leaning into.

''Look into the Eyeball'', released in 2001, is the fifth solo album and sixth studio album overall by Scottish-American AlternativeRock musician Music/DavidByrne. [[http://davidbyrne.com/explore/look-into-the-eyeball/about As stated on his website]] in the leadup to the album's release, it was born out of a desire to mix the artsy emotion of orchestral music with the catchy danceability of mainstream pop, hoping "to move people to dance and cry at the same time." As a result, the album moves away from the TripHop stylings of ''Feelings'' before it and ramps up the use of acoustic and orchestral arrangements, presaging the overt BaroquePop approach of ''Music/GrownBackwards'' three years later and marking the start of Byrne's new art pop sound, which he would stick with under varying permutations for the remainder of his career. Working with his greatest volume of guest musicians since ''[[Music/UhOhDavidByrneAlbum Uh-Oh]]'' nearly a decade prior, the songs were pieced together over the course of two years, starting work in Andalusia, Spain before being further fleshed out in New York.

* AnimatedMusicVideo: "The Great Intoxication" received one of these, distributed solely online. It's about as representative of what WebAnimation was like at the start of the 2000's as it could get.

In essence, the album carried over the international and improvisational development style of Music/TalkingHeads' final album, ''Music/{{Naked}}'', though trading out the ensemble-wide jam sessions with more economical digital samplers; Byrne would only bring in the guest musicians after he'd pinned down his ideas. Nevertheless, the parallels that ''were'' present were fitting, as Byrne's former band was seeing renewed media attention during the dawn of the 21st century. ''Film/StopMakingSense'' had seen a high-profile re-release for its 15th anniversary in 1999, and the band had regrouped to re-promote the film. Byrne was still on tense terms with his bandmates, with the fiasco of ''No Talking, Just Head'' still in recent memory for all four members, but the public revisiting of the band's glory days ended up placing a new sense of attention on not just Talking Heads, but also Byrne himself. This renewed interest would be exemplified by Microsoft's decision to license leadoff single "Like Humans Do" as a sample track for Windows Media Player in their new operating system, [[UsefulNotes/MicrosoftWindows Windows XP]], in effect exposing Byrne and his work to a new generation of listeners.

Despite this, the album still failed to re-break Byrne into the mainstream; while it charted higher than its predecessor on both sides of the pond, it only reached No. 120 in the US and No. 58 in the UK. Critical reception improved compared to Byrne's prior albums, but remained mixed. Pitchfork in particular praised its sense of enjoyment and energy, while others still felt that it failed to do much to distinguish Byrne from his work with Talking Heads, especially in light of the latter's renewed public attention. The minor increase in favor would however pave the way for Byrne's more definitive critical comeback with ''Grown Backwards''. As with previous Byrne solo albums, fans regarded this one much more positively, boosting its Metacritic score to 68 (indicating "generally favorable" reception), especially thanks to the NewbieBoom that emerged from Windows XP's use of "Like Humans Do".

''"I somehow imagine that a real revolution is won by seduction, by winning over not just the mind, but the body and the senses as well. And that the sadness of some of these melodies are countered by the vigor and persistence of the groove."''

In essence, the album carried over the international and improvisational development style of Music/TalkingHeads' final album, ''Music/{{Naked}}'', though trading out the ensemble-wide jam sessions with more economical digital samplers; Byrne would only bring in the guest musicians after he'd pinned down his ideas. Nevertheless, the parallels that ''were'' present were fitting, as Byrne's former band had been seeing renewed media attention with the dawn of the 21st century. ''Film/StopMakingSense'' had seen a high-profile re-release for its 15th anniversary in 1999, and the band had regrouped to re-promote the film. Byrne was still on tense terms with his bandmates, with the fiasco of ''No Talking, Just Head'' still in recent memory for all four members, but the public revisiting of the band's glory days ended up placing a new sense of attention on not just Talking Heads, but also Byrne himself. This renewed interest would be exemplified by Microsoft's decision to license leadoff single "Like Humans Do" as a sample track for Windows Media Player in their new operating system, [[UsefulNotes/MicrosoftWindows Windows XP]], in effect exposing Byrne and his work to a new generation of listeners.

''Like Humans Do''' was supported by two singles: "Like Humans Do" and "U.B. Jesus".

In essence, the album carried over the international and improvisational development style of Music/TalkingHeads' final album, ''Music/{{Naked}}'', though trading out the ensemble-wide jam sessions with more economical digital samplers; Byrne would only bring in the guest musicians after he'd pinned down his ideas. Nevertheless, the parallels that ''were'' present were fitting, as Byrne's former band had been seeing renewed media attention with the dawn of the 21st century. ''Film/StopMakingSense'' had seen a high-profile re-release for its 15th anniversary in 1999, and the band had regrouped to re-promote the film. Byrne was still on tense terms with his bandmates, with the fiasco of ''No Talking, Just Head'' still in recent memory for all four members, but the public revisiting of the band's glory days ended up placing a new sense of attention on not just Talking Heads, but also Byrne himself. This renewed interest would be exemplified by Microsoft's decision to license leadoff single "Like Humans Do" as a sample track for Windows Media Player in their new operating system, Windows XP, in effect exposing Byrne and his work to a new generation of listeners.

In essence, the album carried over the international development style of Music/TalkingHeads' final album, ''Music/{{Naked}}'', though trading out the ensemble-wide jam sessions with more economical digital samplers; Byrne would only bring in the guest musicians after he'd pinned down his ideas. Nevertheless, the parallels that ''were'' present were fitting, as Byrne's former band had been seeing renewed media attention with the dawn of the 21st century. ''Film/StopMakingSense'' had seen a high-profile re-release for its 15th anniversary in 1999, and the band had regrouped to re-promote the film. Byrne was still on tense terms with his bandmates, with the fiasco of ''No Talking, Just Head'' still in recent memory for all four members, but the public revisiting of the band's glory days ended up placing a new sense of attention on not just Talking Heads, but also Byrne himself. This renewed interest would be exemplified by Microsoft's decision to license leadoff single "Like Humans Do" as a sample track for Windows Media Player in their new operating system, Windows XP, in effect exposing Byrne and his work to a new generation of listeners.

''Look into the Eyeball'', released in 2001, is the fifth solo album and sixth studio album overall by Scottish-American AlternativeRock musician Music/DavidByrne. [[http://davidbyrne.com/explore/look-into-the-eyeball/about As stated on his website]] leading up to the album's release, ''Look into the Eyeball'' was born out of a desire to mix the artsy emotion of orchestral music with the catchy danceability of mainstream pop, hoping "to move people to dance and cry at the same time." As a result, the album moves away from the TripHop stylings of ''Feelings'' before it and ramps up the use of acoustic and orchestral arrangements, presaging the overt BaroquePop approach of ''Music/GrownBackwards'' three years later and marking the start of Byrne's new art pop sound, which he would stick with under varying permutations for the remainder of his career. Working with his greatest volume of guest musicians since ''[[Music/UhOhDavidByrneAlbum Uh-Oh]]'' nearly a decade prior, the songs were pieced together over the course of two years, starting work in Andalusia, Spain before being further fleshed out in New York.

''Look into the Eyeball'', released in 2001, is the fifth solo album and sixth studio album overall by Scottish-American AlternativeRock musician Music/DavidByrne. As stated on his website leading up to the album's release, ''Look into the Eyeball'' was born out of a desire to mix the artsy emotion of orchestral music with the catchy danceability of mainstream pop, hoping "to move people to dance and cry at the same time." As a result, the album moves away from the TripHop stylings of ''Feelings'' before it and ramps up the use of acoustic and orchestral arrangements, presaging the overt BaroquePop approach of ''Music/GrownBackwards'' three years later and marking the start of Byrne's new art pop sound, which he would stick with under varying permutations for the remainder of his career. Working with his greatest volume of guest musicians since ''[[Music/UhOhDavidByrneAlbum Uh-Oh]]'' nearly a decade prior, the songs were pieced together over the course of two years, starting work in Andalusia, Spain before being further fleshed out in New York.