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** "An Ending (Ascent)" was sampled in "Hear Me Out" by Frou Frou. It has also been used in ''Film/{{Traffic}}'' (2001) and ''Film/TwentyEightDaysLater'' (2002).

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** "An Ending (Ascent)" was sampled in "Hear Me Out" by Frou Frou. It has also been used in ''Film/{{Traffic}}'' (2001) ''Film/Traffic2000'' and ''Film/TwentyEightDaysLater'' (2002).


* StandardSnippet: "An Ending (Ascent)" is used a lot for scenes with TearJerker moments, calm, contemplative scenes and scenes taking place in space.

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* StandardSnippet: "An Ending (Ascent)" is used a lot for scenes with TearJerker sad moments, calm, contemplative scenes and scenes taking place in space.


'''Tracklist'''

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'''Tracklist'''
!!Tracklist


* BigLippedAlligatorMoment: "Silver Morning" is just Daniel Lanois's solo guitar, with none of Brian Eno's synthesizers. The rest of the album is primarily Eno.


* SweetDreamsFuel: The second half of the album definitely qualifies, especially "Deep Blue Day" and "Always Returning".


* {{Ambient}}: A classic album.

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* {{Ambient}}: A classic album.album from the TropeMaker himself.
* BigLippedAlligatorMoment: "Silver Morning" is just Daniel Lanois's solo guitar, with none of Brian Eno's synthesizers. The rest of the album is primarily Eno.


Added DiffLines:

* LighterAndSofter: All the tracks on the album from "Drift" onwards are lighter than the NightmareFuel of the first half of the album.


Added DiffLines:

* SweetDreamsFuel: The second half of the album definitely qualifies, especially "Deep Blue Day" and "Always Returning".


The album notably makes heavy use of the Yamaha [=DX7=], an FM synthesizer introduced the same year that would become a popular instrument throughout the remainder of the decade, arguably becoming ''the'' definitive 80's synth by 1991. While the [=DX7=] was mainly used for its less-than-accurate presets-- whose omnipresence in the 1980's music scene still define public perception of the instrument to this day-- Eno manually programmed the synth himself to obtain the specific kinds of sounds he wanted out of it, later publicly releasing instructions for how to recreate the album's patches in a 1987 issue of ''Keyboard'' magazine. Given that the [=DX7=] is notoriously difficult to program (hence why most musicians stuck to the presets), this is a pretty impressive feat. Eno would continue to use the [=DX7=] on records he produced for bands such as Music/{{U2}} and Music/{{Coldplay}}.

to:

The album notably makes heavy use of the Yamaha [=DX7=], an FM synthesizer introduced the same year that would become a popular instrument throughout the remainder of the decade, arguably becoming ''the'' definitive 80's synth by 1991. While the [=DX7=] was mainly used for its less-than-accurate presets-- whose omnipresence in the 1980's music scene still define public perception of the instrument as well as '80s pop/rock music as a whole to this day-- Eno manually programmed the synth himself to obtain the specific kinds of sounds he wanted out of it, later publicly releasing instructions for how to recreate the album's patches in a 1987 issue of ''Keyboard'' magazine. Given that the [=DX7=] is notoriously difficult to program (hence why most musicians stuck to the presets), this is a pretty impressive feat. Eno would continue to use the [=DX7=] on records he produced for bands such as Music/{{U2}} and Music/{{Coldplay}}.

Added DiffLines:

The album notably makes heavy use of the Yamaha [=DX7=], an FM synthesizer introduced the same year that would become a popular instrument throughout the remainder of the decade, arguably becoming ''the'' definitive 80's synth by 1991. While the [=DX7=] was mainly used for its less-than-accurate presets-- whose omnipresence in the 1980's music scene still define public perception of the instrument to this day-- Eno manually programmed the synth himself to obtain the specific kinds of sounds he wanted out of it, later publicly releasing instructions for how to recreate the album's patches in a 1987 issue of ''Keyboard'' magazine. Given that the [=DX7=] is notoriously difficult to program (hence why most musicians stuck to the presets), this is a pretty impressive feat. Eno would continue to use the [=DX7=] on records he produced for bands such as Music/{{U2}} and Music/{{Coldplay}}.


'''Apollo: Atmospheres and Soundtracks''' is a 1983 {{Ambient}} album by Music/BrianEno, best known for the singles "Silver Morning", "An Ending (Ascent)" and "Deep Blue Day". The album was originally intended for a documentary about the Apollo moon landings called ''Film/ForAllMankind'', but was released five years earlier than the film. The reason for this was that the initial test screenings weren't very enthusiastic and thus the makers decided to delay the project and rethink things over. It was eventually released in 1989 and received an Academy Award nomination for ''Best Documentary''. Despite all that the soundtrack has probably reached more people than the film.

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'''Apollo: ''Apollo: Atmospheres and Soundtracks''' Soundtracks'' is a 1983 {{Ambient}} album by Music/BrianEno, best known for the singles "Silver Morning", "An Ending (Ascent)" and "Deep Blue Day". The album was originally intended for a documentary about the Apollo moon landings called ''Film/ForAllMankind'', but was released five years earlier than the film. The reason for this was that the initial test screenings weren't very enthusiastic and thus the makers decided to delay the project and rethink things over. It was eventually released in 1989 and received an Academy Award nomination for ''Best Documentary''. Despite all that the soundtrack has probably reached more people than the film.


'''Apollo: Atmospheres And Soundtracks''' is a 1983 {{Ambient}} album by Music/BrianEno, best known for the singles "Silver Morning", "An Ending (Ascent)" and "Deep Blue Day". The album was originally intended for a documentary about the Apollo moon landings called ''Film/ForAllMankind'', but was released five years earlier than the film. The reason for this was that the initial test screenings weren't very enthusiastic and thus the makers decided to delay the project and rethink things over. It was eventually released in 1989 and received an Academy Award nomination for ''Best Documentary''. Despite all that the soundtrack has probably reached more people than the film.

to:

'''Apollo: Atmospheres And and Soundtracks''' is a 1983 {{Ambient}} album by Music/BrianEno, best known for the singles "Silver Morning", "An Ending (Ascent)" and "Deep Blue Day". The album was originally intended for a documentary about the Apollo moon landings called ''Film/ForAllMankind'', but was released five years earlier than the film. The reason for this was that the initial test screenings weren't very enthusiastic and thus the makers decided to delay the project and rethink things over. It was eventually released in 1989 and received an Academy Award nomination for ''Best Documentary''. Despite all that the soundtrack has probably reached more people than the film.



[[AC:Side One]]




[[AC:Side Two]]



* {{Ambient}}: A classic.

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* {{Ambient}}: A classic.classic album.


* StandardSnippet: "An Ending (Ascent)" is used a lot for scenes with TearJerker moments, calm, contemplative scenes, space.

to:

* StandardSnippet: "An Ending (Ascent)" is used a lot for scenes with TearJerker moments, calm, contemplative scenes, scenes and scenes taking place in space.


'''Apollo: Atmospheres And Soundtracks''' is a 1983 {{Ambient}} album by Music/BrianEno, best known for the singles "Silver Morning" and "Deep Blue Day". The album was originally intended for a documentary about the Apollo moon landings called ''Film/ForAllMankind'', but was released five years earlier than the film. The reason for this was that the initial test screenings weren't very enthusiastic and thus the makers decided to delay the project and rethink things over. It was eventually released in 1989 and received an Academy Award nomination for ''Best Documentary''. Despite all that the soundtrack has probably reached more people than the film.

to:

'''Apollo: Atmospheres And Soundtracks''' is a 1983 {{Ambient}} album by Music/BrianEno, best known for the singles "Silver Morning" Morning", "An Ending (Ascent)" and "Deep Blue Day". The album was originally intended for a documentary about the Apollo moon landings called ''Film/ForAllMankind'', but was released five years earlier than the film. The reason for this was that the initial test screenings weren't very enthusiastic and thus the makers decided to delay the project and rethink things over. It was eventually released in 1989 and received an Academy Award nomination for ''Best Documentary''. Despite all that the soundtrack has probably reached more people than the film.



* SpaceIsSlowMotion: The album was originally composed for a documentary about the moon landings. Many of the tracks have a slow, dreamy sound quality to them. One track is even named "Weightless".

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* SpaceIsSlowMotion: The album was originally composed for a documentary about the moon landings. Many of the tracks have a slow, dreamy sound quality to them. One track is even named "Weightless". "Weightless".
* StandardSnippet: "An Ending (Ascent)" is used a lot for scenes with TearJerker moments, calm, contemplative scenes, space.


* MinimalisticCoverArt: An abstract image.

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* MinimalisticCoverArt: An abstract image. The moon surface.

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