{"id":8120,"date":"2025-11-22T16:00:00","date_gmt":"2025-11-22T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/another-green-world-brian-eno-2\/"},"modified":"2026-09-20T00:00:38","modified_gmt":"2026-09-19T22:00:38","slug":"another-green-world-brian-eno-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/another-green-world-brian-eno-2\/","title":{"rendered":"Another Green World – Brian Eno"},"content":{"rendered":"

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Cinco canciones, nueve climas, un parque sin sendero<\/h3>\n

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Another Green World no se anuncia como una revoluci\u00f3n. Abre, en Sky Saw<\/em>, con una guitarra que de verdad suena a sierra, la viola de John Cale llorando una vez, y una voz que llega tarde, como si lo instrumental hubiera sido el punto desde el principio. Island Records public\u00f3 el \u00e1lbum el 14 de noviembre de 1975. No entr\u00f3 en las listas de Gran Breta\u00f1a ni de Am\u00e9rica. Quienes lo necesitaban lo encontraron igual, como se encuentra un camino al salirse del camino.<\/p>\n

Eno grab\u00f3 en los Island Studios de Londres en julio y agosto de 1975, con Rhett Davies de ingeniero, y con las cartas Oblique Strategies que hab\u00eda hecho con el pintor Peter Schmidt en la sala como tercer colaborador. El m\u00e9todo no era el caos. Era una forma de rechazar la primera idea. Phil Collins toca la bater\u00eda. Percy Jones toca el bajo sin trastes. Robert Fripp, acreditado con una guitarra Wimshurst en St. Elmo’s Fire<\/em>, toca el solo que Eno compar\u00f3 con un generador electrost\u00e1tico: chispas, contenci\u00f3n, nada de alarde. La banda es una serie de visitas, no una formaci\u00f3n.<\/p>\n

Cinco temas tienen palabras. Nueve no. Esa proporci\u00f3n es la trama. St. Elmo’s Fire<\/em> es la canci\u00f3n pop, un estribillo que se puede llevar, vestido con lo que Eno llamaba guitarras del desierto. I’ll Come Running<\/em> es casi dulce, una promesa con el solo de Fripp enroscado. Golden Hours<\/em> y Everything Merges with the Night<\/em> dejan que una secuencia simple de acordes lleve un abrigo extra\u00f1o. Luego mandan los instrumentales: The Big Ship<\/em>, In Dark Trees<\/em>, Sombre Reptiles<\/em>, Becalmed<\/em>, Spirits Drifting<\/em>. No son sobras. Son el mundo verde del t\u00edtulo, lugares con nombre y sin narrador.<\/p>\n

La portada es un detalle del cuadro de Tom Phillips, After Raphael<\/em>, una pastoral que parece prestada de otro siglo y ligeramente falsa, que es exactamente el sonido. Eno ya hab\u00eda hecho Here Come the Warm Jets<\/em> y Taking Tiger Mountain (By Strategy)<\/em>, discos de art-rock con bromas en la hoja de letras. Este guarda las bromas m\u00e1s bajas y la atm\u00f3sfera m\u00e1s alta. A\u00fan no era el te\u00f3rico ambient completo de Discreet Music<\/em>, publicado el mismo a\u00f1o, pero ya dejaba que los procesos compartieran el peso. Los temas son cortos. El sentimiento no.<\/p>\n

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\n

Another Green World es en efecto un disco importante, y tambi\u00e9n un disco brillante.<\/p>\n<\/blockquote>\n

(Charley Walters, Rolling Stone, 1976)<\/em><\/p>\n

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Robert Christgau, que acab\u00f3 queri\u00e9ndole al \u00e1lbum, lo llam\u00f3 el equivalente sonoro de un parque en la luna. La frase es justa. Se puede caminar de fondo y sentirse calmado, y luego parar en Zawinul\/Lava<\/em> o Little Fishes<\/em> y encontrar una forma que se hab\u00eda perdido. El riesgo en el que Eno insist\u00eda, escribi\u00f3 Walters, no dejaba de salir bien. No hay un sencillo que explique el disco. Hay una secuencia que ense\u00f1a a escuchar secuencias. Esa lecci\u00f3n importar\u00eda m\u00e1s que cualquier puesto en una lista que el \u00e1lbum nunca tuvo.<\/p>\n

Lo que vino despu\u00e9s es famoso y todav\u00eda vale decirlo llano. David Bowie meti\u00f3 a Eno en la sala para Low<\/em>, \u00abHeroes\u00bb<\/em> y Lodger<\/em>, y el clima instrumental de esos discos es impensable sin este. Los productores que luego hablaron de textura y no de estribillo citaban un h\u00e1bito de 1975, lo nombraran o no. Another Green World no es un plano que se fotocopia. Es un permiso: dejar nueve temas sin palabras, dejar que un bajo sea sin trastes y una guitarra sea una sierra, y llamar al resultado un mundo. El parque sigue abierto. El sendero sigue siendo opcional.<\/p>\n

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