"I don't know where I'm going from here, but I promise it won't be boring."
But it was Bowie’s work with Eno on Low, Heroes and Lodger. That spearheaded the development of his new revolutionary, experimental almost ambient (in places) sound.
Low, the first album in Bowie’s Berlin Trilogy saw the renovation of Bowie’s persona and overall aesthetic. As he slipped away to the German capital seeking solitude by emerging himself in European culture as a form of escapism of the gruelling pressures of celebrity.
Bowie dived into the heavily techno and kraut rock influenced German music scene head first. Berlin was undoubtedly the space that he needed to enter in order to flourish creatively with its rich history, divided in the light of the Post War era – He hailed the city as "the center of everything that is happening and will happen in Europe over the next few years."
Bowie had begun this more experimental process on ‘Station to Station’. However, he had not delved fully into the methodical world of multi-tracking until he started to work with Brian Eno who had traded in his conceptual badge of glam rock with Roxy Music in order to explore new territory. Bowie was inspired by the fascinating new sounds on Eno’s first solo effort ‘Another Green World’ and asked his trusted producer Tony Visconti if he would waste a month on experiments that may amount to nothing. Visconti obliged saying that "Wasting a month of my time with David Bowie and Brian Eno is not wasting a month of my time.". And so the post-punk conceptual soundscape of Low was born, which leaned heavily on the sounds of Harmonizers and processed drum beats. The outcome was a hauntingly beautiful record that shocked record labels and masses of fans alike as Bowie wandered into a land filled with a totally “New Musical Language”.
MUSIC.