By Yunus Momoniat• 14 April 2021 SYDNEY, AUSTRALIA - MAY 26: Artist and music producer Brian Eno poses in front of his latest light illustration titled '77 Million Paintings' during a photo call for 'Luminous', a program of musical events being hosted by the Sydney Opera House as part of Vivid Sydney on May 26, 2009 in Sydney, Australia. The festival runs from today until June 14 and sees 30 musical acts, performances and installations taking place at Bennelong Point, including Eno's audio-visual piece '77 Million Paintings' at Sydney Opera House on May 26, 2009 in Sydney, Australia. (Photo by Sergio Dionisio/Getty Images) From the early 1950s, rock music became the soundtrack for city life, the thrashing snare drums and jangling of electric guitars reflecting and colouring the soundscapes of a cacophonous industrial civilisation. By the mid-1970s the guitar was being replaced by the synthesiser and the timbre of popular music began to change into varieties of other textures. Harassed urbanites needed respite from the sounds of traffic, blaring radios, humming fridges, televisions – and fuzzed-up guitars. There was a need for calm and silence, for the emptiness that allows for reflection and meditation. Enter Brian Eno.