Given Eno's continual recording career over the years, it would seem tempting to consider Getting Warmer as a private indulgence, being released as it is on the CDR-on-demand label Burning Shed. But that would be a disservice to both label and artist alike; Getting Warmer finds him continuing his string of turn-of-the-millennium releases with intriguing style. Certainly he outstrips his brother in terms of later-in-life musical productivity, happily finding his own particular path. Handling all instruments himself -- the only guest performances are Rory Fitzgerald's bongo percussion on the opening "Sections" and a spoken-word part on "Up to My Neck" -- Eno's ear for reflective, understatedly complex music unsurprisingly comes through yet again. His songs are credited as "compositions, improvisations and collages," a perfect description for what's available. Among the improvisatory numbers are "Sight," with Eno working only with piano to create a brief but still complicated piece, and "Inner Wave, Outer Tuning (Collage One)," an extended blend of darker and lighter moments into one overall meditation. More structured and straightforward songs include "Up to My Neck" and the title track, with its odd chime-like synth lead melody, not to mention the stripped-down album closer "The First Days of October." "Running Around Slowly," blending an ominous synth-bass part with a just spacy enough main section, is particularly fine at finding new ways to trip out just enough. The way "A Gentle Reminder" regularly shifts from a piano lead to a descending synth part reminiscent of Pachelbel's "Canon" and then back to the piano, each time with weirdly ominous bass elements adding a strange undertow, makes for a quiet success. Among the strongest moments are "It's Big Out There," which conveys the same sense of otherworldly scope as his majestic "Prophecy Theme" done with brother Brian for the Dune soundtrack.