Gil Scott-Heron (April 1, 1949 – May 27, 2011) ~ R.I.P.

 

The definition of a poet

THE REVOLUTION WILL NOT BE TELEVISED

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Drums between the bells

Brian Eno first came across the work of Rick Holland in the late ’90s during the Map-Making project – a series of collaborative works between students of the Royal College, the Guildhall School of Music, the Royal Academy of Music, the Royal College of Music, the National Youth Orchestra and the English National Ballet, among others.

In 2003, Brian Eno and Rick Holland made their first music together (although the resulting work does not appear on this album). In the intervening time since that initial session they have met infrequently to work on new compositions.

In early 2011, following the release of Small Craft On A Milk Sea, the pair resolved to finish the project.

The result is Brian Eno‘s latest album, Drums Between the Bells, which will be released on July 4, 2011.

DRUMS BETWEEN THE BELLS – TRACKLISTING

    1. bless this space
    2. glitch
    3. dreambirds
    4. pour it out
    5. seedpods
    6. the real
    7. the airman
    8. fierce aisles of light
    9. as if your eyes were partly closed as if you honed the swirl within them and offered me … the world
    10. a title
    11. sounds alien
    12. dow
    13. multimedia
    14. cloud 4

Silence

  1. breath of crows
  • Original imagery by Brian Eno. Design by Nick Robertson.

RELEASE FORMATS

CD

Hardback 2CD Edition (pictured above)
includes 44-page book & second disc with instrumental versions of tracks from the album

12″ Double Vinyl
includes mp3 download code of the original album
first 500 orders on Enoshop also receive mp3s of the instrumental versions

Here is a taster, “The Glitch”

Max Mathews and the future of musical instruments

Matthews studied electrical engineering at the California Institute of Technology and the Massachusetts Institute of Technology, receiving a Sc.D. in 1954. Working at Bell Labs, Mathews wrote MUSIC, the first widely-used program for sound generation, in 1957. For the rest of the century, he continued as a leader in digital audio research, synthesis, and human-computer interaction as it pertains to music performance.

Although he was not the first to generate sound with a computer (an Australian CSIRAC computer played tunes as early as 1951), Mathews fathered generations of digital music tools.

He described his work in parental terms in this excerpt from “Horizons in Computer Music,” March 8–9, 1997, Indiana University:

“Computer performance of music was born in 1957 when an IBM 704 in NYC played a 17 second composition on the Music I program which I wrote. The timbres and notes were not inspiring, but the technical breakthrough is still reverberating. Music I led me to Music II through V. A host of others wrote Music 10, Music 360, Music 15, Csound and Cmix. Many exciting pieces are now performed digitally. The IBM 704 and its siblings were strictly studio machines – they were far too slow to synthesize music in real-time. Chowning’s FM algorithms and the advent of fast, inexpensive, digital chips made real-time possible, and equally important, made it affordable.”

In the following video made at the SF MusicTech Summit last year  Mathew speaks about innovation