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Eno broadcast this Sunday  john ince
 Mar 17, 2006 13:24 PST 
Music from Beyond the Lakes
Produced by Jerry Nelms and Namdar Mogharreban
Sundays, 8-10 pm Central Time, USA
WDBX, 91.1 FM, Carbondale, Illinois (www.wdbx.org<about:blank>)
Streamed live at wdbx.scientistsuperstar.com

Profile of the show: eclectic new age and contemtemplative world music, both ambient and rhythmic; electronic and acoustic; instrumental and vocal. Beyond the Lakes is thematically
programmed each week. Jerry's understanding of "new age" music:
it provides a space for the imagination, and, so, can take many different forms but functioning in that way of
allowing the listener space for the play of the imagination.

Send all promotional materials to the following:

Jerry Nelms
Beyond the Lakes
114 Magnolia Lane
Carbondale, Illinois 62903

Thanks to all musical artists for enriching our world!

March 12, 2006
"Night Traffic" (produced by Jerry Nelms)

"I dreamed of a music without barriers," ambient music iconoclast Brian Eno once said, "taking in non-instruments, such as frogs, birdsong, and simple noises."

Brian Eno was born Brian Peter George St. Jean le Baptiste de la
Salle Eno in 1948. He started his musical career as a member of
the eccentric glamour rock group Roxy Music. Over the years, he
has produced a number of eclectic and widely praised albums
in several musical genres. For many of us, he is perhaps best known
as the person who made popular and even coined the label
"ambient music."

It was 1975, and Eno was bedridden due to a car accident. Given
an album to play over and over and hearing it mingle with
other sounds in his environment, Eno discovered for himself
ambient music.   Eno, of course, was not the first to discover "ambience." Before him Pierre Schaeffer, John Cage, Terry Riley,
Steve Reich, Philip Glass, Wendy Carlos, Tangerine Dream, and
Pink Floyd, all had developed music and soundscapes that were "ambient."
And before these, we can identify predecessors from the
impressionist composers like Erik Satie and Claude Debussy and
the composers of Gregorian Chants before them. But it was Brian
Eno who took ambient music theory and occasional practice and turned it into a modern sonic movement.

He writes in the liner notes to his classic 1978 ambient music
album, Ambient 1: Music for Airports:
An ambience is defined as an atmosphere, or a surrounding
influence: a tint. My intention is to produce original pieces
ostensibly (but not exclusively) for particular times and
situations with a view to building up a small but versatile
catalogue of environmental music suited to a wide variety
of moods and atmospheres.
Whereas the extant canned music companies proceed from
the basis of regularizing environments by blanketing their
acoustic and atmospheric idiosyncrasies, Ambient Music is
intended to enhance these. Whereas conventional background
music is produced by stripping away all sense of doubt and
uncertainty (and thus all genuine interest) from the music,
Ambient Music retains these qualities. And whereas their
intention is to "brighten" the environment by adding stimulus
to it (thus supposedly alleviating the tedium of routine tasks
and leveling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think.
Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must
be as ignorable as it is interesting.
In a review of one of Eno's albums, Andy Gill describes Eno's
music as "soft keyboard chords [that] settle like snowfall over a
gauze of strings and subtle, shifting percussion, while electronic
piano twinkles speculatively."

When I listen to Brian Eno's music, for some reason, it strikes a
chord of memory for me. It takes me back to my adolescence
when I spent nights unable to sleep, roaming the city streets
of Atlanta, Georgia, where I grew up.   For a while, I worked
for a bus station downtown at night.   I'd go in at 11 and get off
at 7. We'd empty and pack the last bus out for the night and
empty and pack the first bus in in the morning.   And all night,
we'd get packages going in the right direction.   The tedium of
the work was punctuated by uncertainties of working in the urban night.

A bus station at the center of huge city in the middle of the
night can be .. . well, an interesting place, to say the least. The hookers and the priests would hang around the edges of the
station when the buses came in, vying to greet the runaways
and introduce them to the pimps or to God.   The homeless
would wander in, talking to themselves, collecting whatever
it was each felt compelled to collect, sometimes warning us
about the government or the aliens.   Hippies would sometimes wander around, high on acid, friendly but lost to this world.
And the police would drop by occasionally, asking
if we'd seen this person or that person. On breaks, I'd walk up
the hill to Peachtree Street, and from that vantage look around
the city-the streetlights, the neon signs, a few apartment windows
still lit in the distance, the night traffic thinning out. Brian Eno's music has always seemed to me to offer that perspective, night
traffic thinning out in the deep contrasts of the light and dark
of a big city, as you journey from that center through the
sleepless urban landscape, through the graduated darkening
of suburbs, into the dark countryside and the slow rising dusk
of early morning until you find yourself someplace you might
not have intended, a shoreline perhaps. But as Eno himself once
said, "It's not the destination that matters. It's the change of
scene." You will have experienced the idiosyncrasies, felt the uncertainty, achieved a calm space for the imagination to work-a
drive through the night "as ignorable as it [was] interesting."

And so, this evening, let's begin our nocturnal journey of the imagination with a program devoted entirely to the music of
Brian Eno, a program entitled "Night Traffic."   We'll devote
our first half-hour to two tracks from Eno's 1978 ambient music classic Ambient 1: Music for Airports. Eno's ambient compositions have not all been so subdued, and we'll devote half of our
second, half-hour to seven tracks from a more recent, more
eccentric Eno work: his 1997 album The Drop.   And we'll end
our first hour with three bluesy, rustic-flavored spacemusic
tracks from Eno's 1983 soundtrack for the
documentary film The Apollo Missions to the Moon.
The collection is called Apollo: Atmospheres & Soundtracks.

We're on nocturnal journey tonight, traveling the urban and suburban landscapes of the imagination, thanks to the music of ambient music composer Brian Eno, part of the modern
"night traffic" that takes us Beyond the Lakes.

Brian Eno - Ambient 1: Music for Airports - EG Records - 1978

Brian Eno - The Drop - All Saints Records - 1997
"Slip, Dip"
"But If"
"Belgian Drop"
Brian Eno - Apollo: Atmospheres & Soundtracks - EG Records - 1983
"Deep Blue Day"
"Always Returning"

According to the Synth Topia website, "Ambient music is a
style that focuses on sound and space rather than melody and
form . . . music that would support reflection and space to think."

Reflection and space to think-those seem to me to be exactly
what we need more of at present. So often, we spend our days-
and nights-so caught up in the hustle and bustle of life that we
seem to fail at living. We need to let go of all that pushes and
presses on us to move unthinkingly. We need to surrender
ourselves to ourselves, if only for a little while. Brian Eno,
often called the "father of ambient music," once said, "If you
want to make someone feel emotion, you have to make them
let go. Listening to something is an act of surrender." Eno
had in mind music, but we also "listen" to our minds and bodies,
and these kinds of listening also involve surrender.
Music can help. And in surrendering ourselves to listening, we
free ourselves from the mindlessness of much of our everyday
lives. And so, this evening, we're on a nocturnal journey, t
raveling the urban and suburban landscapes of the imagination,
with a soundtrack provided by ambient music composer Brian Eno.

We begin our second hour with two urban-sounding tracks from Eno's 2001 collaboration with J. Peter Schwalm, Drawn From Life. Later, we'll hear more jazz-flavored music from The Drop. And
in our final half-hour, we'll hear a mellow, contemplative track
from Eno's first collaboration with Harold Budd, Ambient 2:
The Plateaux of Mirror; more pensive ambience, after that, from
Eno's 1993 solo outing Neroli; then, a darkly shimmering,
nocturnal soundscape from another Harold Budd/Brian Eno collaboration, The Pearl; an edgy blend of ambience and
acoustic guitar from Eno's 1978 compilation of fragments of
music from film soundtracks, simply entitled Music for Films;
a shadowy, impressionistic piece from Eno's 1982 album Ambient 4: On Land; and finally, a variation on Pachelbel's Canon in D Major from Discreet Music.

"Night Traffic," tonight from Beyond the Lakes.

Brian Eno & J. Peter Schwalm - Drawn From Life - Opal Ltd. - 2001
"Bloom (instrumental)"
"Night Traffic"
Brian Eno - The Drop - All Saints Records - 1997
"Iced World" (edit)

Harold Budd & Brian Eno - Ambient 2: The Plateaux of Mirror - Astralworks
and Virgin Records - 2004 (originally released in 1980)
"An Arc of Doves"
Brian Eno - Neroli - Hannibal Records - 1993
Harold Budd & Brian Eno - The Pearl - EG Records - 1984
"An Echo of Night"
Brian Eno - Music For Films - EG Records - 1978
"From the same Hill"
Brian Eno - Ambient 4: On Land - Astralworks and Virgin Records - 2004
(originally released in 1982)
"Dunwich Beach, Autumn, 1960"
Brian Eno - Discreet Music - EG Records - 1975
"French Catalogues"

Music from Beyond the Lakes
Sundays, 8:00-10:00 pm, Central Time, USA
WDBX, 91.1 FM
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