Tim P Scott | glossolalia

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Electronic: Virtual Orchestra Rock: Progressive Rock Moods: Type: Instrumental
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by Tim P Scott

"Music for listening to": for fans of unique instrumental electro-acoustic music with roots in rock, the classics and Euro-prog.
Genre: Electronic: Virtual Orchestra
Release Date: 

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  Song Share Time Download
1. Crepuscular
5:03 $0.99
2. Dr Ken/Joy Joy
4:28 $0.99
3. Crateromys Heanyi
2:48 $0.99
4. Glossolalia
3:47 $0.99
5. Beyond the Fields We Know
5:55 $0.99
6. Chili Wine
2:30 $0.99
7. Orgone Generator
5:33 $0.99
8. Bezoar
2:40 $0.99
9. Happy Happy
4:11 $0.99
10. Fractal Fairy Tale
12:13 $0.99
Downloads are available as MP3-320 files.


Album Notes
(For latest tim p scott release news see the end of this section)

With downloadable music getting more and more prevalent, note that all tim p scott CDs from CDBaby are real replicated CDs, in jewel cases with extensive artwork and liner notes: these are not homemade CD-Rs.

They are also available from iTunes and other vendors as downloads as well.

Driving Music: Volume 3

tim scott CDs are all specifically designed to make your driving time go by more quickly, and allow you to arrive at your destination relaxed and energized.

More than one person has also pointed out that this is great music to have playing when they have to do chores, housework or work in their garage and yard.

Scientific research has proved conclusively that Volume 4 in tim p scott's "Music for Listening To" series, glossolalia (length = 49:08) actually causes an increase in the listener's IQ.

Unified only in their disunity, and connected only by their unconnectedness, the pieces on this little slab of polycarbonate are both simple and complex, melodic and experimental, ranging from electronic glitchcore to electro to lush virtual orchestral/symphonic.

The compositions represent a distillation of years of immersion into music on and just off the radar, with influences from artists such as: Ozric Tentacles / Procol Harum / Strawbs / Roxy Music / Tangerine Dream / Jo Jo Gunne / Warning! / Blue Oyster Cult / White Zombie / Rare Bird / Captain Beyond /The Cassandra Complex/ Black Sabbath / Philip Glass / Tool / The Alan Parsons Project / Wishbone Ash / Camel / Love / Spirit / Clear Light / Manfred Mann / Megadeth / Moon Martin / Duncan Browne / David Sylvian / Bill Nelson / Talk Talk / Brian Eno / and others.

There are also other samples of Tim P. Scott's work on acidplanet and soundclick for the curious, containing WMA and MP3 downloads of current and past work. For instance:



Also, see the Crow Caw Music Works website (http://www.crow-caw.com) where you can find full song downloads, more information about this and other tps releases.

The short samples on this page will give you a taste of the style of this release, but believe me, you really do get a lot better sound from the CD. Many of the pieces have long intros and take their time to evolve so the 2 minute clips you can hear here on CD Baby sometimes just get you through the introductions of the pieces. The Crow Caw web site will have a rotating selection of full length clips. Remember there is no risk in buying the CD as we really do honor our satisfaction guarantee!
We certainly don't want to discourage anyone from buying tracks from this or any tim p scott records on iTunes, napster and other digital distribution services, really, the CD package itself is its own artifact, and something that a download or digital copy just can't replace.

Thanks to the iPod and the instant availability of millions of tracks at the click of a mouse, music is often just a disposable background noise. In the Old Days, a record was something to keep, remember and return to consciously.

Also, even though CDBaby lovingly encodes the samples with the best music codecs known to mankind, the full glory and depth of the pieces are best appreciated by playing them from the original CD itself. So order today! Your complete satisfaction is guaranteed.
A note from Crow Caw Music Works about the title: "We are really embarassed to state that somehow we did not realize that the fine guitarist Steve Walsh (probably best known for his work in Kansas) released a solo album also entitled "glossolalia" in 2000. We promise to be more diligent next time!


Note added 2006: I got a very nice email from the co-writer/co-producer of that album, Trent Gardner. He thanked me for making the above disclaimer and I thanked him for not suing me!

Here are some interesting quotes, apropos of probably nothing:

"If a fool persists in his folly, he can become wise"
"The road of Excess leads to the palace of Wisdom"
--William Blake

"I just painted a black BMW with pink roll-on flowers. Maybe they'll find some meaning in it. I hope so." -- Andy Warhol

Interview with the "tim p scott" entity
by Guillermo Rodriguez / The Seville Inquisitor
Translated by Ras Putin

[Continuation of an interview about the MMIV release; see cdbaby.com/timpscott4]

GR: Let's talk about earlier works. How is "Glossolalia" from 2002 different than MMIV in terms of production?

MacFahrquahr: "Glossolalia" represents work from the previous 3 years or so and a transition in work flow. The first three records (Jack of Shadows, Circle of Art and radio i) were almost completely developed using MIDI sequencing and a rack of synthesizers. In "Glossolala", software synthesis and computers finally became powerful enought that you could create entire productions without external hardware. The important advance was the software package Reason by the Swedish company Propellerheads. This really did obsolete 85% of what we needed to support in our studio. Some of the pieces are based completely on that, some using Roland and Emu synths and some a combination of both. Many people complain about the "sound" of Reason tracks and dismiss it as a toy you can't create anything serious in. I don't agree with that and, while maybe the tracks are not world-beating, the tool is powerful enough for anyone creative.

Yintz: This production was also done 100% in our studio. We had a Roland VS-1680 digital recorder, since at that time computers powerful enough, and software flexible enough, to do digital mixing were not easy (i.e., cheap) to come by.

MacFahrquahr: We still have that VS-1680, I just can't bear to part with it since we practically slept with it during the recording, mixing, and even arranging of Glossolalia. We originally used a VS-880 but editing on that tiny two-line screen was painful in the extreme. The VS-1680 has its limitations but was light years beyond the VS-880.

Yintz: The thing I've slept with for about 5 years now is a Boss DR-5. I don't know if that's such a seminal piece of kit but I actually flew all over the world with it and created quite a few beats on it on airplanes and in hotel rooms. A hint about the DR-5: don't put the batteries in backwards or you'll melt the plastic battery cover. Fortunately the wonderful people at Roland sent me a replacement for about $3.

DR: I have some more questions about your philosophy of music...what sort of person do you envision as your audience, and what sort of circumstances do you like to listen to music in?

MacFahrquahr: I can talk about this for hours; but there aren't very many people who want to listen for hours. I'll try to keep to some kind of point. Basically, music is so great because it can be a social thing or a solitary thing, it can appeal to your booty or your mind, and so forth. Many seeming contradictions. I have to say I've always been interested in music you listen to by yourself or with one person, and although I like loud rhythmic tonal stuff, I've never been interested in going to concerts or seeing bands live...it's almost always been a disappointment compared to their better recordings. So because of that I tend to write stuff for listening to: thus the Tim P. Scott slogan "Music for Listening To." Our more recent stuff does seem to be 4/4 minor key, Dorian mode, stuff with regular beats but still not quite dance music.

DR: What plans do you have for your next release or project?

MacFahrquahr: The noisy 4/4 stuff, as enjoyable as it's been to make and listen to, seems to be settling into a formula so it's time to try something different. Lately I've returned to SSEYO's bizarre Koan music authoring program and the next release might just consist of 80 minutes of aleatoric generative compositions.


tim p scott release NEWS November 2008

A new set of compositions is now complete called "The Secrets of Metals." These tracks are going to be available as downloads only at least at first. Search last.fm, the amazon.com MP3 download store, or amiestreet.com for "tim p scott" to hear samples and get some downloads from this project.

Hopefully some booklet and cover graphics and other material will also be provided but that may come later...



to write a review

M.L. Downey

Plenty of synths to go around
One part of the definition for “glossolalia,” this Tim P. Scott album, is an imaginary language. That pretty much encompasses what music is, a language that speaks to listeners (and probably musicians) in ways all imagine differently. This electronic instrumental CD varies between the retro Miami Vice rocker “Crepuscular” to the stately “Happy Happy” with what sounds like a harpsichord right out of Mozart and tubular bells a la Mike Oldfield. At least, that’s what I imagine I hear. “Fractal Fairy Tale” explores music based on fractal equations that features plenty of jazz-like noodling and blaring synths, something for everyone. The title cut would have worked on Tangerine Dream’s soundtrack for “Sorcerer” while “Beyond the Fields We Know” resembles music for a high-end PBS series. Not a bad way to pass the time.