The Holmes Archive of Electronic Music

Music About Computers

Playlist
Computer Magic (Danielle Johnson), “Data” from Danz (2018 Channel 9 Records). US. Written, Recorded, Arranged, Produced, Mixed, Mastered by, Danielle Johnson. 1:57
Angie, “The Computer Did” from The Computer Did (1984 Munich Records). Netherlands. Producer, A. Bredehoft, C. Wegener, K. Marvin; Technician, Wil Hesen; Written by C. Wegener. 3:15
Kraftwerk, “Computer Love” from Computer World (1981 EMI). Germany. Hardware, Matten & Wiechers Bonn, Peter Bollig, Mr. Lab & Friend Chip Berlin, Hermann Poertner, Gerd Rothe; Software, Guenter Froehling, Emil Schult, Pit Franke, Karl Klefisch, Computergraphics System Bernd Gericke Erlangen, Falk Kuebler, Martin Tewis, Carol Martin, Takeshi Shikura, Ian Flooks, Marvin Katz, Maxime Schmitt, Ralf Hutter, Karl Bartos, Wolfgang Flur, Florian Schneider. Kling Klang Studio: Joachim Dehmann, Guenter Spachtholz. 7:17
Little Computer People Project (Anthony Rother), “Little Computer People (Karl Bartos Remix)” from Little Computer People (Remixes) (1998 Psi49net). Germany. Produced, Performed by The Little Computer People Project (Anthony Rother); remixed by Karl Bartos. 5:31
Doris Norton, “Parallel Interface” from Personal Computer (Durium 1984). Italy. Arranged, composed, synthesizers by Doris Norton; keyboards, Antonio Bartoccetti. 4:27
The Microbes, “Computer” from Computer (1980 DJM Records). UK. Produced, Written by, C. Chiappe, J. Chegwin, O. Falquero. 2:32
Zapp & Roger Featuring Shirley Murdock and Charlie Wilson, “Computer Love” from The New Zapp IV U (1985 Warner Brothers). US. Produced, written by, Larry “Zap” Troutman, Roger Troutman; mixed by Roger Troutman. Backing Vocals Aaron Blackmon, Billy Beck, Bobby Glover, Charlie Wilson, Dale Degroat, Donna Sloss, Gregory Jackson, Jannetta Boyce, Ray Davis, Rhonda Stevens, Robert Jones, Roger Troutman, Shirley Murdock, Wanda Rash, Zapp Troutman; Bass Guitar, Aaron Blackmon, Roger Troutman, Zapp Troutman; Drums, Damian Black, Lester Troutman, Edited by Zapp Troutman; Horns, Carl Cowen, Jerome Derrickson, Michael Warren, Robert Jones; Keyboards, Bernie Worrell, Billy Beck, Dale Degroat, Greg Jackson, Roger Troutman, Zapp Troutman; Lead Guitar, Rhythm Guitar, Aaron Blackmon, Roger Troutman; Lead Vocals Greg Jackson; Mixed by Lester Troutman, Zapp Troutman; Percussion, Larry Troutman, Lester Troutman, Robert "Kuumba" Jones. 4:43
Raymond Scott, “IBM Probe” from Manhattan Research Inc. (2000 Basta). US. Music from 1963-64. Outtakes from the music and sound effects created for the promotion of the IBM MT/ST (Magnetic Tape/Selectric Typewriter), an early word processor. Remember those? 1:54
Ugliman, “Computer” from Computer (1985 10 Roosevelt Ave.). Jamaica. Producer, Harry J; Written by H. Johnson, R. Crawford. 4:00
Ikue Mori, “Abacus—Blue Parrot” from Garden (1996 Tzadik). US. Composer, performer, producer, drum Machines, effects, Ikue Mori. 10:57
Jóhann Jóhannsson, “IBM 1401 Computer Manual” (2006 4AD). UK/Iceland. The IBM 1401 was a mainframe computer introduced by IBM in 1959. Orchestra, The City Of Prague Philharmonic Orchestra; Orchestrated by Arnar Bjarnason, Jóhann Jóhannsson; Hammond B3 organ, Piano, Celesta, Bells, Jóhann Jóhannsson; IBM 1401 Data Processing System recorded by Elías Davídsson, Jóhann Gunnarsson, Örn Kaldalóns; Written, arranged, produced by Jóhann Jóhannsson. Jóhannsson’s father had worked as an engineer on this computer and recorded some musical snippets when the machine was retired in 1971 that were used by his son to make parts of this recording. “The orchestra was recorded at Barrandov Studios, Smecky Soundstage in Prague in September 2005. Additional recordings were made in Reykjavik, Skálholt, Florence, Madrid, Zurich, Piran and Rennes during the period 2003-2006. Mixed in Syrland, Reykjavik in February 2006. Tracks two and three feature the voice of "an unknown instructor from an IBM 1401 Data Processing System maintenance instruction tape found in my father’s attic. All electronic sounds were derived from the IBM 1401 Data Processing System and the Hammond B3 organ with Ring Modulator, Distortion and Filter pedals. The music and sounds of the IBM 1401 Data Processing System were recorded by Jóhann Gunnarsson, Örn Kaldalóns and Elías Davídsson in Reykjavik in 1971. The musical fragment played by the computer is from the hymn "Ísland Ögrum Skorid" by Sigvaldi Kaldalóns, used by kind permission. 42:25
         The work is organized as follows:
               Part 1 / IBM 1401 Processing Unit
               Part 2 / IBM 1403 Printer
               Part 3 / IBM 1402 Card Read-Punch
               Part 4 / IBM 729 II Magnetic Tape Unit
               Part 5 / The Sun's Gone Dim and The Sky's Turned Black
12. Kate Bush, “Deeper Understanding” from Director's Cut (2011 Fish People). UK. A different edit from the official album version. Bass, John Giblin; Computer, Albert McIntosh; Drums, Steve Gadd; Harmonica, Brendan Power; Written, produced, vocals, keyboards, Kate Bush; Performer (Beryl Van Heem), Hazel Pethig; Performer (Professor Need), Terry Jones; Performer (Toll), Remi Butler; Vocals, Trio Bulgarka; Vocals Featuring, Yanka Rupkhina. 4:53
Opening background music: Outputmessage (Bernard Farley), “Switch” from Oneiros (2004 Echelon Productions). Written, performed, and produced by Bernard Farley.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

Remembering Klaus Schulze

Episode 72
Remembering Klaus Schulze
Playlist
1. Klaus Schulze, “Synphära” from Cyborg (1973 Kosmische Musik). Recorded at Klaus Schulze Studio. Cello, Contrabass, Flute, Violin, Cosmic Orchestra; Composer, Organ, EMS VCS3 Synthesizer, Vocals, Percussion, Klaus Schulze. 22:55
2. Klaus Schulze, “Some Velvet Phasing” from Blackdance (1974 Brain). Recorded at Delta Acoustic Studio, Berlin. Bass Vocals, Ernst Walter Siemon; Composer, mixer, producer, EMS VCS3, Synthesizer, Organ, Piano, Percussion, Trumpet, 12-String Acoustic Guitar, Orchestra, Klaus Schulze. 7:56
3. Klaus Schulze, “Totem” from Picture Music (1975 Brain). Recorded at Klaus Schulze-Studio, Berlin, 1973. EMS VCS3 Synthesizer; ARP Synthesizer Odyssey (Strings; Percussion on 'Totem'); ARP Synthesizer 2600 (Solo-Voice); Farfisa Professional Duo Organ; Drums, Percussion, Phaser, Echo-Dolby-Revox, Quadro Teak-Tape recorder, 16 channel-Barth-mixer. 23:02
4. Klaus Schulze, “Mindphaser” from Moondawn (1976 Brain). Recorded at Panne-Paulsen Studios. Composer, producer, “The Big Moog” synthesizer, ARP 2600, ARP Odyssey, EMS Synthi A, Farfisa Synthorchestra], Farfisa Professional organ, Crumar keyboard, Sequencer Synthanorma 3-12 sequencer, Klaus Schulze. This was the first album for which Schulze used a Moog Modular Synthesizer, which he had acquired from Florian Fricke of Popul Vuh. 25:05
5. Klaus Schulze, “Crystal Lake” (Xylotones, Chromwave, Willowdreams, Liquid Mirrors, Springdance, A Bientot)” from Mirage (1977 Brain). Recorded at Panne-Paulsen Studios. “An Electronic Winter Landscape. Dedicated to Hans Dieter Schulze.” Schulze provided detailed notes inside the album about his electronic music systems as well as the “PA system” for his live shows, which had become coveted events by this time. Here I’ve transcribed it for you. 29:06
Instruments:
ARP Odyssey, ARP 2600 + Sequencer, 2 Mini Moog, Micro Moog, Poly Moog, Moog CIIs (4 Units + 2 Sequencer) The Musical Universe, EMS Synthi A, Farfisa String Orchestra, Farfisa Synthorchestra, Farfisa Professional Duo Organ, 3 Crumar Keyboards, 2 PPG Synthi + Computer Sequencer, 12 Octave Filter Moog, Octave Filter Bank Ems, 2 Revox A77 Dolby + Speed Control For Echo, AKG Bx20 Reverb Unit, AKG Bx15 Reverb Unit, Compact “A” Phaser Specially Built By K. Schulte/Berlin.
PA System:
Dynacord, 8 Bi00 Bass Cabinet 1 X 15 Gauss, 2 Bass Cabinet 2 X 15 J.B.L., 4 Di000 Cabinet 1 X 15 Gauss, 8 H60 Horn J.B.L./Gauss/Electro Voice, 56 Pt7 Tweeter Piezzo, 2 Phase Linear 700 Amp, 2 Phase Linear 400 Amp, 2 Klerk Tennik 27 Bank Graphics, 1 Spectrum Analyser, AKG Microphone.
Monitor System:
2 Bi00 as above 28 Pt7 As Above, 4 H60 As Above, 1 Phase Linear 700 Amp.
6. Klaus Schulze, “Frank Herbert” from "X" (1978 Brain). Recorded at Panne-Paulsen Studios. Moog Modular Synthesizer, PPG Synthesizer, Minimoog, ARP Odyssey, Korg Polyphonic, Polymoog, EMS Synthi A, Mellotron, Sequencer, Drums, Revox Echo, AKG Bx 20 Hall, Dynacord Speakers, Composed, Arranged, Recorded, Mixed, liner notes, and produced, Klaus Schulze; Drums, Harald Großkopf. “"This work is dedicated to my oh so dear synthesizers. Klaus Schulze.” "X." was recorded from January to summer 1978 in Frankfurt. 10:42
7. Klaus Schulze, “Dune” from Dune (1979 Brain). Produced, keyboards and synthesizers, text and music, Klaus Schulze; Cello, Wolfgang Tiepold; vocal, Shadows of Ignorance, Arthur Brown. The cover photograph was taken by Schulze, is a snapshot taken during a scene of the Soviet science fiction film Solaris. 30:05
Opening background music: Klaus Schulze, from Irrlicht: Quadrophonische Symphonie Für Orchester Und E-Maschinen (1972 Ohr).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

Contemporary Electronic Dance Music

Episode 71
Contemporary Electronic Dance Music
After doing my previous podcast about the vintage roots of electronic dance music, I said to myself, why not an episode featuring some examples of EDM as it stands today?
Collected here are sixteen examples from fourteen artists of what I call more extreme electronic dance music sounds. These tracks all share a few characteristics, as outlined in the last episode. These characteristics are the use of electronic sound sources, especially types that are easily programmed and operated in a live situation; music that is beat-driven and generally sparse on lyrics; a heavy reliance on repetition patterns and textures while preserving a spot for the artist to display some solo musicianship. The soloing may in fact come from manipulating various controls and buttons, or it may come from a more overtly inserted musical passage played on a keyboard, all to inject a touch of personal expression to the automation.
Here is a selection of tracks from around the globe, showing how EDM has become somewhat culturally agnostic.
Playlist
Chris & Cosey, “Fantastique” from Muzik Fantastique! (1992 Play It Again Sam Records). Written-By, Performer, Chris Carter And Cosey Fanni Tutti. UK duo.
Timmy Trumpet Feat. Mariana Bo, “Vivaldi (Extended Mix)” from Vivaldi (2022 Tomorrowland Music). From Mariana Bo, violinist, DJ and producer from Culiacán, Sinaloa, Mexico.
Sam Divine & CASSIMM, “What God Has Chosen” from What God Has Chosen (2017 DFTD). Producer, CASSIMM, Sam Divine; Written by Mary J. Blige. Sam Divine and CASSIMM are DJs and producers based in London, UK.
Deborah De Luca, “Anho” from Ten (2018 Sola_mente Records). Italian DJ and producer.
Charlotte De Witte, “Kali” from Universal Consciousness EP (2022 KNTXT). Belgian DJ and record producer.
Sam Divine & CASSIMM, “Can’t Stop the House” from In Da Nation EP (201 DFTD). Divine and CASSIMM are DJs and producers based in London, UK.
Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Swiss/South African DJ and producer.
Peggy Gou, “Maktoop” from Seek For Maktoop (2016 Technicolour). Berlin-based South Korean DJ and producer.
Grimes, “‎Symphonia IX (My Wait Is U)” from Visions (2011 Arbutus Records). Grimes is the Canadian artist Claire Boucher best known for her work as a producer, singer, and songwriter.
Nina Kraviz, “Love or Go” from Nina Kraviz (2012 Rekids). Nina Kraviz (Нина Кравиц) is a Russian singer, producer, dentist, and DJ.
Monika Kruse Meets Pig&Dan, “Boogie Man” from Oblivion EP (2016 Terminal). Kruse is a German DJ and producer and founder of Terminal M; Pig&Dan are a DJ and producer duo based in Spain.
Monika Kruse, “Summer Drops (original)” from Summer Drops (2014 Terminal M). German DJ and producer and founder of Terminal M.
Amelie Lens, “Drift” from Contradiction (2017 Second State). Techno DJ and producer from Antwerp, Belgium.
Anne Savage Vs. Lisa Lashes, “Release Me” from Release Me (2010 Siren Tracks). Anne Savage is a UK hard-dance DJ & Producer. Lisa Lashes is a British trance/hard-house DJ and music producer.
East Coast Boogiemen and DJ Heather, “Picture of You (Natural Rhythm Remix)” from Picture Of You Pt. 1 (2005 Blackcherry Recordings). East Coast Boogiemen was the DJ group consisting of Ken Christensen and Juan Zapata. DJ Heather is a DJ and producer from Chicago.
TOKiMONSTA, “Let Me Trick You” from Cosmic Intoxication EP (2010 Ramp Recordings). Jennifer Lee is a producer from Los Angeles, California, USA.
Nicole Moudaber & Skin, “Someone Like You” from Breed EP (2015 Mood Records). Nicole Moudaber is a DJ and producer born and raised in Nigeria and Lebanon, and who is now based in London, UK. Skin (Deborah Anne Dyer) is a British singer, songwriter, electronic music DJ.
 
Opening background music:
Thom Holmes, “To the Automation” (2022). Instrumentation, Spark, ARP Odyssey, and Buchla Easel plug-ins, Thom Holmes.
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

The Sonic Origins of Electronic Dance Music

Episode 70
The Sonic Origins of Electronic Dance Music
Trying to understand the evolution and history of electronic dance music (EDM) is a daunting task. We’ll explore some of the sonic roots to see how we got to EDM—a beat-driven music powered by electronics and often focused on creating a trancelike musical state.
Playlist
Jesse Saunders, “On And On” from On and On (1984 Jes Say Records). Possibly the first DJ-created album created as a commercial public release. Produced, Performed, Arranged By Jesse Saunders; written by Jesse Saunders, Vince Lawrence. 8:02
Armin Van Buuren, “Sail” from Sail (2006 Armind). This 12” original mix was written by and produced by Armin van Buuren. 7:29
Amelie Lens, “Linger On” from Let it Go (2016 Second State). EDM performer and producer from Antwerp, Belgium. 7:41
Timmy Thomas, “Why Can't We Live Together,” from Why Can't We Live Together (1972 Glades). Timmy Thomas, Hammond organ and drum machine. Note the rapid-fire drum sequences sprinkled in here and there, a premonition around the future sound of drum machines. 4:38
Kraftwerk, “Uranium” from Radioactivity (1975 Kling-Klang). Not so much a danceable turn, but the choir sample was later repurposed by New Order in Blue Monday, so a worthy acknowledgement to Kraftwerk. 1:26
Kraftwerk, “Transistor” from Radioactivity (1975 Kling-Klang). Electronic percussion, Karl Bartos, Wolfgang Flür; Voice, Electronics, Florian Schneider, Ralf Hütter. 3:43
Kraftwerk, “Europe Endless” from Trans Europe Express (1977 Kling-Klang). Electronic Drums, Karl Bartos, Wolfgang Flur; Electronics, Voice, Florian Schneider, Ralf Hutter. 9:38
Biddu Orchestra, “Bionic Boogie” from Bionic Boogie (1976 Epic). A 45 RPM single from the disco era, featuring some electronics in the form of synthesizers. Biddu was an Indian-British music producer, composer, songwriter and singer. This was a departure for the Biddu Orchestra, which was normally engaged in full disco orchestrations, not the sonic textures of synthesizers, which are heard here, if somewhat overlayed by the other instruments. 2:59
Donna Summer, “I Feel Love” from I Remember Yesterday (1977 Casablanca). Written and sung by Donna Summer; produced by and Moog Synthesizer, Giorgio Moroder; Moog Synthesizer, Robby Wedel; Moog Bass, Thor Baldursson; Drums, Percussion, Keith Forsey; Bass, Les Hurdle.5:52
Space, “Save Your Love For Me” from Just Blue (1978 Vogue). Space was a French group, created around Didier Marouani (aka Ecama) and Roland Romanelli, acclaimed for their 1977 UK disco hit "Magic Fly." 5:45
Space, “Final Signal” from Just Blue (1978 Vogue). Space was a French group, created around Didier Marouani (aka Ecama) and Roland Romanelli. 4:21
Yellow Magic Orchestra, “Computer Game (Theme From The Invader)” from Yellow Magic Orchestra (1978 Horizon). Japanese techno band, parallel to later Kraftwerk. Drums, Percussion, Other Electronics, Vocals – Yukihiro Takahashi; Keyboards, Other [Electronics], Percussion, orchestrated by Ryuichi Sakamoto; Produced by Harry Hosono; Micro Composer programmer, Hideki Matsutake. 4:28
Mandré, “M3000 (Opus VI)” from M3000 (1979 Motown). Produced and Arranged By Andre Lewis. Lewis was a keyboardist who went on to collaborate with many artists, not the least of which for Frank Zappa for whom he played keyboards for The Mothers of Invention after the departure of George Duke. 5:43
New Order, “Blue Monday” from Blue Monday/The Beach (1983, Factory). This was a 12-inch 45 RPM single of the song which became a top seller. New Order was firmly entrenched in the synth-pop dance/crossover genre at that time and this song with its funky samples, mechanical progression and even references to Kraftwerk (the vocal choir heard is indeed a sample from Kraftwerk’s “Uranium” released in 1975 effectively put a few more bricks in the bridge to electronic dance music. 7:27
Michel Huygen, “Take Now Music (Extended Instrumental Version)” from Capturing Holograms (1984 jive Electro). Recorded early 1984 in Barcelona (Spain). Composed, performed, produced, and programmed by Belgian born synthesist Michel Huygen, a member of the Spanish group Neuronium in 1976. 5:34
Kraftwerk, “Der Telefon Anruf (German Version)” from The Telephone Call (1987 EMI). Listen to this track and you will hear similarities in later work by New Order, particularly the comping synth chords and pattern. 3:47
New Order, “World (The Price Of Love) (Radio Edit)” from World. (The Price Of Love) (1993 London Records). CD single of the track also found on the album Republic (1993 London Records). This sounds as if New Order is still thanking Kraftwerk for their inspiration. 3:39
Opening background music:
New Order, “Confusion (Instrumental)” (1983 Streetwise). Mixed by Arthur Baker and John "Jellybean" Benitez. New Order's sixth single and their first collaboration with Arthur Baker. Released August 22, 1983.
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

More Symphonic Music with Synthesizers

Episode 69
More Symphonic Music with Synthesizers
 
Playlist
Tomita, “Gardens In The Rain (Estampes, 3)” from Snowflakes Are Dancing (1974 RCA Red Seal). "Electronic performances of Debussy's tone paintings." Performed, arranged, and electronically created by Isao Tomita, composed by Claude Debussy. Modular Moog synthesizer by Isao Tomita, with equipment listed as: Moog synthesizer; One 914 extended range fixed filter bank; Two 904-A voltage-controlled low-pass filters;  One 904-B voltage-controlled high-pass filter;  One 904-C filter coupler;  One 901 Voltage-controlled oscillator;  Three 901-A oscillator controllers;  Nine 901-B oscillators;  Four 911 envelope generators;  One 911-A dual-trigger delay;  Five 902 voltage-controlled amplifiers;  One 912 envelope follower;  One 984 four-channel mixer;  One 960 sequential controller;  Two 961 interfaces;  One 962 sequential switch;  Two 950 keyboard controllers;  One 6401 Bode ring modulator;  Tape recorders,  One Ampex MM-1100 16-track,  One Ampex AG-440 4-track, One Sony TC-9040 4-track,  One Teac A-3340S 4-track,  One Teac 7030GSL 2-track;  Mixers,  Two Sony MX-16 8-channel mixers,  Two Sony MX-12 6-channel mixers;  Accessories,  One AKG BX20E Echo unit;  One Eventide Clockworks "Instant Phaser";  Two Binson Echorec "2" units ; One Fender "Dimension IV;"  One Mellotron.    3:41
Tomita, “The Old Castle” from Pictures At An Exhibition (1975 RCA Red Seal). “Electronic interpretations of works by classical composer Modest Mussorgsky.” Performed, arranged, and electronically created by Isao Tomita, composed by Modest Mussorgsky. Modular Moog synthesizer by Isao Tomita. Assume same instrumentation as above. 5:16
Pulsar, “Strands of the Future” from Strands of the Future (1976 Kingdom Records). Recorded in Switzerland, released in France. Drums, Percussion, Victor Bosch; Electric Guitar, Acoustic Guitar, Vocals, Gilbert Gandil; Flute, Solina Synthesizer, Roland Richard; Lyrics By François Artaud; Organ, Moog Synthesizer, Mellotron, Bass Guitar, Jacques Roman. 22:13
Vangelis Papathanassiou, “Flamants Roses” from Opéra Sauvage (1979 Polydor). "Original Music For Frédéric Rossif's Television Series.” Recorded in London, 1979. Composed, Arranged, Produced, synthesizers, piano, Fender Rhodes electric piano, drums, percussion, xylophone, Vangelis Papathanassiou; harp, Jon Anderson. 11:48
Rick Wakeman, “Overtures, Part 1 and 2” from 1984 (1981 Charisma). Part 1: Piano, Prophet Synthesizer, Rick Wakeman. Part 2: Organ, Piano, Prophet Synthesizer, RMI Synthesizer, Rick Wakeman. Bass, Runswick D., McGee R.; Bassoon, Sheen G., Hammond H. Cello, Truman B., Robinson M., Willison P.; Cello [Lead], Daziel A.; Clarinet, Weinberg T., Puddy K.; Drums, Tony Fernandez;  Drums, Frank Ricotti;  Fender Bass, Boghead, Steve Barnacle; Flute, Sandeman D., Gregory J.; Guitar, Beaky, Tim Stone; Horn, Thomson M., Easthope P.; Keyboards, Dave Crombie; Oboe, Theodore D., Whiting J.; Producer, Rick Wakeman Saxophone [Selmer] Gary Barnacle; Trombone, Hardie, Wilson; Trumpet, Miller J., Wallis J.; Tuba, Jenkins J. Viola, Newlands D., Robertson G., Andrade L.; Viola [Lead], Cookson M.; Violin, McGee A., Dukov B., Katz D., Bradles D., Clay L., Good T.; Violin, Leader, Rothstein J.. 5:12
Keith Emerson, “Tramway” from Nighthawks (Original Soundtrack) (1981 Backstreet Records). Keith played a Fairlight CMI on this track. The Fairlight was programmed by Kevin Crossley. Keyboards, Performed, Produced, Composed by Keith Emerson; Drums, Neil Symonette; Percussion, Frank Scully; Orchestral Percussion, Tristen Fry; Saxophone, Jerome Richardson; Trumpet [Lead], Greg Bowen. 3:25
Jean Michel Jarre, “Fourth Rendez-Vous” from Rendez-Vous (1986 Polydor). ARP 2600 synthesizer, Eminent organ, Matrisequencer, Roland TR 808 drum machine, Michel Geiss; Elka Synthex, EMS Synthi AKS, Oberheim OBX, Yamaha DX100 synthesizers, Matrisequencer, Roland TR 808 drum machine, Linn 9000 Electronic Drums, Jean-Michel Jarre. 3:59
Jean Michel Jarre, “Fifth Rendez-Vous” from Rendez-Vous (1986 Polydor). “Baby Korg” synthesizer, David Jarre; ARP 2600 synthesizer, Matrisequencer, Michel Geiss; Emulator II sampler/synthesizer, Dave Smith Prophet-5 synthesizer, Casio CZ 5000, ARP 2600, Fairlight CMI, Roland JX 8P, synthesizers, Matrisequencer, Jean-Michel Jarre. 7:56
Jean Michel Jarre, “Last Rendez-Vous: "Ron's Piece" from Rendez-Vous (1986 Polydor). Saxophone, Pierre Gossez; Elka Synthex, Seiko DS 250, Fairlight CMI synthesizers, Matrisequencer, Eminent organ, Jean-Michel Jarre. 5:45
William Ørbit, “Ogive Number 1” from Pieces In A Modern Style (2000 WEA Records). Recorded in England. Written by Erik Satie. Arranged, Programmed, Produced, Performed by William Ørbit. I think this piece is more likely Orbit’s arrangement of "Ogive Number 2", not Number 1. But who cares? It’s lovely to hear the French musician electrified like this. 6:45
Steve Jansen, Richard Barbieri, Nobukazu Takemura, “Empty Orchestra” from Changing Hands (1997 Medium Productions Limited). UK album of downtempo electronic music with a classical flavor. Recorded in Kyoto and London. Composed, Performed, Produced by Nobukazu Takemura, Richard Barbieri, Steve Jansen. 14:11
Sarah Davachi, “Magdalena” from Antiphonals (2021 Late Music). Canadian electro-acoustical composer and musician who blends classical instruments with electronics. Mellotron (English Horn, Bass Flute, Clarinet, Recorder, Oboe, French Horn, Chamber Organ, Nylon String Guitar), Tape Echo, Korg CX-3 Electric Organ, Pipe Organ, Harpsichord, Piano, ARP Odyssey Synthesizer, Acoustic Guitar, Violin, Voice, Sarah Davachi. 10:12
 
Background music:
James Newton Howard, “Margaret I’m Home” from ‎James Newton Howard (1974 Kama Sutra). Performed, Composed, Arranged by, James Newton Howard.
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

Numbers

Episode 68
Numbers
 
Playlist
John Cage, “49 Waltzes For The Five Boroughs” from The Waltz Project (17 Contemporary Waltzes For Piano) (1981 Nonesuch). Piano, Alan Feinberg, Robert Moran, Yvar Mikhashoff. Cage worked by using chance operations to make decisions about key aspects of his works. So, by the nature of his method, he worked strictly by the numbers. But the choices become multifaceted when you consider how he applied these random choices to the matrix of sound sources available for a given piece. “49 Waltzes for the Five Boroughs for performer(s) or listener(s) or record maker(s)” is a case in point. Think of the numbers. The work translates a graphic map containing 147 New York street addresses or locations arranged through chance operations into 49 groups of three (consisting of five players each). Cage used “hundreds of coin tosses and the I Ching” to arrive at a “tapestry” of sound, combining hundreds of traditional waltz fragments. First realized by Cage in 1977, the recorded version heard here uses three pianists playing the waltzes plus other ancillary sound making devices plus pre-recorded environmental tapes made in various parts of New York. 5:15
Timothy Sullivan, “Numbers, Names” from Computer Music From Colgate Volume 1 (1980 Redwood Records). Computer composition by Timothy Sullivan; Percussion, Frank Bennett. Created at the Colgate Computer Music Studio at the University Computer Center using a DEC PDP-10 with an on-line interactive system and a four channel digital to analog converter designed and built by Joseph Zingeim. 12:28
Philip S. Gross, excerpts from The International Morse Code: A Teaching Record Using The Audio-Vis-Tac Method (1962 Folkways). Including instructions and drills from the tracks “Numbers And The Alphabet,” “Learning The Numbers,” and “Numbers.” 2:23
Kraftwerk, “Nummern (Numbers)” from Live - Paris '76 & Utrecht '81 (2019 Radio Looploop). An unofficial release of a live performance in Utrecht, 1981. 3:37
107-34-8933 (Nik Raicevic), “Cannabis Sativa” from Numbers (1970 Narco). Self-released album prior to this record being issued by Buddha in the same year as the album Head. Recorded at Gold Star Studio in Hollywood, where the Moog Modular Synthesizer was played by “107-34-8933,” aka Nik Raicevic. From the liner notes: “What is the sound of tomorrow? The sound of notes or the sound of numbers?” 17:55
The Conet Project, “Recordings Of Shortwave Numbers Stations” (1997 Irdial Discs). Original 1997 release reports the following at the end of page 15 of the booklet: "A complete set of recordings of all known Morse stations will also be posted in the fourth quarter of 1997". I don’t think that released ever appeared. The track included here is my edit of excerpted examples from the four-CD collection of numbers stations recordings from around the globe. 7:12
Thom Holmes, “Numbers” from Intervals (2017 Wave Magnet). A composition using recordings of numbers stations as the primary source, combined with audio processing and synthesizers. 5:57
Background music:
Numbers stations remix (Holmes) based on tracks found on “Recordings Of Shortwave Numbers Stations” by The Conet Project (1997 Irdial Discs).
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

Music for Plants

Episode 67
Music for Plants
 
Playlist
In this episode, we feature electronic music created for, inspired by, or generated by plants.
The following music was created as a stimulation for plant growth, sometimes based on the “latest” scientific data and in keeping with the artist’s interpretation of that data. Or simply, inspired by plants but not actually based on any science whatsoever.
Mort Garson, “Rhapsody in Green” from Mother Earth's Plantasia (1976 Homewood Records). Moog Modular Synthesizer, all compositions, and performances by Mort Garson. Produced at Garson’s Patchcord Production in Hollywood. One of the last great Moog Modular Albums before the onset of polyphonic and computer-controlled synthesizers. The album had a very limited distribution upon release, only being available to people who bought a houseplant from a store called Mother Earth in Los Angeles or those who purchased a Simmons mattress from a Sears outlet, both of which came with the record. From the liner notes: “Full, warm, beautiful mood music especially composed to aid in the growing of your plants.” “It has been proven beyond any doubt that harmonic sound waves affect the growth, flowering and seed yield of plants.” (Dr. T. C. Singh, Dept. of Botany, Annamalai University, India)”
Jerry Cammarata, “Opus 1000” from Plant Serenade (1975 Jerem). "A Collection Of Tonal Experience For Your Lawn, Vegetable Garden And Exotic Plants.” Electronic frequency tones to stimulate plant growth. Yes, this record was actually released. It shows a violin player and some house plants on the cover. But the sounds are purely electronic. Each of the seven tracks features a tone of a different frequency. That’s it. It is apparently based on theories in the book The Secret Life of Plants (1973, Avon), for which a film was also made a couple of years later and inspired Stevie Wonder to create his more musical soundtrack of the same name (1979 Tamla). From the line notes: “You are encouraged to provide a program of good nutrition to your plants during your stimulation program with this album.” “Pure tones, particularly those in the higher range, have been more aggressively used in recent years to stimulate plant growth because they apparently change the physiological state of the plant and permit it to function in a accelerated manner.”
Baroque Bouquet, “Moses on a Raft” from Plant Music (1976 Amherst Records). Music by Baroque Bouquet; produced by Tom Shannon, Tony Di Maria. This album refers to various academic studies linking music to plant growth, coming to the conclusion that music which departed from loud, percussive sounds and toward harmonic, uniformly structured forms, such as baroque music, was ideal for plants. From the liner notes: “Within the limitations we have described, it appears that growing plants respond both toward and away from contrasting sound energies introduced into their environments.” We know our music will stimulate a favorable response within your growing plants.”
Vale of Pnath, “Heart of the Deep Forest” from Hymn of the Plants (1998 Self released). A self-released, single-sided cassette by American independent artist Dale Tomel.
Burkard Schmidl, “Part 04,” “Part 05,” and “Part 06” from KlangGarten Vol. II (Music For Plants And Humans) (1993 Innovative Communication). Music for a special project commissioned by the IGA Expo 93 in Stuttgard, the international gardening exhibition. This was one of the tracks of music composed for the SoundGarden portion of the exhibit, presented using a 12-speaker system in a garden setting. This track is one of 16 released on an exhibition CD.
Marco Madia, “Photosynthesis” from Music For Plants (2013 Dewtone Recordings). This Canadian release is by Italian electronic music producer Madia, based in Berlin since 2006.
Modern Biology, “Swordfern in the Morning ((Raag Bhairavi)” from Plant Music Vol 1 (2021 Self-release). Modern Biology is a Vancouver based artist who bioelectricity, Indian raga, and analog synthesis. He says, “This is not science, this is art. I think of these pieces as sketches of some of the plants in my environment. All tracks were recorded live, in nature, in the northern Gulf Islands of British Columbia.”
Joshua Bonnetta, “Cactus (Cactaceae Sp.)” from The Folklore of Plants Vol. 1 (2017 Folklore Tapes). A UK compilation of short compositions around local plants of the southwest region of the England. Researched and executed by 31x artists. This is one of them.
Zoe Naylor, “Nettle (Urtica Dioica)” from The Folklore of Plants Vol. 1 (2017 Folklore Tapes). A UK compilation of short compositions around local plants of the southwest region of the England. Forty-page pamphlet included plant-lore and illustrations from artists and herbal medicine section by herbalist Zoe Naylor.
Mary & David, “Rowan (Sorbus Aucuparia)” from The Folklore of Plants Vol. 1 (2017 Folklore Tapes). A UK compilation of short compositions around local plants of the southwest region of the England. Devon Folklore Tapes is an ongoing research, storytelling and musical project covering and soundtracking the folklore of the southwest county of Devon in volumes of tapes housed in bespoke books. Exploring mysteries, myths, legends, and strange phenomena of the old county.
Mice Parade, “Guitars for Plants” from Obrigado Saudade (2004 FatCat Records). Performed and recorded by Adam Pierce.
Paul Chihara, “Logs XVI” from Tree Music (1970 CRI). Bass, Bertram Turetzky; Moog Modular Synthesizer and Buchla Modular Synthesizer, composed by, Paul Chihara. Realized at the electronic music studios of UCLA. “Logs XVI was so named because it was the sixteenth “take” in the recording studio. Meaning that this is a real-time performance by Chihara using two famous modular synthesizers, the Moog and Buchla. Douglas Leedy was also recording in this studio around that time. The end of the previous work, “Driftwood,” is heard first before it blends into the electronics of “Logs XVI.” The piece uses bass previously recorded, remixed, and modulated using the synthesizers. Chihara was inspired by trees and made this homage to their lifecycle.
The following music was generated by plants, using electronics, amplification, and audio processing.
Plasma Palace, “Music of the Plants” (2013 Self Release). Created with a device called Bamboowhich is connects directly to a plant, perceiving its electromagnetic signals and translating it into musical harmonies. This recording was made with two Bamboo devices connected to house plants. I guess you’d call it a duet.
Shane Mendonsa, “Lavender (Generative)” from Plant Music (2021 Digital release). “Lavender” is a Generative Music performance featuring a Lavandula angustifolia. The Plant is connected to the Eurorack modules and the Moog synthesizers through a biofeedback sensor which distributes the data from the plant to the instruments allowing the plant to the instruments. The pulsating Bass is a result of the Raw data output from the sensor that is modulating the Pulse width on the Moog Oscillators. More about Shane’s plant music can be found on his website.
 
Background music:
Jerry Baker, “House Plants” from Plants are Like People (1973 Lion Records). With the appearance of popular books around the subject of house plants, came the inevitable audio recordings to accompany them. This is a spoken word album by “America’s Master Gardener.”
Maria Sabína, Excerpt from the “Mushroom Ceremony Of The Mazatec Indians Of Mexico” (1957 Folkways).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.

Those We Have Lost—Electronic Musicians Who Passed in 2021

Episode 66
Those We Have Lost—Electronic Musicians Who Passed in 2021
 
Playlist
In this episode, we pay tribute to electronic composers and musicians who passed in 2021. I’ve put together what I hope will be a satisfying playlist of these diverse artists and their works.
Alvin Lucier, “Vespers” from Electric Sound (1972 Mainstream). This work was performed by Lucier and other members of the Sonic Arts union, David Behrman, Robert Ashley, and Gordon Mumma. The musical instrument was a device not intended for making electronic music. It was the Sondol, a hand-held pulse oscillator designed for “boat owners, acoustic engineers, and the blind.” Lucier bought a few of these devices and worked out a piece for echolocation. Each performer was equipped with a Sondol and asked to move blindfolded inside a defined performing space. This resulted in a work comprised of four independent streams of percussive pulses that sound as if they have their own relationship to one another as each musician moves about in the space. VESPERS is written as a prose score in which Lucier invites the performer to explore the world beyond human limits: “Dive with whales, fly with certain nocturnal birds or bats (particularly the common bat of Europe and North America of the family Vespertilionidae), or seek the help of other experts in the art of echolocation.”
Richard H. Kirk, with Cabaret Voltaire, “Let it Come Down” from International Language (1993 Plastex). This album was released during a period of transformation for CV. Founding member Chris Watson had left to pursue other sound interests, while Mallinder and Kirk remained and headed into the instrumental direction embodied by dance music. The liner notes for this album state, “Abandon thinking. Everything you will hear in the next seventy-four minutes is true. This music is dedicated to the Merry Pranksters past present & future.” Not sure what that means, but hey. This group was fantastic.
Richard H. Kirk, solo, "Information Therapy" from Disposable Half-Truths (1980 Industrial Records). This was from Kirk’s first solo cassette release while he maintained his parallel work with Cabaret Voltaire.
Joel Chadabe, “Rendevous” from Rhythms for Computer and Percussion (1981 Lovely Music). Joel had such a long list of accomplishments in electronic music, a pioneer of analog systems as well as computer music. On this album, his collaboration with percussionist Jan Williams was startlingly fresh. Electronics, computer synthesizer system (Synclavier), Joel Chadabe; percussion, wood block, vibraphone, marimba, slit drum, log drum, temple block, cowbell, singing bowls, Jan Williams. "The equipment used in RHYTHMS is a portable minicomputer/digital synthesizer system designed and manufactured by New England Digital Corporation in Norwich, Vermont, expressly for making music."
Jon Hassell, “Abu Gil” Last Night The Moon Came Dropping Its Clothes In The Street (2009 ECM). Trumpet, keyboard, composed by Jon Hassell; bass, Peter Freeman; Live sampling, Jan Bang; guitar, Rick Cox; drums, Helge Norbakken; violin, Kheir-Eddine M’Kachinche.
Jon Hassell, “Wing Melodies” from Power Spot (1981 ECM). Trumpet, composed by Jon Hassell; guitar, electronic treatments, Michael Brook; electric bass, Brian Eno; electronic keyboards (bass, percussion, string sounds), Jean-Phillippe Rykiel; percussion, acoustic and electronic, alto flute, J. A. Deane; produced by Brian Eno and Daniel Lanois.
Sophie, Eeehhh” from Nothing More to Say (2012 Huntleys & Palmers). Electronics, vocals, composed and performed by Sophie Xeon. I chose a couple of earlier tracks that were largely instrumental experiments.
Sophie, “Elle” from Bipp/Elle (2013 Numbers). Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music.
Malcolm Cecil, “Gamerlonia Dawn” from Radiance (1981 Unity Records). Composed By, Performer, Producer, Engineer, Malcolm Cecil. English bassist and inventor of the unique TONTO synthesizer ("The Original New Timbral Orchestra"), a massive integrated synthesizer system that was used on many analog electronic albums in the early 1970s. Episode 36 was devoted to Cecil’s work so you might want to catch-up with that to get more detail about this amazing musician and producer. This track uses TONTO and also features the “golden flute” of Paul Horn.
Peter Zinovieff, “M Piriform” from Electronic Calendar—The EMS Tapes (2015 Space Age Recordings). Computer music from 1981 by the founder of EMS, Peter Zinovieff, with composer/conductor Justin Connolly. Collaborating with classical composer Connolly, Zinovieff created the electronic music in his Putney studio, using computer-controlled audio generators, and combined it with instrumental parts written by Connolly for soprano, flute, and violin. This performance of the work was staged in 1969 and featured Jane Manning (soprano), Judith Pearce (flute) and Pauline Scott (violin), who all played along with a tape recording of the electronic part.
Murray Schafer, “Threnody” from Threnody (Youth Music by R. Murray Schafer) (1970 Melbourne). This Canadian release features an instrumental work with electronic sound by Schafer, who is perhaps more familiar to us as a creator of soundscapes and ambient audio experiments. But he also worked in traditional instrumental music and featured electronics in some of these. There are not many recordings such as this example from 52 years ago.
Background music:
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
For additional notes, please see my blog, Noise and Notations.