The Holmes Archive of Electronic Music

Radio Spirits in the Night

Episode 115
Radio Spirits in the Night
Introduction
Track Start Times
Onda, “Part 1” 
10:06
Onda, “Part 2”
28:22
Onda, "Seoul"
47:26
Onda, “Köln”
1:08:03
Onda, Lewisburg”
1:11:35
Onda, “Wroclaw"
1:19:47
Holmes. “3 Open Windows, 1 Small Antenna”
1:27:36
Playlist
Aki Onda, “Part 1” (18:16) and “Part 2” (19:04) from “Transmissions From The Radio Midnight (2023 Dinzu Artefacts). Limited Edition 12" Black Vinyl. Limited to 200 copies. “for this album, I selected some of my favorite segments from the recordings made in ten-or-so countries over the span of roughly a decade, beginning in 2008. All of the fragments are presented just as they were captured. Since frequency behavior is often unpredictable, and since the act of catching waves was done manually, the recordings capture all sorts of incidental sounds, including various kinds of static noise and radio interference.” (Aki Onda).
Aki Onda, “Seoul” (2010, 20:37), “Köln” (2012, 3:32), “Lewisburg” (2014, 8:12), “Wroclaw” (2013, 7:49) from “Nam June's Spirit Was Speaking To Me” (2020 Recital). Includes 20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu from an interview conducted by Aki Onda.
Thom Holmes. “3 Open Windows, 1 Small Antenna” (1973 Private recording). I realized this piece in the electronic music studios of Temple University in 1972-73. I recorded various shortwave radio sounds at my apartment in Philadelphia, then edited and embellished it with synthesis and modulation using the Moog Modular III synthesizer at in the Temple Music School. I was a student of Paul Epstein at the time, and he asked several of us to join him for a performance on the WBAI Free Music Store, a program radio in NYC. I developed and sketched-out some vocal parts to sing along to the tape and Paul and my friend Ed Cohen joined me for the performance in NY. The lights were dim, the mood was quiet, and we soared along on the sounds on this piece over the airwaves. A recording of that radio broadcast exists somewhere in my storage but for this instance I present the tape piece alone. 24:53.
Opening background music: Thom Holmes, “Signatures Revisited” (2023), an extended version of a piece from my album Intervals (2017), based on the experience of listening to shortwave radio. 01:07:40. Listen to the complete work on my Soundcloud channel.
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Refined Noise

Episode 114
Refined Noise
Playlist
Claus Böhmler, “Klangundkrach, Part 1” from Klangundkrach (1996) (2014 Slowscan). Recorded in Hamburg 1996. Edition of 270 copies. Böhmler was a German visual artist, video maker, and sometimes music artist. His website contains a great sampling of his visual work, texts, and writing about his work. There are not many clues as to how he made this recording except for a cover photo of several Walkman style cassette players with output cables attached. (12:46)
David Cunningham, “Guitar Systemised” and “Water Systemised” from Grey Scale (1977 Piano). For tape recorder and guitar sounds or water sounds. These two works mimic a process used in some of his other compositions where, “The players play a repeating phrase. As soon as one player makes a mistake that mistake is made the basis of his repetition unless it is modified by a further mistake. Thus each player proceeds at his own rate to change the sound in an uncontrollable manner.” Except for in the case of these two works, the water piece and the guitar piece, the process is “analogous” to those works but “the process is automatic here, an inherent quality in the machinery used.” (03:10) and (04:06)
Luke Fowler, “GOLD Side” from Fowl Tapes II (2013 Dekorder). Keyboards, Richard Youngs; Piano and synthesizer, Luke Fowler. Source material performed by Luke Fowler between 2009 and 2011. (17:43)
Merzbow / Genesis P-Orridge, “Source Are Rare” from A Perfect Pain (1999 Cold Spring). Noise Electronics, BIAS Electric Drum Unit, TR606, Filters, Ring modulation, Masami Akita (Merzbow); vocals, producer, Genesis P-Orridge. Genesis P-Orridge: master DAT edited at The Armadillo Studio, Northampton, England, May 1998. Masami Akita: recorded & mixed at Bed Room, August 1998. (23:06)
Emory Cook, “Untitled track 1” from Microfusion White Sound: Popular Combo (circa 1960 Cook). Emory Cook was known for making high fidelity location recordings and musical records from the mid-1950s to the1960s. He patented a special vinyl pressing technique called Microfusion to produce high quality records. When he wasn’t releasing sound effects such as Mexican Firecrackers or location recordings of calypso music, steel bands or a Creole Christmas, Cook managed to slip a few strange experiments into his catalog. This record, number 40850, comes from a series of five albums he produced around 1960 that combined musical tracks from his other albums with a track of pure white noise. The music would play on the left, the white sound would play at the same time on the right. I have several of these discs plus a demo album that Cook produced. The tag line for the “White Sound Series” was “analgesic sound for control of tensions.” The cover stated boldly that the album was “The new analgesic white sound to help in control of Tension, Headaches, Insomnia, Appetite, Smoking. A natural relaxant.” You be the judge as you listen to a track of a popular “cocktail combo” (called a “popular combo” on the record label, combined with white sound. “Not to be played at more than ordinary room volume level.” (03:15)
Narwhalz Of Sound / Mincemeat Or Tenspeed, “Untitled” (3 tracks, side 2) from Doonesbury Dropout, Frasier Freedom / A Rave New World (2010 Isle of Man). This is a test pressing of what I think is this album. Side 2 is by Mincemeat Or Tenspeed, an electronic musician from Rhode Island (currently). (14:15)
Pod Blotz, “Giving,” “Future Romance From The Past,” “Crests And Reflections,” and “Black Glass Monolith” from Glass Tears (2013 Clan Destine Records). Music project of experimental artist and musician Suzy Poling. (18:05)
Opening background music: Mika Vainio, “Lydspor (Part I)” from Lydspor One & Two (2018 Moog Recordings Library). Producer, curator, Paul Smith; Moog Technical Support, Recording Engineering, Finlay Shakespeare. Part of a limited series of Moog albums produced at Surrey University when they were home to a set of Moog Modular synthesizers and components, on arrangement with Moog Music USA. Mika Vainio was born in Helsinki, Finland and died in 2017 in France at aged 53. He was an electronic musician, composer, and producer. (19:26)
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

More Electronic Music for Astral Tripping

Episode 113
More Electronic Music for Astral Tripping
Playlist
Earthstar, “Part 1, Sirens” from French Skyline (1979 Sky records). Recorded at Klaus Schulze Studio, Hambühren, W. Germany in 1978 and 1979. Bass, Electronics, Norm Peach; Choir, Craig Wuest, Joan N., Marla T., Phil N.; Electric Guitar, Treated Guitar, Electronics (Tonewall), Dennis Rea; Flute, Woodwind, Tim Finnegan; French Horn, Flute, Marla Thomson; Producers, Craig Wuest, Klaus Schulze; Moog Modular System Programming, Technical Advice, Klaus Schulze; Sitar, Dirk Schmalenbach, Synthesizer, Sequencer, Mellotron, Biotron, Piano, Sitar, Harp, Effects, Voice, Vocoder, Bells , Percussion, Tape loops, Electronic Treatments, Craig Wuest; Violin, Phil Novak; Violin, Viola, Electronics, Louis Deponté; Violin, Electronics, Daryl Trivieri. (06:18)
Edgar Froese, “PA 701” from Macula Transfer (1976 Brain). The material was composed during different flights during '75 and '76 while on tour with Tangerine Dream. Instruments, Composed By, Produced by, Edgar Froese. I’m not certain, but all of the tracks are named after airline flight numbers. I think this one was on Pan American. Recorded in June 1976 at Amber Studio, Berlin. (07:33)
Beaver and Krause, “Gandharva” and “By Your Grace,” from Gandharva (1971 Warner Brothers). The Moog Modular is played by Bernie Krause, the pipe organ by Paul Beaver. Baritone Saxophone, Gerry Mulligan. Recorded at Grace Cathedral, San Francisco, February 10-11, 1971. This recording came at the height of the Moog craze (for which Beaver and Krause were largely responsible) and this music took a decidedly thoughtful turn with its jazz guests and spacious live sound recorded in a church. Having the Moog Modular in a live performance was a challenge and its presence is only apparent in the opening and several moments on this side of the album. But the organ and baritone saxophone alone provide a beautiful sonic experience. (06:29)
イノヤマランド = Inoyama Land, “Mizue” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track was made by Inoue which he described as him “playing with repetitive octave, machine-like signal sounds.” (02:31)
Arp, “Nzuku” from Ensemble—Live! (2019 Mexican Summer). Arp is Alexis Georgopoulos, an American electronic musician, composer, and music producer based in New York. Includes music from his LP, Zebra, as well as four original tracks. Zebra saw the diverse, New York-based artist exploring Fourth World, Japanese avant-garde, minimalism, kosmische, dub, cosmic jazz and more. This album was recorded live in the studio. Limited edition of 500 copies. (06:36)
Ariel Kalma, “Reternelle” from Ariel Kalma (1975 Astral Muse). A spacey work for dual saxophones and tape echo, played by Kalma. (12:08)
Masuko Shinji, “Woven Music for Silver Ocean” from Woven Music (2011 Jagjaguwar). Japanese singer and guitarist. Some soothing guitar electronics bordering on noise. Let your thoughts wander. (13:50)
イノヤマランド = Inoyama Land, “Apple Star” from ダンジンダン・ポジドン = Danzindan-Pojidon (1983 Yen). Inoyama Land is Yasushi Yamashita and Makoto Inoue. Roland Jupiter 8, System-100M, MC-4, Makoto Inoue. Recorded at Private Studio, Kichijōgi & Yugawara from Jan '82 to '83. This track by Inoue came about by his “synchronizing the Jupiter 8 auto arpeggio with the System100M analogue sequencer with the sequencer VC (voltage control), which generates a curious phrase automatically.” (05:57)
White Gourd, “La Lune” from Hermit / La Lune (2013 Psychic Sounds). “White Gourd is the solo work of Suzanne Stone. In addition to being a visual artist, herbalist, teacher, master gardener, and beekeeper, she is well known for involvement as vocalist & saxophonist in the experimental ensemble Million Brazilians.” This recording illustrates the dreamy nature of Stone’s sound material used in her live performances; found objects, gongs, 78 player, piano and audio cassette loops. (18:10)
Somei Satoh, “Echoes” from Emerald Tablet / Echoes (2020 WRWTFWW). Echoes taken from Somei Satoh's Echoes, Edition Omega Point (2003). It was composed for the "Mist, Sound, and Light Festival", held on May 20-19, 1981 at Kawaji, Tochigi Prefecture, Japan. Composed and performed by Somei Satoh. For this event, Satoh composed music for the 10-day event organized by the hot spring tourist association of Kawaji. The work was played at the Kawaji hot spring's Ojika river valley using 8 gigantic loudspeakers set-up on hills surrounding the stream, with music played through an 8-channel-tape system. The echoes created by the work were accentuated as they reverberated through the outdoor location. (30:27)
Less Bells, “Bird in Hand” and “Forest Ghosts” from Solifuge (2018 Kranky). Less Bells is Julie Carpenter. All Songs by, Violin, Cello, Synthesizers, Fender Rhodes Electric Piano, Omnichord, Julie Carpenter; Optigan Electric Organ, Buchla Music Box, Moog Modular Synthesizer, Dain Luscombe; Synthesizer, mixed by, Kenneth James Gibson; Vocals, Leah Harmon. Violinist/composer Julie Carpenter “. . . weaves orchestral and electronic textures to inhabit that boundary between storm and sun.” Can you say happy astral tripping? (08:39)
 
Opening background music: Ariel Kalma and Richard Tinti, “Forest Ballad” from Osmose(1978 SFP). Organ, Flute, Ariel Kalma; sound effects, Richard Tinti.
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Merry Moog 2023--Holiday Music Performed on the Moog and other Synthesizers

Episode 112
Merry Moog 2023
Holiday Music Performed on the Moog and other Synthesizers
Playlist
 
Sounds Of Broadcasting 1, “Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
Hans Wurman, “Overture Miniature” from Electric Nutcracker (1976 Ovation). This Austrian composer made several remarkable, classically influenced Moog Modular albums from 1969 to 1976. This was one of his last big Moog projects and is difficult to find. 2:54
Hans Wurman, “Danse De La Fee-Dragee ( Sugar Plum Fairy)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 1:33
Hans Wurman, “Danse Des Mirlitons (Flutes)” from Electric Nutcracker (1976 Ovation). Moog Modular synthesizer, Hans Wurman. 2:14
Emerson, Lake & Palmer, “Nutrocker” from Nutrocker / The Great Gates Of Kiev (1972 Cotillion). Arranged by, Emerson, Lake & Palmer. Written by Kim Fowley.
Emerson, Lake & Palmer, “Troika” from I Believe In Father Christmas (1995 Rhino Records). Arranged by, Emerson, Lake & Palmer. Moog and effects by Keith Emerson.
Sounds Of Broadcasting 2, “Night Of The Kings” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
Jean Jacques Perrey and Sy Mann, “Jingle Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
Jean Jacques Perrey and Sy Mann, “Christmas Bells” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer.
Douglas Leedy, “The Coventry Carol” from A Very Merry Electric Christmas to You (1970 Capitol). USA. Moog Modular Synthesizer and Buchla Synthesizer.
Joseph Byrd, “Christmas in the Morning” from A Christmas Yet to Come (1975 Takoma). USA. ARP 2600 Synthesizer with an Oberheim Expander Module.
Armen Ra, “O Come All Ye Faithful” from Theremin Christmas (2018 Sungod). USA. Moog Etherwave Pro Theremin.
Sounds Of Broadcasting 3, “Electronic Tinsel” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
Beck, “The Little Drum Machine Boy” from Just Say Noël (1996 Geffen). USA. Roland TR-808 Rhythm Composer.
Taeko Onuki, Inori (Prayer) from We Wish You A Merry Christmas (1984 Yen). A compilation of specially recorded Christmas-themed songs from various artists on the Yen Records label. Japanese synth-pop with vocals by Onuki. Maybe Ryuichi Sakamoto on keyboards.
Unknown artist, “God Rest Ye Merry Gentlemen” from Electronic Computer Christmas Music (1990 Silver Bells Music). As the name suggests, this was a label dedication mostly to producing broadcast music for the holidays. They also release several albums of nature sounds. The studio musicians go unnamed.
John Baker, “Christmas Commercial” from BBC Radiophonic Music (1968 BBC Radio Enterprises). A short piece used for broadcasting that was created by tape manipulation of the sounds of a mechanical cash register. It was part of collection of short works by BBC Radiophonic composers. “This record has been produced with the intention of entertaining rather than informing: the items chosen do not necessarily represent a survey of the music created at the BBC Radiophonic Workshop. The Workshop at the BBC Music Studios in Maida Vale, London, is equipped with tape recording machines and other electronic equipment for generating and manipulating sound. The composition and realization of this music and sound is done by a small number of specialized creative staff.”
Christmas Baubles, “Orch” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.
Sounds Of Broadcasting 4, “Cutesy Christmas Logos” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
Michael Nyman, “Cream or Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. From Nyman’s minimalist era before he became famous for soundtracks.
Cabaret Voltaire, “Invocation” from Eight Crepuscule Tracks (1987 Interior Music). This track was originally included on the holiday album Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule), which suggested to me that it should be in this holiday podcast. Any excuse for a CV track.
Paul Haig, “Scottish Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. Scottish songwriter, musician and singer.
Les Cousins Dangereux, “What Child Is This” from Gotta Groove Records 2012 (2012 Gotta Groove Records). Holiday album with various artists. Les Cousins Dangereux is Mr. Tim Thornton.
Joy Electric, “Angels We Have Heard on High” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Among his many releases is this crafty Christmas album.
Sounds Of Broadcasting 5, “Christmas Moog Choir” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
Edhels, “Oriental Christmas” from Oriental Christmas (1985 Cabana Music). Recorded in France. Drums, Percussion, Keyboards, Jacky Rosati; Guitar, Jean Louis Suzzoni; Guitar, Bass, Keyboards, Composed by, Marc Ceccotti; Keyboards, Noël Damon. I was sent this as a promotional album back in 1985 with a kind little note from the artists. Sorry it took me so long to put the Christmas-related track in my podcast. This is great example of synth-pop from France in the 1980s.
Pac-Man, “Snowflakes And Frozen Lakes” from Pac-Man Christmas Album (1982 Kid Stuff Records). Produced, Written by, Dana Walden, Patrick McBride. “A collection of Pac-Man’s favorite Christmas songs.” Need I say more?
Swinging Buildings, “Praying For A Cheaper Christmas” from Chantons Noël - Ghosts Of Christmas Past (1981 Les Disques Du Crépuscule). From a compilation album of Christmas-related tunes. This group was once rumored to be New Order in disguise. But no, they were in fact The Bowling Balls in disguise.
Old Man Gloom, “Valhalla and Christmas Eve Parts I and II from Christmas (2004 Tortuga Recordings). Ambient/Noise band formed in New Mexico by guitarist/vocalist Aaron Turner and drummer Santos Montano. Guitar, Drum Programming, Drums, captured and organized sound, Kurt Ballou; Performed by Aaron Turner, Caleb Scofield, Luke Scarola, Nate Newton, Santos Montano.
Sounds Of Broadcasting 6, “The Joyous Moment” from Sounds Of Broadcasting #6088 (1975? William B. Tanner Company, Inc.). Broadcast library track produced for the holidays. Produced using a Moog Modular Synthesizer.
Bernie Krause, Philip Aaberg, “Feliz Navidad” from A Wild Christmas (1994 Etherean Music ). This delightful cassette is from Bernie Krause, known for his Moog explorations with Paul Beaver back in the day. All animal and ambient sounds recorded on location worldwide by Bernie Krause with the exception of the fish (courtesy of U.S. Navy). Animal samples, Bernie Krause and Phil Aaberg. Arrangements, new materials, all keyboards (Kurzweil 2000/Emulator III) Phil Aaberg. Percussion on Feliz Navidad performed by Ben Leinbach. 5:37
John & Yoko and The Plastic Ono Band With The Harlem Community Choir (remixed by Thom Holmes in 2001), “Happy Christmas (War is Over)” (1971 Apple Records). I had a CD player that was in disrepair and decided to “perform” this remix using it. I ended up calling this the Lennon and Ono Sliding Moment remix.
Opening background music: Jean Jacques Perrey and Sy Mann, “Tijuana Christmas” from Switched on Santa (1970 Pickwick). USA. Moog Modular Synthesizer. Don Voegeli, “Chanukah” from Holiday & Seasonal Music (1977 EMI). USA. Produced at the Electrosonic Studio of the University of Wisconsin-Extension. Joy Electric, “Let it Snow” from The Magic Of Christmas (2003 Tooth & Nail Records). Joy Electric is Ronnie Martin from Ohio. American synthesizer-pop musician. Christmas Baubles, “Noisy Organ” from Christmas Baubles And Their Strange Sounds (2002 Lo Recordings). Christmas Baubles was a Russian trio comprised of Alexander Zaitsev, Gennady Pleshkov, and Ilya Baramiya, who produced and performed this track.
 
 
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Before and After Ambient, Part 2

Episode 111
Before and After Ambient, Part 2
Playlist
Midori Takada, “Mr. Henri Rousseau's Dream” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood Bell, Ocarina, Tam-tam, Midori Takada. She performed all of the instruments on this album. The album was not immediately popular but seeded the nascent ambient movement that was growing in Japan at the time.
Midori Takada, “Trompe-l’œil” from Through The Looking Glass (1983 RCA Red Seal). 高田みどり (Midori Takada) is a Japanese composer and percussionist. She was a key figure in the Japanese ambient movement of the 1980s. Composed, performed, produced, Marimba, Gong, Cowbell, Recorder, Wood and clay Bells, Ocarina, Tam-tam, Cola Bottle, Reed Organ, Midori Takada. She performed all of the instruments on this album.
Brian Eno and Harold Budd, “Their Memories” from The Pearl (1984 Editions EG). Composed by Brian Eno, Harold Budd; produced by Brian Eno and Daniel Lanois.
David Behrman, “Interspecies Smalltalk Scene 2” (1984) from Leapday Night (1987 Lovely Music). Composed, produced, and computers by David Behrman; violin, Takehisa Kosugi. "Interspecies Smalltalk" (1984) is an interactive piece originally commissioned by the Cunningham Dance Company.
Yutaka Hirose, “Light Which Shakes Quietly” from Nova+4 (2019 WRWTFWW Records). Bonus track on this reissued album that dates from 1986. Composed , Arranged and Computer by, Yutaka Hirose; Synthesizer, Jun Tohyama.
Takashi Kokubo, “A Dream Sails Out To Sea - Scene 3” (2019 Light In The Attic). Originally released in 1987, this track was part of the new wave of Japanese ambient music. By that time, Kokubo was already reknown for his synthesizer skills on a part with Isao Tomita. He turned to sound design and ambient music and has been instrumental in addition to creating such sounds as the nationally-used mobile phone earthquake alert and credit card payment jingles.
Yoichiro Yoshikawa, “Nube” from Cyprus (1988 Eastworld). Original sound track of Japanese TV program. Yoshikawa was already a reliable session musician when he acquired one of the first Phophet-5 synthesizers in Japan. He quickly became a go-to composer for television and other purposes, such as soundscapes for museum exhibitions.
Tetsu Inoue, “Low of Vibration” from Ambiant Otaku (1994 Fax +49-69/450464). Before I met Tetsu around the year 2000, I was fascinated by music such as this which had all of the elements of ambient music—slow and forming harmonies, spatial rhythms rather than beats, and a sustained energy throughout—without sounding at all like something out of an Eno production. Produced and performed by Tetsu Inoue.
Kenji Kawai, “Ghostdive” from Ghost in the Shell (Original Soundtrack) (1995 RCA). An ambient work from the popular movie soundtrack.Composed, Performed, Produced, Arranged, Keyboards, Instruments, Kenji Kawai; synthesizer, Hironori Houki.
Waveform Transmission, “V 1.3” from V 1.0-1.9 (1996 Silent). Analog Tone Engineering and Realization, Recordings Of The Dead, Shortwave, Field Recordings Made During Periods Of Highly-charged Paranormal Activity, Korg MS 10, Korg MS 20, Korg MS 50, Roland System 100 Synthesizers, Home Built Analog Synthesizers, Tape, Loops, Chris Troy; Digital Audio Graphs, Granular Synthesis, Microwave Communications, Psycho-acoustics, Tape, Loops Otari MX 5050 loops, Rod Modell.
Experimental Audio Research, “Automatic Music (For Oscillator, Ring Modulator & Filter Clusters)” from Pestrepeller (1999 Ochre Records). UK release, limited to 1000 copies. Engineer, Serge Modular Music System, Sonic Boom (Pete Kember). Some interesting modular synthesizer ambience.
John Foxx and Harold Budd, “Raindust” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx.
John Foxx and Harold Budd, “Some Way Through All the Cities” from Translucence + Drift Music (2003 Edsel Records). Composed, produced, and performed by Harold Budd, John Foxx.
Pete Namlook, Tetsu Inoue, “Ethereal Being” from 2350 Broadway 4 (2007 Fax +49-69/450464). Composed, produced, and performed by Pete Namlook, Tetsu Inoue. Recorded at Bretton Hall, New York and Klanglobor Hödeshof. Tetsu was an endless collaborator. Here he and the wondrous Pete Namlook wove some ambient magic.
Tetsu Inoue, “Kaze” from Inland (2007 Fax +49-69/450464). Written, performed and produced by Tetsu Inoue. This was his post-glitch faze, which brought together, strangely enough, element so his earlier ambient work and glitch music for computers.
Masuko Shinji, “Woven Music for Blue Steppe” from Woven Music (2011 Jagjaguwar). All music, vocals and guitar, 増子真二 (Shinji Masuko). This is a project by Masuko, who sometimes works with the Boredoms. It has a characteristic high but sustained energy level that flirts with the outer reaches of the ambient music concept.
Caroline Park, “Grain 5” from Grain (2011 Private Chronology). This is a cassette release by Park, often known her for generative composition work and electronic improvisations based on parameters that she defines. Recorded, performed, and mixed between May 2010 and January 2011 in Los Angeles and Boston.
Sarah Davachi, “First Cadence” from Antiphonals (2021 Late Music). Composed, Recorded, Performed, Mellotron (bass flute, recorder, oboe), Tape Echo, Sarah Davachi. A recent ambient work by this contemporary experimenter.
In the background: An example of ambient music from the program Droneo by Henry Lowengard, which produces self-generating ambient music on a smart phone. “Droneo 1.5 vanDelay and Ape,” (5:25).
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Before and After Ambient, Part 1

Episode 110
Before and After Ambient, Part 1
Playlist
Erik Satie, “Vexations” (1893-94), First, we will hear two piano versions (1 and 4) of this short work that was intended to be played repeatedly in one sitting 840 times in succession. The piano version was performed by Jeroen van Veen on the album Satie, Complete Piano Music (2016 Brilliant Classics). Then, we will hear an electronic version by Bhutan from Vexations (2016 Venado). Argentinean group Bhutan realized this electronic version of the Erik Satie piece in 2016. I thought it would be fitting to open the program with this because Satie’s was one of the first works to be recognized in recent times as a kind of proto ambient composition. Satie preferred the term “furniture music” and thought that it would be suitable for background sound during a dinner party. The Bhutan version, realized in electronic instrumentation, is a fitting bridge of the old and the new when it comes to ambient compositions.
John Cage, “In A Landscape” (1948) from In A Landscape played by Victoria Jordanova (2007 Arpaviva Recordings). This early Cage work was originally arranged either for piano or harp. It is very much the interpretation that makes this akin to ambient music. I selected this version for electric harp because it maintains the original’s sense of suspended time and energy. I also like William Orbit’s version but he took the orchestration to greater lengths and transforming it into something not so ambient. There is also a really quiet piano version by Stephen Drury which remains true to Cage’s original intent of being “soft and meditative” with “resonances” being sustained by depressing both pedals throughout the performance. But I included this version for electric harp by Jordanova because it is more in tune with the electronic nature of the music we feature in this program.
Morton Feldman, “Projection 1” (1950) from Arne Deforce, Yutaka Oya, Patterns In A Chromatic Field (2009 Aeon). Cello, Arne Deforce; Piano, Yutaka Oya; composed by, Morton Feldman. This is an acoustic work by Feldman (I couldn’t find any electronic renditions) but I include it to draw similarities to the work of Harold Budd, also a pianist. In fact, Feldman was a long-standing favorite of Budd.
Raymond Scott, “Sleepy Time” from Soothing Sounds for Baby, Volume 1 (1964 Epic). This legendary work is from a set of electronic and ambient records that Scott produced in the early 1960s as background music to help babies go to sleep. The electronic music was produced with his own creation, the Electronium, a from-scratch built custom synthesizer that combines electronic sequencing with tone generation and various filters.
Eliane Radigue, “Vice - Versa, Etc. (Mix 1)” (1970) from (2013 Vice - Versa, Etc.). Processed tape reorder feedback. Realized at the composer's studio in Paris. Premiered in 1970 at Galerie Lara Vincy in Paris, on the occasion of a group exhibition. The stereo synthesis presented here was made in Lyon at Studio Fluorescent between 2010 and 2011 by Emmanuel Holterbach. Produced, composed, recorded using feedback by Eliane Radigue. Originally conceived as a sound installation, using several reel-to-reel tape players controlled through a mixing desk. The tapes could be played at different speeds, either forward or backward, right channel only, left channel only or simultaneously. The audience could create their own mix.
Teresa Rampazzi (N.P.S.), “Environ” (1970) from Musica Endoscopica (2008 Die Schachtel). Created in 1970, this work represents a kind of reproduction in electronic sound of an ambient environment, peppered with noise and even voice. Rampazzi was a pioneering female composer of electronic music who founded the N.P.S. (Nuove Proposte Sonore) group and studio, where this was realized.
Harmonia, “Hausmusik” from Harmonia (1974 Brain). Recorded and produced June - November '73 in the Harmonia home studio. Guitar, Piano, Organ, electronic percussion, Michael Rother; Organ, Keyboards, Guitar, electronic percussion, J. Roedelius; Synthesizer, Guitar, electronic percussion, D. Moebius.
Brian Eno, “Discreet Music” (excerpt) from Discreet Music (1976 Obscure). Synthesizer with Digital Recall System, Graphic Equalizer, Echo Unit, Delay, Tape, Brian Eno. Brian Eno (b. 1948) worked with tape delay much in the manner defined by Oliveros for I of However, he expressed a somewhat indifferent attitude toward the outcome. He described the realization of Discreet Music (1975): “Since I have always preferred making plans to executing them, I have gravitated toward situations and systems that, once set into operation, could create music with little or no intervention on my part. That is to say, I tend toward the roles of planner and programmer, and then become an audience to the results.” Eno’s composition consisted of a diagram of the devices used to generate the music. His approach was identical to that of Oliveros except that the sound material was specifically melodic and he did not modify or interact with the sound once the process was set in motion. The result in Discreet Music is the gradual transformation of a recognizable musical phrase. These 10 minutes are excerpted from the beginning of the extended work lasting 31 minutes.
Brian Eno, “Through Hollow Lands (For Harold Budd)” from Before and After Science (1977 Island). Bass, Paul Rudolph; Vocals, Bell, Mini-Moog, CS80, AKS synthesizers, piano, guitar, Brian Eno. This is one of the only tracks that I would consider to be ambient from this album.
Robert Ashley, “Automatic Writing” (excerpt) (1974–79) from Automatic Writing (1979 Lovely Music). This work was much talked about when it was released on record by Lovely Music Ltd. in 1979. Ashley wrote it over a five-year period after having just come back from his self-imposed exile from composing in the early 1970s. He performed it many times in various formative stages with the Sonic Arts Union before finally committing it to disc. It does indeed have a vocal, but it is also imbued with quiet, ASMR kinds of sounds that mesmerize. The basic musical material of Automatic Writing was the spoken voice, closely miked, uttering what Ashley characterized as “involuntary speech”: random, seemingly rational comments that might not make sense at all, depending on the context in which they were heard. These 10 minutes are excerpted from the beginning of the extended work lasting 46 minutes.
Sri Dinesh, “Le Chant Des Étoiles” from Para Symphonie (1978 Alain Grima). French album of music to accompany meditation. It consists largely of short, repeated organ patterns and falls within the frame of mind for which ambient music was intended.
Brian Eno, “2/2” from Ambient 1: Music for Airports (1978). Engineer, Conny Plank (yes, the producer of Kraftwerk). Composed, conceptualized, produced and engineered by Brian Eno.
Theresa Rampazzi, “Atmen Noch” (1980) from from Musica Endoscopica (2008 Die Schachtel).
Conrad Schnitzler, “Control B” from Control (1981 Dys). Edition of 1000 copies. An electronic work by Schnitzler, who played the devices, produced, and recorded the music.
Opening background music: Brian Eno and Peter Chilvers, Bloom 3.2 (10) (2014 Opal Ltd.). Bloom is a generative music application that composes ambient music. This recording was made using Bloom running in “Classic” mode on a Macbook Pro running Ventura 13.5.2.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.
 

Part 2 of The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium

 
Episode 109
Part 2 of The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium
Playlist
Oskar Sala, “Elektronische Tanzsuite (Für Mixturtrautonium Solo Und Mixturorchester (Tonband) In Fünf Sätzen)” (1955) from My Fascinating Instrument (1990 Erdenklang). 24:28
Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” (1988-89)from My Fascinating Instrument (1990 Erdenklang). Composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 21:47
Oskar Sala, “Subharmonische Mixturen III”(1995) from Subharmonic Mixtures (1997 Erdenklang). 8:57
Oskar Sala, “Nr. 2” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 3:27
Oskar Sala, “Nr. 3” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 6:45
Oskar Sala, “Nr. 4” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 2:30
Oskar Sala, “Nr. 7” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 4:28
Oskar Sala, “Nr. 9” from Elektronische Impressionen (1979 Telfunken). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 3:21
Caprice With Variations (1992-95) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 12:35
Oskar Sala, “Chaconne Electronique” (1995-96) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 7:42
Oskar Sala, “Glissando-Caprice” (1992-95) from Subharmonic Mixtures (1997 Erdenklang). Mixtur-Trautonium, producer, mixer, composer, Oskar Sala. 4:35
Oskar Sala, “The Box,” a score for a short film 2001 (2001 Red Cat Films). This Canadian film production hired Oskar Sala to contribute to the score using the Mixtur-Trautonium. Any electronic sounds that you hear were created by Sala. This may have been his last completed film work before his death at age 92 the following year. 9:05
Surf Riders, “The Birds” from Blues For The Birds / The Birds (1963 Decca). What better way to promote a movie than by issuing a 45 rpm single by a surf group from California? "Inspired by the Alfred Hitchcock Production 'The Birds' A Universal Release and featuring sound effects from the original soundtrack." 1:49
Surf Riders, “Blues For The Birds” from Blues For The Birds / The Birds (1963 Decca). "Inspired by the Alfred Hitchcock Production 'The Birds' A Universal Release and featuring sound effects from the original soundtrack." 2:38
Opening background music: Oskar Sala, “Der Würger Von Schloß Blackmoor” (1963 Soundtrack)” from Subharmonic Mixtures (1997 Erdenklang). This was a full-length feature with electronic music and sound effects by Sala. The track included here is a version containing essential electronic elements from the motion picture. The German film was a murder mystery with horror undertones, a perfect platform for Sala’s spooky sounds and incidental music. Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 12.31.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.

The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, Part 1

Episode 108
The Distinctive Electronic Music of Oskar Sala and the Mixtur-Trautonium, part 1
Playlist
Oskar Sala, “Demonstration” from My Fascinating Instrument (1990 Erdenklang). Demonstration of the Mixtur-Trautonium by Sala, providing a sampling of the many various effects that he could create in real-time without magnetic tape tricks. In addition to the audio track, here is a terrific video from 1993 showing Sala playing the newer, fully transistorized version of the Mixtur-Trautonium in his home studio. Note the dexterity needed to press the little “tongues” of the instrument and press them from side to side to enable note expression. If you were only listening, you would assume that he was playing a keyboard. This view reveals why playing the instrument was quite different than any other. There are, of course, many other videos available showing Sala and his instrument over the years. But I thought this one illustrated the performance aspects of the Mixtur-Trautonium that make it a remarkable, and unique, electronic music instrument. 7:14.
Paul Hindemith, Oskar Sala, “7 Triostücke Für 3 Trautonien (1930) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Oskar Sala of one of the very first concert pieces composed for the original Trautonium. This later performance from 1977 used the Mixtur-Trautonium and multi-tracking of Sala as he performed all three parts of this trio. In 1930, the other two players on the three Trautoniums were Paul Hindemith and Rudolph Schmidt. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 1:21.
Paul Hindemith, Oskar Sala, “Konzertstück Für Trautonium Mit Begleitung Des Streichorchesters (1931) (part 1) from Elektronische Impressionen (1980 Telefunken). Recording made in 1977 with Sala at the Mixtur-Trautonium. This recording was made in the Bavarian Radio studios with the Munich Chamber Orchestra conducted by Hans Stadlmair. 3:02.
Harald Genzmer with Oskar Sala, “Konzert Für Trautonium Und Orchester” (1938-39) (excerpt) (1942 DGG). Early performance of this work for the Concert Trautonium, performed by Sala and composed by Genzmer. Performed by the Städtisches Orchester Berlin under the direction Helmuth Thierfelder. The complete work was in the vicinity of 30 minutes long. 7:00.
Paul Hindemith, Oskar Sala, “Langsames Stück Und Rondo Für Trautonium” (1935) from Subharmonic Mixtures (1997 Erdenklang). A newer performance by Sala of this early work by Hindemith. Originally written for the Radio Trautonium, this version was performed on the Mixtur-Trautonium. This was recorded in 1985. 5:29.
Oskar Sala, Großes Tanzorchester, Frank Fux, “Bezaubernde Melodien” (1941 Telefunken). This German popular music disc features an early solo by Sala using the Concert Trautonium. You can hear its distinctive melodies, reminiscent of a flute or clarinet, but clearly different. 2:56.
Oskar Sala, “Poor Hansi” (1943). This animated short film included a singing canary, the voice of which was provided by Oskar Sala using the Concert Trautonium. The instrument also provided some miscellaneous sound effects such as the squeaking cage door. 3:04.
Fritz Kreisler, Oskar Sala, “Scherzo im Stile von Carl Ditters von Dittersdorf” (1946) from Das Konzertrautonium Wandlungen (2011 Der Trautonist). Concert Trautonium, Oskar Sala; piano, Gerhard Schael. This recent recording (not Sala) was made in 2011 using the third incarnation of the Trautonium, the Concert Trautonium (1938). 3:29.
Oskar Sala, “A Fleur D´eau ( In wechselndem Gefälle)” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:22.
Oskar Sala, “Der Fluch Der Gelben Schlange” from Elektronische Filmmusik (1963 Metronome). Music and sound effects from a film, composed, performed, produced, electronics, Mixtur-Trautonium, Oskar Sala. 6:39.
Oskar Sala, “Intro, The Birds” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). This UK collection features the electronic sounds created for the film by Oskar Sala on the Mixtur-Trautonium. Occationally, you may hear some ambient bird sounds in the soundtrack mix, but the truly eerie, intimidating bird sounds are those produced by Sala. An original “soundtrack” was never released at the time primarily because, despite the popularity of the movie, no music was orchestrated for the movie other than the eerie electronic music sounds of birds created by Oskar Sala. 1:33.
Oskar Sala, “Bird's Attack/After Explosion” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 2:01.
Oskar Sala, “The Crows Again/Annie Is Dead” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 0:35.
Oskar Sala, “The End” from Alfred Hitchcock – The Classic Soundtrack Collection (2021 Enlightenment). Electronic sounds created for the Hitchcock film The Birds by Oskar Sala on the Mixtur-Trautonium. 4:26.
Henrich Heine, Oskar Sala, excerpts from “Denk Ich An Deutschland - Eine Politische Reportage Über "Deutschland - Ein Wintermärchen" (1966 Electrola). Sala contributed music and sound effects made on the Mixtur-Trautonium for this drama production. 4:41.
Oskar Sala, “Rede Des Toten Christus Vom Weltgebäude Herab, Dass Kein Gott Sei” (1986) from My Fascinating Instrument (1990 Erdenklang). Mixtur-Trautonium, Oskar Sala; narrator, Friedrich Schönfelder; words, Jean Paul (1797). 12:52.
Opening background music: Oskar Sala, “Fantasie-Suite In Drei Sätzen Für Mixturtrautonium Solo” from My Fascinating Instrument (1990 Erdenklang). Composed, Performed on the Mixtur-Trautonium and produced by Oskar Sala. 10:38.
Timeline of the Trautonium
This timeline shows the evolution of the Trautonium and Mixtur-Trautonium, all played by Oskar Sala (1910-2002).
1929-30: Trautonium (Friedriech Trautwein). One manual.
1935: Radio-Trautonium. Two manuals, two pedals.
1938: Konzerttrautonium (Concert Trautonium, a portable model. Two manuals, two pedals.
1952: Mixturtrautonium (Mixtur-Trautonium). Two manuals, two pedals.
1988: Micro-Electronic Mixtur-Trautonium (transistorized model). Two manuals, two pedals.
Opening and closing sequences voiced by Anne Benkovitz.
Additional opening, closing, and other incidental music by Thom Holmes.
See my companion blog that I write for the Bob Moog Foundation.
For additional notes, please see my blog, Noise and Notations.