Chapter 37, Contemporary Software and Synthesis

My Book/eBook: Electronic and Experimental Music, sixth edition, Routledge 2020.

My Podcast: The Holmes Archive of Electronic Music

My blog for the Bob Moog Foundation.

Original music by Thom Holmes can be found in iTunes and on Bandcamp.

This special edition podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. This episode corresponds to a chapter in the text. It provides listening examples of vintage electronic works and composers featured in the text. 

The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings.

The episode I just uploaded corresponds to Chapter 37, Contemporary Software and Synthesis from my book, Electronic and Experimental Music. Please connect to the podcast at The Holmes Archive of Electronic Music. Enjoy!

Playlist: CONTEMPORARY SOFTWARE AND SYNTHESIS

Time	Track Time	Start
Introduction –Thom Holmes	01:32	00:00
1.     Barry Truax, “Sonic Landscapes No. 3” (1977 revision). From the album Sonic Landscapes: Electronic and Computer Music (Melbourne Records, Canada). “A spatial environment for four computer synthesized soundtracks.”	15:16	01:36
2.     Robert Hood. “Spirit Levels” (1994) from Internal Empire. Written, performed, and produced by Robert Hood.	05:06	16:50
3.     Ikue Mori, “Abacus—Blue Parrot” (1996) from Garden. Composed, performed, produced, drum Machines, effects, Ikue Mori. 10:57	10:57	21:56
4.     Ghost, “Aramaic Barbarous Dawn” (2004) from Hypnotic Underworld.	03:15	32:52
5.     Outputmessage (Bernard Farley), “REM State” (2004) from Oneiros. Written, performed, and produced by Bernard Farley.	04:33	36:08
6.     TOKiMONSTA, “Let Me Trick You” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA.	03:27	40:40
7.     TOKiMONSTA, “Line to Dot” (2010) from Cosmic Intoxication EP. Jennifer Lee is a producer from Los Angeles, California, USA.	02:50	44:06
8.     Harold Budd, “Jane 1” (2014) from Jane 1-11. Composed, performed, produced by, Harold	07:42	47:00
9.     Sophie, “Elle” (2013) from Bipp/Elle. Electronics, vocals, composed and performed by Sophie Xeon. Sophie was primarily known for electronica dance music.	03:39	54:42
10.   William Basinski & Richard Chartier, “Divertissement” excerpt (2015). Composition and computer synthesis, Richard Chartier and William Basinski.	08:36	58:20
11.   Thom Holmes, “Numbers” (2017) from Intervals. A composition using recordings of numbers stations as the primary source, combined with audio processing and software synthesis.	05:57	01:06:54
12.   Ami Dang, “Conch and Crow” (2019) from Parted Plains. Sitar, electronics, audio processing, voice, Ami Dang.	06:00	01:12:50
13.   Jeff Mills, “Canis Major Overdensity” (2020) from The Universe: Galaxy 1. Written, performed, and produced by Jeff Mills.	07:42	01:18:48
14.   Pamela Z, “Ink” (2021). Commissioned and presented by VOLTI, artistic director Robert Geary; executive producer Barbara Heroux; performed by VOLTI. Music by Pamela Z.	18:08	01:26:32
15.   Ryuichi Sakamoto, “20220214” (2022) from 12. Composed, produced, performed by Ryuichi Sakamoto. In answer to a question about how these recordings were done, Sakamoto replied: “They were all recorded in the small studio that was in my temporary abode in Tokyo. Depending on the piece, two or four mics were used to record the piano.”	09:10	01:44:38
16.   QOA (Nina Corti), “Sauco” (2022) (04:22), “Liquen” (2022) (02:50), “Yatei” (2022) (03:04), “Muitu” (2022) (03:16) from SAUCO. Side 1 of this release from this Argentinian composer-performer. “Sonic journey crafted to cultivate poetic gestures amidst Fauna, Flora, Fungi, Mineral Waters, Wind, and Earth. Each track is an exploration of sound's constant transformation, akin to dragonfly particles swimming in the air. Like waves occupying a space in the spectrum, the compositions work with the movement, condensation, and lightness of the air.”	13:33	01:53:50