Podcast appearances and mentions of Morton Subotnick

Episode 170 Chapter 29, Buchla Analog Synthesizers. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works 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. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 29, Buchla Analog Synthesizers from my book Electronic and Experimental music.   Playlist: MUSIC MADE WITH BUCHLA ANALOG SYNTHESIZERS   Time Track Time Start Introduction –Thom Holmes 01:38 00:00 1.     Morton Subotnick, “Prelude No. 4” (1966). Early work for piano and electronic tape using sounds created on the Buchla 100. Pianist, Richard Bunger, recorded in 1973 (Buchla tape from 1966). 05:15 01:40 2.     Morton Subotnick, “Silver Apples of the Moon” (Part 1) (1966). First commissioned work of electronic music from Nonesuch Records. 04:23 08:32 3.     Gerry Olds, “4/3 + 1” (1967). Jazz mixed with electronics created on the Buchla 100 at a San Francisco Tape Music Center Concert. 11:19 12:58 4.     Buffy Sainte- Marie, “Better To Find Out For Yourself” and “The Vampire” (1969). Electronic “settings,” processing of Sainte-Marie's voice and guitar done on Buchla 100 modular systems (3 units) used by Michael Czajkowski at the electronic music studio of NYU. 04:39 24:16 5.     Douglas Leedy, “Entropical Paradise” (1970). Sonic environments created by the Moog and Buchla modular synthesizers. 20:09 28:52 6.     George Marsh, “Wind Borne” (1973). Prepared Buchla 200 Synthesizer with sequencing, George Marsh. 08:28 49:06 7.     David Rosenboom and Donald Buchla, “How Much Better If Plymouth Rock Had Landed On The Pilgrims, Section V” (1978). Buchla modular synthesizers by composer Rosenboom and the inventor himself, Donald Buchla. 22:47 57:34 8.     Morton Subotnick, “The Last Dream of the Beast” (1978, 1982, 1984). Featured the Buchla 400. 14:47 01:20:20 9.     Mel Powell, “Three Synthesizer Settings” (1981). Moog and Buchla synthesizers. 08:47 01:35:06 10.   Morton Subotnick, “A Sky of Cloudless Sulphur, Opening” (1980). Buchla 200 and Subotnick's “ghost shadow electronics.” 11:15 01:43:51   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 167 Chapter 27, Computer Music (1971–2014). Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works 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. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 27, Computer Music (1971–2014) from my book Electronic and Experimental music.   Playlist: EARLY MUSIC FROM MICROPROCESSORS   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     David Behrman, “Figure in a Clearing” (1977). KIM- 1 computer- controlled harmonic changes for 33 electronic generators and accompanying cello. 19:10 01:40 2.     Dorothy Siegel, “Rondo from Sonata in B flat for Clarinet and Piano” (by Wanhal) (1979). Realized using an Altair S- 100 microcomputer. 03:53 20:52 3.     Larry Fast, “Artificial Intelligence” (1980). Music generated by a microcomputer self- composing program. 10:46 24:44 4.     Laurie Spiegel, “A Harmonic Algorithm” (1981). Created on an Apple II computer with Mountain Hardware oscillator boards. 03:05 35:30 5.     Nicolas Collins, “Little Spiders” (1982). For two microcomputers equipped with gestural sensing programs, that generated sounds based on analysis of keystrokes. 04:46 38:30 6.     Gordon Mumma, “Than Particle” (1985). For computer percussion and a percussionist. 10:16 43:30 7.     Morton Subotnick, “And the Butterflies Begin to Sing” (1988). For string quartet, bass, MIDI keyboard, and microcomputer. 06:38 53:50 8.     John Bischoff, Mark Trayle, Tim Perkis, “Dovetail” (1989). Three microcomputer programs interact and respond to each other in real time. 05:04 01:00:30 9.     Tim Perkis, “Wax Lips” (1992). Performed by The Hub, an electronic music ensemble networked by a Microcomputer. 04:37 01:05:32 10.   Jin Hi Kim, “Digital Buddha” (2014), recorded live at the Metropolitan Museum of Art.  Electric komungo, Jin Hi Kim; percussion, Gerry Hemingway; MAX/MSP programming, Alex Noyes. The world's first electric komungo that his equipped with MIDI and controlled using MAX. The komungo is a traditional 6-string instrument from Korea. 12:33 01:10:08   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 160 Chapter 21, The San Francisco Tape Music Center. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works 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. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 21, The San Francisco Tape Music Center from my book Electronic and Experimental music.   Playlist: THE SAN FRANCISCO TAPE MUSIC CENTER   Time Track Time Start Introduction –Thom Holmes 01:30 00:00 1.     Terry Riley, “Mescalin-Mix” (1960-62). Early tape collage and one of Riley's first works for tape. 14:23 01:38 2.     Terry Riley, “Concerto For Two Pianos and Five Tape Recorders” )1961).  Piano, LaMonte Young; piano and tape assemblage, Terry Riley. Recorded live. 1961 Riley-Terry_ConcertoForTwoPianos-b.wav 04:36 15:56 3.     Pauline Oliveros, “Apple Box Double” (performance 2008). This piece was composed for various configurations of apple crates that were touched and scraped with various objects while being amplified. The original dates from about 2006. This performance by Seth Cluett and Oliveros took place in 2008. 12:45 20:30 4.     Steve Reich, “Melodica” (1966). Tape piece and the last of Reich's works before moving onto instrumental composition in his minimalist style. 10:42 33:16 5.     Morton Subotnick, “Laminations” (1966). For orchestra and electronic sounds, on tape. By this point, Subotnick was working with an early model of a synthesizer built for the San Francisco Tape Music Center by Donald Buchla. This synthesizer material was also used for the opening of Silver Apples of the Moon the following year. 10:29 44:08 6.     Morton Subotnick, “Prelude No.4 for piano and electronic tape (1966). Another Subotnick work for instruments and tape with synthesized electronic sounds. 06:58 54:36 7.     Pauline Oliveros, “Alien Bog” (1967). Utilizing the original Buchla Box 100 series created for the Tape Music Center by Don Buchla and a tape delay system. 33:17 01:01:30 8.     Morton Subotnick, “Silver Apples of the Moon” (1967). Subotnick, recently departed from San Francisco and taking up shop at New York University, brought synthesizers constructed for him by Don Buchla when he was at the San Francisco Tape Music Center. This electronic composition represented a high point for the use of synthesizers at that time and was recorded on commission from Nonesuch Records. 32:01 01:35:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Episode 152 Chapter 13, Edgard Varèse and The Listener's Experiment. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works 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. There is a complete playlist for this episode on the website for the podcast. Playlist: CLASSICAL MUSIC WITH ELECTRONICS Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Edgard Varèse, “Déserts” (1954). Early combination of live orchestra with magnetic tape. 24:49 01:36 2.     Maurice Blackburn and Norman McClaren, “Blinkity Blank” (1955). Film score for five instrumentalists and sounds created by etching directly onto the soundtrack. 05:07 26:28 3.     Morton Subotnick, “Laminations” (1966). Live orchestra with electronic sounds on tape. 10:29 31:24 4.     Mario Davidovsky, “Synchronisms No. 5” (1969). For percussion quintet and electronic sounds on tape.  08:39 41:50 5.     Wendy Carlos, “A Clockwork Orange” (1971). Early analog synthesis of orchestral and choir sounds. 07:03 50:36 6.     Jacob Druckman, “Animus III” (1971). For clarinet and tape. 15:44 57:34 7.     Isao Tomita, opening four tracks from The Bermuda Triangle (1979) including themes by Prokofiev and Sibelius.  Analog electronic orchestration. 12:52 01:13:18 8.     Wendy Carlos, “Genesis” from Digital Moonscapes (1984). Completely digital orchestration. 07:10 01:25:58 9.     Robert Ashley, “Superior Seven” (1988). Live instruments with MIDI instrument accompaniment. 30:15 01:33:10 10.   William Orbit, “Adagio for Strings” (2000). Electronic realization of Samuel Barber orchestral work. 09:34 02:03:26     Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Junto a Pauline Oliveros y Ramón Sender funda en 1961el San Francisco Tape Music Center, primer estudio de la Costa Oeste dedicado a la música experimental. Cinco años más tarde, crea el primer disco electrónico jamás grabado, “Silver Apples of the Moon”._____Has escuchadoThe Other Piano. Lullaby: For Piano & Live Electronics (2007). Soojin Anjou, piano; Morton Subotnick, electrónica. Mode (2019)Silver Apples of the Moon. Part A (1967). WERGO (1994)The Wild Beasts. After the Butterfly (1978). Conjunto instrumental dirigido por Subotnick. WERGO (2015)_____Selección bibliográficaBERNSTEIN, David, The San Francisco Tape Music Center: 1960s Counterculture and the Avant-garde. University of California Press, 2008CLEMAN, Tom y Morton Subotnick, “Parallel Lines for Solo Piccolo with "Ghost Electronics" and Nine Players”. Notes, n.º 40 (1983), p. 404DAVISON, Stephen, “All My Hummingbirds Have Alibis, Multimedia CD-ROM for Macintosh by Morton Subotnick” [Reseña]. Notes, n.º 53 (1996), p. 530-533*GLUCK, Robert, “Electric Circus, Electric Ear and the Intermedia Center in Late-1960s New York”. Leonardo Music Journal, vol. 45, n.º 1 (2012), pp. 51-56*—, “Nurturing Young Composers: Morton Subotnick's Late-1960s Studio in New York City”. Computer Music Journal, vol. 36, n.º 1 (2012), pp. 65-80*HANSON, Jeffrey, Morton Subotnick's Ghost Scores: Interaction and Performance with Music Technology.  TFM, San Jose State University, 2010MACHOVER, Tod, “Interview with Morton Subotnick”. Contemporary Music Review, vol. 13, n.º 2 (1996), pp. 3-11*ROADS, Curtis, “Interview with Morton Subotnick”. Computer Music Journal, vol. 12, n.º 1 (1988), pp. 9-18*ROADS, Curtis y Morton Subotnick, “A Sky of Cloudless Sulfur/After the Butterfly”. Computer Music Journal, n.º 5 (1981), p. 81SUBOTNICK, Morton, “Extending the Stuff Music is Made of”. Music Educators Journal, n.º 55 (1968), pp. 109-110—, “The Use of the Buchla Synthesizer in Musical Composition”. Journal of The Audio Engineering Society (1970), s/n—, “The use of computer technology in an interactive or “Real time” performance environment”. Contemporary Music Review, n.º 18 (1999), pp. 113-117WHIPPLE, Harold W., “Beasts and Butterflies: Morton Subotnick's Ghost Scores”. The Musical Quarterly, vol. 69, n.º 3 (1983), pp. 425-441*YELTON, Geary, “A Conversation with Morton Subotnick: Celebrating the 50th Anniversary of Silver Apples of the Moon”. Electronic Musician, vol. 33, n.º 11 (2017), pp. 26-30 *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Welcome back to Transmissions—far out conversations for far out times. This week, we're joined by synthesist Jill Fraser. She's lived a remarkable life in music: mentored by Morton Subotnick, she went on work in film and television, with projects like 1974's sci-fi fantasy Zardoz and Paul Schrader's 1979 film Hardcore to her name, in addition to a litany of commercials featuring her inventive sound design. In the '80s, she found herself on the outskirts of LA's thriving punk scene, and now, she's released a new album, Earthly Pleasures, on the storied Drag City label. A science fiction saga in sonic form, it finds Fraser working with tools like her 1978 Serge Modular, Prism Modular and Ableton Push 3 to reconfigure, expand, and transmute revival hymns of the 19th and early 20th centuries, asking the question: what might this music sound like to some extraterrestrial or robotic intelligence countless years in the future? In this thoughtful conversation with host Jason P. Woodbury, Fraser opens up about her working relationship with composer Jack Nitzsche, her excitement about AI technology, and how the sci-fi trappings of Earthly Pleasures belie reflections about art, family, spirituality, and mortality. What did Jill think the first time she say Sean Connery's infamous Zardoz costume, close your eyes and drop into this transmission to find out. Aquarium Drunkard is supported by our subscribers. Head over and peruse our site, where you'll find nearly 20 years worth of playlists, recommendations, reviews, interviews, podcasts, essays, and more. Subscribe at Aquarium Drunkard.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts. This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/aquariumdrunkard

Today's exciting episode is part 2 of our interview with legendary electronic music pioneer Morton Subotnick. His never-ending quest for musical innovation enabled by new technological breakthroughs is undiminished - he is still performing, recording and breaking barriers at the age of 91 - he is an inspiration to all electronic music creators… For the final part of our 2-hour interview, here he is, the one, the only, Morton Subotnick. If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

What a treat we have in store for you… This monumental episode of Electronically Yours features one of the true pioneers of electronic music…Morton Subotnick is an American composer of electronic music, best known for his 1967 composition Silver Apples of the Moon, the first electronic work commissioned by a record company, Nonesuch. Morton has worked extensively with interactive electronics and multi-media, co-founding the San Francisco Tape Music Center, often collaborating with his wife Joan La Barbara.  Morton Subotnick is one of the great pioneers of electronic music and multi-media performance, and an innovator in works involving instruments and other media including interactive computer music systems. He also co-developed the incredible Buchla synthesiser. At 91, he still composes, performs and lectures about his love of electronic and interactive music. I am privileged to interview Morton, and as it was such a wide-ranging conversation, this is just part one of two episodes devoted to the maestro… Ladies and gentlemen - this is inspirational - meet Morton Subotnick. If you can, please support the Electronically Yours podcast via my Patreon: patreon.com/electronicallyours

Today's episode features the second part of an in-depth and fascinating conversation with electronic pioneer, Morton Subotnick.

This week's exceptional episode of Synthetic Dreams features the legendary American electronic musician. Morton Subotnick. In 1967 he released the seminal album ‘Silver Apples of the Moon' - a record that showcases the sound of the Buchla 100 invented by the late and very great, Don Buchla. This groundbreaking and hugely influential record was the first electronic composition composed exclusively for the album format This year sees the release of 'Subotnick - Portrait of an Electronic Music Pioneer' a brand new documentary about his career , which has already received some fantastic reviews. The film, which has yet to have a UK release date, is currently screening in the US. This interview is part one of two interviews with this great man, who at 91 years of age, is showing no signs of stopping. 

Relaxer is the project of Daniel Martin-McCormick, fka Ital, member of Black Eyes & Gaze, ex-Mi Ami, Halal & Relaxer, Sleeper Cell, Interplanetary Prophets, and more. Rooted in the US punk/noise underground of the late '90s and early 2000s, Martin-McCormick's music embodies a sensual, visceral edge that reflects and extends that legacy. His hardware live sets, honed over a decade of tours, are exhilarating, white knuckle rides, while his DJ sets fluidly cross genres and eras with a cathartic sense of play. He's been a repeat performer at Berghain (where the Relaxer project made its live debut), De School, Unsound, Nowadays and many others. On albums "Concealer" (Planet Mu), "Coconut Grove" (Avenue 66) and "Hedonic Fatigue" (Climate of Fear), his productions stretch out, weaving strands of wormhole techno, minimal, noise, UK hardcore continuum and fractured ambient into a rippling, mesmeric tapestry. Recent club-focused EPs "Licking" and "Candy" (Lovers Rock Recordings) sharpen the blade, amping up his music's animialstic snarl and erotic undertones. Following his recent composition studies with Morton Subotnick, Relaxer's music has evolved a new modality: alongside his club works there have been concerts of long form durational works featuring spoken word and richly spatialized sound design. His debut performance in this new style was a standout at Sustain-Release Year Seven. These works were released in the Summer of 2022 as "Force Field: A Guide for the Perplexed" on Club Night Club. "In Softening Air," the follow up, is out on Lovers Rock Recordings April 1st. Behind the scenes, Martin-McCormick has been a consistent force shaping the US underground. He is the co-founder of Dripping camping festival and NY-based event series. He was a key member of Sustain-Release from its inception and co-director from 2017-2021, founded the labels Lovers Rock Recordings & Climate of Fear, was one of the first residents at Bossa Nova Civic Club. He currently holds residencies at The Lot Radio and Mansions.https://relaxerelaxer.comInstagram: https://www.instagram.com/relaxerrelaxerhttps://www.dripping.fyiWe also requested Daniel to share with us some of his favorite things.Catch them all in our newsletter: https://putf.substack.com/The PUTF show is an interview series, dedicated to showcasing inspiring creatives from the PUTF community and beyond. Guests are invited to share their unique career journeys, stories, and visions.The PUTF show is produced by WAVDWGS, a video production company based in NYC.https://wavdwgs.com/Pick Up The Flow, is an online resource based in NYC striving to democratize access to opportunities. Opportunities are shared daily on this page and website, and weekly via our newsletter.Listen to this episode on audio platforms:Spotify: https://tinyurl.com/spotify-putfApple: https://tinyurl.com/putf-applepodcastWatch on:Youtube: http://tinyurl.com/putf-youtube Hosted on Acast. See acast.com/privacy for more information.

This week Robert from Waveshaper Media (I Dream of Wires) joins us to discuss his new film SUBOTNICK: PORTRAIT OF AN ELECTRONIC MUSIC PIONEER http://idreamofwires.org/ pod mod store: https://www.podularmodcast.com/store support pod mod on patreon (https://www.patreon.com/podularmodcast) thank you: 4ms: https://4mscompany.com/ patchwerks: https://patchwerks.com/ qubit electronix: https://www.qubitelectronix.com/ novation: https://novationmusic.com/en/synths/summit waveform magazine: https://waveformmagazine.com/ @4mscompany @westonaudio @rawyawmedia @buchlausa @mysticcircuits @schlappiengineering @acidraintech @bastlinstruments @setonixsynth @tidbitaudio @tiptopaudiofficial @busycircuits @doepfer_musikelektronik @mordaxsystems @expertsleepers

This episode features guest host Rodney Duplessis and the track "Throwaway Culture" from #music4billionaires - Releasing 10/27/23. @newfocusrecordings @bandcamp We talk about tension in music, Morton Subotnick, and teaching.

Morton Subotnick is an American composer of electronic music, best known for his 1967 composition Silver Apples of the Moon, the first electronic work commissioned by a record company, Nonesuch. He has worked extensively with interactive electronics and multi-media, co-founding the San Francisco Tape Music Center with Ramón Sender, and is an innovator in works involving instruments and other media, including interactive computer music systems. On the podcast, we talk about his youth growing up in Los Angeles, his co-founding of the San Francisco Tape Music Center, shifting from the clarinet to the electronic music studio to live electronic performance, and his upcoming performance of As I Live & Breathe at Other Minds 27 with video artist Lillevan. mortonsubotnick.com Follow us on Facebook, Instagram, and Twitter. otherminds.org Contact us at otherminds@otherminds.org. The Other Minds Podcast is hosted and edited by Joseph Bohigian. Intro/outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

Join Rain on LaunchLeft today as they welcome Oscar-nominated Son Lux to kick off Qasim Naqvi's launch. Tune in for an engaging conversation with Ryan, Ian, Rafiq, and Qasim Naqvi as they discuss their unique experiences and creative processes in music-making. This versatile group excels as a live band, studio recording artists, and composers, embracing various aspects of the art they cherish. As a special treat, you'll have the privilege of hearing Qasim Naqvi's captivating performance of "The Curve" at the end of the episode. -----------------  LAUNCHLEFT OFFICIAL WEBSITEhttps://www.launchleft.com  LAUNCHLEFT PATREON https://www.patreon.com/LaunchLeft  TWITTER https://twitter.com/LaunchLeft  INSTAGRAM https://www.instagram.com/launchleft/  FACEBOOK https://www.facebook.com/LaunchLeft  --------------------- LaunchLeft Podcast hosted by Rain Phoenix is an intentional space for Art and Activism where famed creatives launch new artists. LaunchLeft is an alliance of left-of-center artists, a curated ecosystem that includes a podcast, label and NFT gallery. --------------------- IN THIS EPISODE: [02:23] Ryan tells how he and Rafiq came to collaborate.  [08:25] Ian explains how they became composers for Everything, Everywhere, All At Once.  [10:26] Rafiq shares what they have been working on recently.  [12:39] Ryan comments on the reward versus the work and how the work won out.  [17:42] Qasim Naqvi reveals how he met the members of Son Lux, and they all reflect on their times together.  [25:02] Ryan talks about how their music is visual, and Qasim Naquiv discusses the modular synthesis while they land on making music with what they have.  [40:03] Listen to “The Curve” by Qasim Naqvi.    KEY TAKEAWAYS:  The difference between performing on stage and recording in a studio is night-and-day. When you find like-minded artists who appreciate each other's talents, you have a winning combination. Sometimes it’s the accident that makes the music. It’s called working with what you have.   BIOGRAPHIES::  SON LUX BIO: From the start, Son Lux has operated as something akin to a sonic test kitchen. The Academy Award® and BAFTA-nominated band strives to question deeply held assumptions about how music is made and reconstruct it from a molecular level. What began as a solo project for founder Ryan Lott expanded in 2014, thanks to a kinship with Ian Chang and Rafiq Bhatia too strong to ignore. The trio strengthened their chemistry and honed their collective intuition while creating, releasing, and touring six recordings, including Brighter Wounds (2018) and the triple album Tomorrows (2021). The result is a carefully cultivated musical language rooted in curiosity and balancing opposites that largely eschews genre and structural conventions. And yet, the band remains audibly indebted to iconoclastic artists in soul, hip-hop, and experimental improvisation who themselves carved new paths forward. Distilling these varied influences, Son Lux searches for an equilibrium of raw emotional intimacy and meticulous electronic constructions. Son Lux has most recently scored the new Daniels film for A24, Everything Everywhere All at Once (March 2022). The full score album features new collaborations with Mitski, David Byrne, Randy Newman, and Moses Sumney, among others. Based in New York, Rafiq Bhatia is the first-generation American son of Muslim immigrant parents who trace their ancestry to India through East Africa. Early influences such as Jimi Hendrix, John Coltrane, and Madlib—as well as mentors and collaborators including Vijay Iyer and Billy Hart—prompted him to see music as a way to actively shape and represent his own identity, not limited by anyone else’s prescribed perspective. When Ian Chang describes his creative process, the phrase "third culture” keeps coming up. Born in the colony of Hong Kong in 1988, Chang has lived a nomadic life. Stationed out of New York for ten years and since relocated to Dallas, Texas, he built an impressive roster of progressive pop collaborators such as Moses Sumney, Joan As Policewoman, and Matthew Dear, among others, all while performing internationally and recording as a member of Son Lux and Landlady. Ryan Lott makes his home in Los Angeles but grew up all over the United States. Music was the one constant in his formative years spent at the piano. In addition to an extensive career writing music for dance, he has become a sought-after composer for advertising, television, and film. Lott’s feature film credits include The Disappearance of Eleanor Rigby (2014), Paper Towns (2015), and Mean Dreams (2017). He has co-produced and co-written music for and with Woodkid, Sufjan Stevens, and Lorde.   BIOGRAPHY: QASIM NAQVI  Qasim Naqvi is a drummer and founding member of Dawn of Midi. Outside of his role in D.O.M., Qasim works on various projects, from electronic music to composing for orchestras, chamber groups, dance and film.  His concert music has been performed/commissioned by The BBC Concert Orchestra, Jennifer Koh, The London Contemporary Orchestra, Stargaze, Bang on a Can All-Stars, Crash Ensemble, The Now Ensemble, The Erebus Ensemble, yMusic, The Helsinki Chamber Choir, Alexander Whitley, Cikada, The Chicago Symphony Orchestra(MusicNOW Season) and others. He has been a featured composer at the Musica Nova Festival in Helsinki, the Spitalfields Festival in London, Ultima Festival, Southbank Centre and the Rest is Noise Festival in Holland.   Qasim's soundtracks for the film have appeared on HBO, NBC, PBS, Showtime, New York Times Op-Docs, VICE Media, at The Tribeca, Sundance, Toronto, Rotterdam and London Film Festivals, at dOCUMENTA 13 and 14, The Guggenheim Museum, The Tate Britain (Turner Prize 2018), MOMA P.S. 1, IDFA, Berlinale and others. He has worked with such notable filmmakers as Laura Poitras, Mariam Ghani, Marc Levin, Naeem Mohaiemen, Smriti Keshari, Prashant Bhargava and Erin Heidenreich. Acoustic trio Dawn of Midi has released two albums. Their most recent Dysnomia was acclaimed by Pitchfork, Rolling Stone, Spin, The Guardian and the New Yorker. Radiohead personally picked Dawn of Midi as their support band for two sold-out concerts at New York's Madison Square Garden for their Moon Shaped Pool tour.    Qasim earned his B.F.A in performance from the New School Jazz and Contemporary Music program and his M.F.A in composition and performance from California Institute of the Arts. He studied drums and performance with Andrew Cyrille, Joe Chambers, Reggie Workman, Buster Williams, Ralph Peterson Jr., Charlie Haden and Rashied Ali and composition with Wolfgang von Schweinitz, James Tenney, Morton Subotnick, Marc Sabat, Wadada Leo Smith, Michael Jon Fink and Anne LeBaron. He is a 2016 N.Y.F.A Fellow in Music and Sound and has received other fellowships and awards from Chamber Music America, The Foundation for Contemporary Arts, Mid-Atlantic Arts Council, Harvest Works, The Lower Manhattan Cultural Council, S.T.E.I.M. and Art OMI. Presently, Qasim lives in Brooklyn, New York and works on various projects as a freelance composer and drummer. He is represented by Erased Tapes Publishing.   RESOURCE LINKS Podcast - LaunchLeft   SON LUX LINKS: Son Lux Music - Website Son Lux - Instagram Son Lux - Twitter Son Lux - Facebook Son Lux - YouTube Son Lux - Soundcloud   QASIM NAQVI LINKS: Qasim Naqvi - Website Qasim Naqvi - Instagram Qasim Naqvi - Twitter Qasim Naqvi - Bandcamp  

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” 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.

Greetings! As promised, today's program celebrates the April birthdays and music of composers who are continuing to bring us fascinating music.  Wishing many happy returns of the day to Graham Fitkin, Mary Ellen Childs, Hildegard Westerkamp & Morton Subotnick!  Enjoy! Joel e-mail: pushingthenevelopewhus@gmail.com Twitter: https://twitter.com/envpusher1        4-29-23 PTE Playlist: April Birthdays!   Graham Fitkin (April 19) https://fitkin.com Stub - Delta Saxophone Quartet / composer: Graham Fitkin - Facing Death - FMR (2002) https://www.deltasax.com/    Veneer - Graham Fitkin - Veneer - self-release (2016) https://fitkin.com/product/veneer/    Mary Ellen Childs (April 13)  http://www.maryellenchilds.com/  Oa Poa Polka - Guy Klucevsek / composer: Mary Ellen Childs - Polka From The Fringe - Starkland (2012) https://starkland.bandcamp.com/album/guy-klucevsek-polka-from-the-fringe    After Dust (from Dream House) - Ethel / composer: Mary Ellen Childs https://cantaloupemusic.com/albums/light    Kalli / The Lake - Mary Ellen Childs - Wreck - Innova (2012) https://www.innova.mu/albums/mary-ellen-childs/wreck    Hildegard Westerkamp (April 8)  https://www.hildegardwesterkamp.ca/  Cricket Voice - Hildegard Westerkamp - Transformations - empreintes DIGITALes (2010) https://electrocd.com/en/album/2369/Hildegard_Westerkamp/Transformations   Gently Penetrating - Hildegard Westerkamp - Into India - Earsay Music (2002) https://earsaymusic.bandcamp.com/album/into-india?from=embed    MotherVoice Talk - Hildegard Westerkamp - Breaking News - Earsay Music (2022) https://earsaymusic.bandcamp.com/album/breaking-news    Morton Subotnick (April 19)  http://www.mortonsubotnick.com/  The Wild Bull (Part A) - Morton Subotnick - Silver Apples of the Moon / The Wild Bull - Wergo (1994) https://www.schott-music.com/en/silver-apples-of-the-moon-the-wild-bull-no93270.html    The Last Dream of the Beast - for soprano, two celli, electronics, and "ghost" electronics - Conductor: Stephen L. Mosko / Performers: Erika Duke, cello; Dane Little, cello; Morton Subotnick, Buchla 400 Electronic Musical Instrument and "ghost" electronics - The Art Of Joan La Barbara - Nonesuch Silver Series (1985) http://www.joanlabarbara.com/    The Key To Songs Electronics [Yamaha Tx-816 And Qx-1 Electronic Music System]  (excerpt) - Morton Subotnick - Music from Mills - Mills College (1986) http://www.mortonsubotnick.com/    Piano Piece very late 92 - Graham Fitkin - Hard Fairy - Argo (1994) https://fitkin.com       

Welcome to Spiral Out podcast! We're thrilled to have Peter Grenader, an accomplished electronic music composer and sound designer, join us today. On the show, Grenader shares insights on his latest project - a rendition of Morton Subotnick's "Sidewinder". Together with Jill Fraser, Shiro Fujioka, and Thomas Klepper, Grenader delivered a mesmerizing performance that was filmed at Tool's studio in Hollywood, CA. The performance will be available on YouTube starting April 23, 2023, in honor of Subotnick's 90th birthday. Join us as we explore the groundbreaking work of Morton Subotnick, a composer who paved the way for the electronic music revolution. Grenader shares his experience meeting and learning from Subotnick, and the creative process behind the performance. We also delve into Grenader's work on Tool's Fear Inoculum album, for which he received a gold record. PHOTO BLOG FOR THE EPISODE :  https://spiraloutpod.blogspot.com/2023/04/welcome-to-spiral-out-podcast-were.html MORTON SUBOTNICK - SIDEWINDER LIVE AT TOOLS STUDIO  https://www.youtube.com/watch?v=LXWj5bV6U1Q   original Sidewinder (complete album): https://www.youtube.com/watch?v=bvok7DIEAEc BAND CAMP: https://povmusic2.bandcamp.com/album/subotnick-sidewinder-live Peter Grenader youtube channel (plenty of Tool/synth content) https://www.youtube.com/@PeterGrenader/videos Synthopia article on this project: https://www.synthtopia.com/content/2023/03/29/coming-soon-a-live-performance-video-of-morton-subotnicks-pioneering-modular-synthesizer-work-sidewinder/   Peter Grenader/Jill Fraser musical site: https://www.zzyzxsociety.com/

Super-inspired electronic music pioneer Morton Subotnick joined us during our DUBLAB DECADE PROTON DRIVE a couple of months ago. He gladly allowed us to pick his brain for some wisdom and inspiration, and shared some awesome stories of the old school Avant Garde. Dig this session and uncover some of the deepest roots of electronic music today. Find lots more Morton Subotnick at mortonsubotnick.com --- Support this podcast: https://podcasters.spotify.com/pod/show/dublab-inconversation/support

Ebonie Smith is an award-winning music producer, audio engineer, and singer-songwriter based in New York City and Memphis, TN. Ebonie is also the founder and president of Gender Amplified, Inc., an organization that celebrates and supports women and girls in music production and audio engineering. Ebonie received her first Grammy Certificate and RIAA-certified platinum plaque for work as an assistant engineer on Hamilton (Original Broadway Cast Recording). She received her second Grammy Certificate for work as an assistant engineer on Sturgill Simpson's award-winning album A Sailor's Guide to Earth. She also engineered the Grammy-nominated album Dirty Computer by Janelle Monáe and the Grammy-winning album Invasion to Privacy by Cardi B. She currently works as an in-house engineer and producer for Atlantic Records. She is also an elected governor of the New York Chapter of The Recording Academy and is a current member of the Producers & Engineers Wing.Ebonie holds a master's degree in Music Technology from New York University and a bachelor's degree in Africana Studies from Barnard College, Columbia University. While in college, Ebonie received training at Columbia University's Computer Music Center and studied abroad in the West African nation of Cameroon. During her 5-month stay there, she performed with bands, worked in studios, and produced local artists.Ebonie has recorded, engineered and/or produced for: Charlie Puth, Ms. Lauryn Hill, The Roots,Janelle Monáe, Jimmy Fallon, Zoe Kravitz, Lin-Manuel Miranda, Kodak Black, D.R.A.M., Adia Victoria, Ben Platt, Kat Deluna, Morton Subotnick, Sabrina Claudio, Clean Bandit, Anne-Marie, MNEK, T-Minus, Scott Harris, Niia, Jaymes Young, Yemi Alade, Sarah Close, SWMRS, Sturgill Simpson, Santigold, Marina and the Diamonds, the Grammy Award-winning Hamilton Original Broadway Cast Recording, Firekid, Toyboy & Robin, Kaleo, Kamau, Phony Ppl, Joell Ortiz, Black Thought, Dave Cobb, Wale, Tigertown, Christina Perri, Dana Parish, Corey Chorus, Madison Love, Ingrid Michaelson, Sean C and LV, Jon Batiste, Rhiannon Giddens, Out Came The Wolves, FinishTicket, James TW, The Front Bottoms, Panic! At The Disco, Louis Cato, Shooter Jennings, Brent Cobb, Ledinsky, Icona Pop, Chris Miles, The Moth and the Flame, Melanie Martinez, Birdy,Francesco Yates, King 810, Chef'Special, Brett Dennen, Cash Cash, Max Frost, Halestorm, Katy Tiz, Christine & The Queens, Theory of a Deadman, Anderson East, Jasmine Thompson, Action Bronson, Straight No Chaser, Jake Troth, Jacquie Lee, Amadeus, A R I Z O N A, !llmind and many more!Thank you to www.OKIMREADY.org for the opportunity to raise awareness about substance abuse in Oklahoma before the holidays.

Joan speaks about her journey into singing, new music and composing. She worked with fellow musicians John Cage Morton Feldman, Robert Ashley, Alvin Lucier, David Behrman, Steve Reich, Philip Glass and her husband, Morton Subotnick and talks about her experiences developing pieces with these composers who wrote for her unique abilities, concepts and specialized techniques. She talks about composing, writing and specific aspects of the human voice and how she found her own means of expressing her inner thoughts and ideas.

The Buchla synthesizer experienced a cultural reemergence through new records from composers Kaitlyn Aurelia Smith and Suzanne Ciani, but for Pittsburgh, the Buchla first arrived in 1969 when composer Morton Subotnick founded the University of Pittsburgh's Electronic Music Studio. This episode charts the studio's history from analog to digital. We hear stories about complications with CBS Musical Instruments, a lost George Romero film, and computers that could play synthesizers. This is the story of the University of Pittsburgh's Electronic Music Studio.

Love is the Message series 4 continues apace. In this episode Jeremy and TIm continue to examine the dynamic environment of New York City around the 1975 Fiscal Crisis, contrasting pessimistic and optimistic accounts of the time: was the Big Apple a depressed town cut off from the rest of the country, or a city enjoying its own cultural renaissance? Or both? We hear about the early emergence of Neoliberalism, the cybernetic revolution, and the affect and aesthetics of Heroin. Tim and Jeremy introduce some early electronic music outfits, spend time on the singular sound of Suicide, discuss artistic representations of alienation, and introduce us to the downtown 'Loft Jazz' scene. Plus, Richard Hell and Morton Subotnick. Produced and edited by Matt Huxley. Tune in, Turn on, Get Down! Become a patron from £3pcm by visiting www.patreon.com/LoveMessagePod And check out our new website: https://www.loveisthemessagepod.co.uk/ Tracklist: Harold Melvin & The Blue Notes - Bad Luck ft. Teddy Pendergrass The Main Ingredient - Happiness is Just Around the Bend Morton Subotnick - Silver Apples of the Moon Suicide - Dream Baby Dream Suicide - Rocket USA Suicide - Keep Your Dreams Richard Hell & The Voidoids - Blank Generation Kalaparusha - Jays Books: Jane Jacobs - The Death and Life of a Great American City Michael C. Heller - Loft Jazz: Improvising New York in the 1970s

Alec & Nick delve into the lore and mechanics of the video game Elden Ring, drawing a layered comparison between “The Tarnished” and our plight as musicians, cultural participants, and social media users. The discussion takes Nick's recently pseudo-viral tweet proclaiming that “a truly new insane and unforeseen music can and has yet to be made” as a point of departure to discuss anti-communication, Jeff Witscher & Jack Callahan's recent performance of “Futility 2022” at Union Pool, Morton Subotnick, Godrick The Grafted, decadence, and the dismembered dynamics of media.

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSS A slow afternoon in the Interzone… We talked about A LOT of music on this episode…all of it is worth further investigation, but if you just need a place to start, here's a playlist.Ornette Coleman talks about sound as language.The Other's Language: Jacques Derrida interviews Ornette Coleman, 23 June 1997. In this fascinating conversation, Ornette Coleman asked Jacques Derrida “Do you ever ask yourself if the language that you speak now interferes with your actual thoughts? Can a language of origin influence your thoughts?”Just by the way, does Derrida here explain why the French can't do jazz?Revisiting the Master Musicians, a very interesting article on the blog On An Overgrown Path.Ornette Coleman and the Circle With a Hole in the Middle, by Robert Palmer, in The Atlantic 1972.Tom mentioned this 2xLP recorded in 1971 in the ep, finally got a copy and made a digital transfer available here…Beginnings…Howard Shore gets his first break…The first stirrings of Free Jazz?Does this explain anything?Brion Gysin's Dream Machine with the Master Musicians of JajoukaInterestingly, just as we were about to drop the episode, this happened...Brion Gysin doing scary Be-Bop with Steve Lacy. Everything is connected.In 2010 Ornette was a surprise guest at Sonny Rollins 80th birthday party concert in Now York, heard here in a 20-minute long workout of Rollin's Sonnymoon For Two.Ornette jams with The Greatful Dead in 1993 (The Internet Archive)…How this all started…This sparked off a search for alternatives..This is Buchla 200e synthesizer…Morton Subotnick made Silver Apples of the Moon in 1967 using the older Buchla 100 instrument. Sam Shepard made Promises in 2021 using Pharoah Sanders, the strings of the London Symphony Orchestra, a Piano, a Harpsichord, a Celesta, a Fender Rhodes, a Hammond B3, an Oberheim 4 voice, an Oberheim OB-Xa, a Solina String Ensemble, a Therevox ET-4.3, an EMS Synthi, an ARP 2600, and a Buchla 200e, ffs.This was one…Frank Zappa reads the man who taught his a*****e to talk, the very same that Bill Lee recites in the movie.Just for the Hell of it (!) here's Burroughs narrating a Swedish Movie with a great Jazz Soundtrack about witchcraft.The fascination for a particular author's typewriter is explored futher in this extremely imaginative and well crafted Hörspiel from the WDR...and here's a typewriter that could have kicked the s**t out of all the othersTom's specific Naked Lunch special interestSubscribe to Gas GiantsRSS https://api.substack.com/feed/podcast/311033.rss22 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

Creating Connection & Belonging with Menon Dwarka Cultural worker and consultant Menon Dwarka joins us on today's episode.  Menon is a composer and writer, and is the Senior Vice President of the Arts Consulting Group. He shares a story about his life-changing encounter with an icon of contemporary classical music when he was a teenager. This conversation awoke in him the awareness of how powerfully supportive it is to fully see another person, and a desire to create spaces to hold the feeling of belongingness.  Join us as we talk about:- Menon's background [00:55]- The cultural work he is doing [2:46]- How the inventive problem solving he became good at in his music career helps in the cultural work [6:51]- His story of a life-changing encounter with an icon of contemporary classical music [11:06]- The importance of narratives that frame our lives, supporting connection and making of beautiful things through the cultivation of belongingness [20:12]- How encouraging adaptability and nimbleness in the organization can support cultural institutions in these challenging times [23:51]-Ways to connect with Menon [27:34]Guest Bio:  Menon Dwarka has held executive director, artistic director, and community arts leadership positions in Canada and the United States over the last 25 years. Whether implementing project management programs and digital town halls at Soundstreams, winning Digital Strategies Fund grants from the Canada Council for the Arts for Arts Etobicoke, or introducing electronic music programs with Morton Subotnick at the 92nd Street Y, Harlem School of the Arts, and Greenwich House Music School, Mr. Dwarka's innovative approach to the arts has always resulted in increased audience engagement and community development with focus on equity, diversity, inclusion, and access. His expertise resides in leveraging technology in service of creating more diverse programming and administrative spaces.Connect with MenonEmailArts Consulting Group: https://artsconsulting.com/the-team/menon-dwarka-senior-vice-president/LinkedIn: https://www.linkedin.com/in/menondwarka/Facebook: https://www.facebook.com/menon.dwarkaTwitter: https://twitter.com/menondwarkaConnect with Story and Horsewww.storyandhorse.comFacebook: @storyandhorseInstagram: @storyandhorse Support the show (https://www.buymeacoffee.com/storyandhorse)

On episode 228 of The Quarantine Tapes, Paul Holdengräber is joined by Suzanne Ciani. Suzanne is an incredible pioneer in electronic music. She speaks with Paul about her long history with her instrument, the Buchla, and how her relationship with machines has developed over the course of her career.Suzanne talks to Paul about her relationship with Don Buchla, the inventor of the Buchla synthesizer. She recounts how she came up in music and advertising, telling stories from creating her iconic Coca-Cola pop-and-pour sound and giving Philip Glass Buchla lessons. They discuss Morton Subotnick, the advantages of analog over digital, and the excitement Suzanne draws from the new generation of electronic musicians on a unique and fascinating episode.Suzanne Ciani and Morton Subotnick: https://daily.redbullmusicacademy.com/2016/06/encounters-suzanne-ciani-morton-subotnickCoca-Cola pop-and-pour sound:  https://youtu.be/_5OXU-dAB2MSuzanne is a five-time Grammy award-nominated composer, electronic music pioneer, and neo-classical recording artist who has released over 20 solo albums including "Seven Waves," and "The Velocity of Love," along with a landmark quad LP “LIVE Quadraphonic,” which restarted her Buchla modular performances. Her work has been featured in films, games, and countless commercials as well.She was inducted into the first class of Keyboard Magazine's Hall of Fame alongside other synth luminaries, including Bob Moog, Don Buchla and Dave Smith and received the Moog Innovation Award. Most recently, she is the recipient of the Independent Icon Award from A2IM.Suzanne has provided the voice and sounds for Bally's groundbreaking "Xenon" pinball machine, created Coca-Cola's pop-and-pour sound, designed logos for Fortune 500 companies, and carved out a niche as one of the most creatively successful female composers in the world. A Life in Waves, a documentary about Ciani's life and work, debuted at SXSW in 2017 and is available to watch on all digital platforms.Ciani is a graduate of Wellesley College and holds a Masters in Music Composition from the University of California, Berkeley.You can find Suzanne Ciani's website at https://www.sevwave.com. Paul Holdengräber is an interviewer and curator of public curiosity. He is the Founder and Director of Onassis LA (OLA), a center for dialogue. Previously he was the Founder and Director of LIVE from the NYPL, a cultural series at the New York Public Library, where he hosted over 600 events, holding conversations with everyone from Patti Smith to Zadie Smith, Ricky Jay to Jay-Z, Errol Morris to Jan Morris, Wes Anderson to Helen Mirren, Christopher Hitchens to Mike Tyson. He is the host of "A Phone Call From Paul," a podcast for The Literary Hub.Music: Morning Spring by Suzanne Ciani.

Today's guest deejays are PCM, who are Francesco Perra (P), Matteo Cantaluppi (C), Matteo Milea (M). n5MD founder Mike Cadoo put me in touch with PCM when I asked him after guest deejayed on Soundwave who he thought would want to share a mix on the show. PCM has crafted a mix that I adore. There's so much to love. One of the things I find exciting about Soundwave is that our guest deejays introduce me to music and artists I'm unfamiliar with. On the other hand, some musicians that I've been surprised have made an appearance on Soundwave nearly two years into the show. PCM remedy that with today's mix. I'm talking about talent like Fennesz, Rafael Anton Irisarri, Coil (I'm surprised Coil aren't on every show), and Morton Subotnick. PCM themselves make an appearance at the end of today's show. You'll want to hear more of their music. You can listen to their latest album, Macro, which came out earlier this year. Macro is equal parts expansive and constrained, and the magic happens between those two extremes. Join us next week when our guest deejay will be Wife Signs. See you then. --- Send in a voice message: https://anchor.fm/soundwavemix/message

Ebonie Smith is an award-winning music producer, audio engineer and singer-songwriter based in New York City. Ebonie is also the founder and president of Gender Amplified, Inc., an organization that celebrates and supports women and girls in music production and audio engineering. Ebonie received her first Grammy Certificate and RIAA-certified platinum plaque for work as an assistant engineer on Hamilton (Original Broadway Cast Recording). She received her second Grammy Certificate for work as an assistant engineer on Sturgill Simpson's award-winning album A Sailor's Guide to Earth. She also engineered on the Grammy-nominated album Dirty Computer by Janelle Monáe and the Grammy-winning album Invasion to Privacy by Cardi B. In 2017, Ebonie was nominated for a Pensado Award in the category of "Best Break Thru Mixing Engineer." She currently works as an engineer, producer and studio coordinator for Atlantic Records. She is also an elected governor of the New York Chapter of The Recording Academy and member of the Producers & Engineers Wing.  Ebonie holds a master's degree in Music Technology from New York University and a bachelor's degree in Africana Studies from Barnard College, Columbia University. While in college, Ebonie received training at Columbia University's Computer Music Center and studied abroad in the West African nation of Cameroon. During her 5-month stay there, she performed with bands, worked in studios and produced local artists. Ebonie has recorded, engineered and/or produced for: Charlie Puth, Ms. Lauryn Hill, The Roots, Janelle Monáe, Jimmy Fallon, Zoe Kravitz, Lin-Manuel Miranda, Kodak Black, D.R.A.M., Adia Victoria, Ben Platt, Kat Deluna, Morton Subotnick, Sabrina Claudio, Clean Bandit, Anne-Marie, MNEK, T-Minus, Scott Harris, Niia, Jaymes Young, Yemi Alade, Sarah Close, SWMRS, Sturgill Simpson, Santigold, Marina and the Diamonds, the Grammy Award-winning Hamilton Original Broadway Cast Recording, Firekid, Toyboy & Robin, Kaleo, Kamau, Phony Ppl, Joell Ortiz, Black Thought, Dave Cobb, Wale, Tigertown, Christina Perri, Dana Parish, Corey Chorus, Madison Love, Ingrid Michaelson, Sean C and LV, Jon Batiste, Rhiannon Giddens, Out Came The Wolves, Finish Ticket, James TW, The Front Bottoms, Panic! At The Disco, Louis Cato, Shooter Jennings, Brent Cobb, Ledinsky, Icona Pop, Chris Miles, The Moth and the Flame, Melanie Martinez, Birdy, Francesco Yates, King 810, Chef'Special, Brett Dennen, Cash Cash, Max Frost, Halestorm, Katy Tiz, Christine & The Queens, Theory of a Deadman, Anderson East, Jasmine Thompson, Action Bronson, Straight No Chaser, Jake Troth, Jacquie Lee, Amadeus, A R I Z O N A, !llmind and many more!

En este capítulo de Nueva Onda hablamos de Morton Subotnick, Don Buchla, Bernie Worrell, Isao Tomita, Louis Barron. Así como de los 10 años del Op-1. El parche de la semana es acerca de la técnica de Ratcheting.

SPOKEN WORD WITH ELECTRONICS #46: The BRUCE HAACK SONGBOOK! (And the 2021 TX Power Failure) Hi, everyone, welcome back to SWWE. We're just now getting through an entirely wild week of weather and bureaucratic power grid failure here in Texas. Texas has been on its own power grid since 1935, or approximately since power grids existed in the United States. This isolationism on Texas' part meant that if we, say, refused to weather-proof our electrical grid (not needed if you aren't regulated!) then, perhaps, close to 4 million people would be without power during the coldest week of weather in decades. And, it's not like TX politicians care about dead bodies, but it would also add to Greg Abbott's death count for 2021, with some very tragic stories. So the first two tracks (introduction and discussion) this week discuss how my wife and I got through a week of blackout, with single digit temperatures outside, no heat – and then, no water. Pretty wild experience! Once water became scarce, people started gathering snow and other fluids (of unusual color) to fill their toilets. Fortunately, we had a filled bathtub, thanks to my wife's good thoughtful preparation. But the week was purgatorial in a way I haven't experienced in a long time. Somehow a power failure is time stopping, even though it's mostly just camping inside your house. But we couldn't do anything and just had to sleep through the cold of it. Wild event. But if you're jumping to this post based on the BRUCE HAACK headline, chances are you're much more interested in the main item: I have a copy of The Bruce Haack Songbook. This was self-published by Bruce Haack in 1975 and if you enjoy electronic music and the pioneers of its artform, Bruce Haack ranks pretty high up there on the list. There's Wendy Carlos, Raymond Scott, Clara Rockmore, Morton Subotnick, and a few others – but for me, Bruce Haack is high genius on a level above them. He started by making children's records in the 1960s and built his own synthesizers to perform the music, including a vocoder. All of his work is amazing. I can recommend this film as a perfect primer if you've never been properly introduced to his work, and I'd just start with the first album, Dance Sing and Listen (1963) and follow the discography in order from there. You'll find so many interesting musical ideas throughout, and weird harmonic experiments, including duets Haack often sings with himself, one voice singing and the other vocoding. I consider him similar to the Velvet Underground in breaking apart Electronic Music into less academically rigid and more wildly awesome performance. And there are fewer examples of this wonderful mind of Haack's more displayed than in the SONGBOOK, itself. This is a 60 page book, saddle stitched and large format, that Haack decorated himself with art and illustration, and even contains lyrics! Most of the tracks are uploaded to Youtube, presently, which you can find links to in the Boing Boing post for this week's show, along with a full song contents list. SO, in terms of scans of this book, I feel like images should be made available. The current scalping on a copy of THE BRUCE HAACK SONGBOOK goes for, roughly $350-$1,000 dollars. So I will be uploading as many images of the book as possible onto http://www.ep.tc/bruce-haack-songbook (check back later if it has no content presently) – I've had my own copy for 20 years and the spirit of sharing that this show hopes to be, I'll be uploading scans later tonight. We end this with the sad mention that Esther Nelson passed away in October of last year. I just heard about this and as a young listener TREASURED her voice, her dance, her laughter, and her kindness – which is on all of the albums she shared with Haack, himself: https://twitter.com/BruceHaack/status/1320865864875347968 We all loved you, Miss Nelson. Enjoy this week's show, all - Thanks Ethan

SPOKEN WORD WITH ELECTRONICS #46: The BRUCE HAACK SONGBOOK! (And the 2021 TX Power Failure) Hi, everyone, welcome back to SWWE. We're just now getting through an entirely wild week of weather and bureaucratic power grid failure here in Texas. Texas has been on its own power grid since 1935, or approximately since power grids existed in the United States. This isolationism on Texas' part meant that if we, say, refused to weather-proof our electrical grid (not needed if you aren't regulated!) then, perhaps, close to 4 million people would be without power during the coldest week of weather in decades. And, it's not like TX politicians care about dead bodies, but it would also add to Greg Abbott's death count for 2021, with some very tragic stories. So the first two tracks (introduction and discussion) this week discuss how my wife and I got through a week of blackout, with single digit temperatures outside, no heat – and then, no water. Pretty wild experience! Once water became scarce, people started gathering snow and other fluids (of unusual color) to fill their toilets. Fortunately, we had a filled bathtub, thanks to my wife's good thoughtful preparation. But the week was purgatorial in a way I haven't experienced in a long time. Somehow a power failure is time stopping, even though it's mostly just camping inside your house. But we couldn't do anything and just had to sleep through the cold of it. Wild event. But if you're jumping to this post based on the BRUCE HAACK headline, chances are you're much more interested in the main item: I have a copy of The Bruce Haack Songbook. This was self-published by Bruce Haack in 1975 and if you enjoy electronic music and the pioneers of its artform, Bruce Haack ranks pretty high up there on the list. There's Wendy Carlos, Raymond Scott, Clara Rockmore, Morton Subotnick, and a few others – but for me, Bruce Haack is high genius on a level above them. He started by making children's records in the 1960s and built his own synthesizers to perform the music, including a vocoder. All of his work is amazing. I can recommend this film as a perfect primer if you've never been properly introduced to his work, and I'd just start with the first album, Dance Sing and Listen (1963) and follow the discography in order from there. You'll find so many interesting musical ideas throughout, and weird harmonic experiments, including duets Haack often sings with himself, one voice singing and the other vocoding. I consider him similar to the Velvet Underground in breaking apart Electronic Music into less academically rigid and more wildly awesome performance. And there are fewer examples of this wonderful mind of Haack's more displayed than in the SONGBOOK, itself. This is a 60 page book, saddle stitched and large format, that Haack decorated himself with art and illustration, and even contains lyrics! Most of the tracks are uploaded to Youtube, presently, which you can find links to in the Boing Boing post for this week's show, along with a full song contents list. SO, in terms of scans of this book, I feel like images should be made available. The current scalping on a copy of THE BRUCE HAACK SONGBOOK goes for, roughly $350-$1,000 dollars. So I will be uploading as many images of the book as possible onto http://www.ep.tc/bruce-haack-songbook (check back later if it has no content presently) – I've had my own copy for 20 years and the spirit of sharing that this show hopes to be, I'll be uploading scans later tonight. We end this with the sad mention that Esther Nelson passed away in October of last year. I just heard about this and as a young listener TREASURED her voice, her dance, her laughter, and her kindness – which is on all of the albums she shared with Haack, himself: https://twitter.com/BruceHaack/status/1320865864875347968 We all loved you, Miss Nelson. Enjoy this week's show, all - Thanks Ethan

Support the show on Patreon: https://www.patreon.com/mrbillstunes Beardyman: King of Sound, Ruler of Beats. Beatboxer, Live Looper, Technologist, Biggest chin in hip-hop, worst teeth in techno. This episode is brought to you by Perfect Circuit. Perfect Circuit is an independent music shop fascinated with all things in the world of electronic music. With a diverse range of musicians at our helm, we are every bit as excited about Aphex Twin as we are about Morton Subotnick, every bit as stoked about the newest Eurorack module as we are about the newest Moog Synthesizer. Online at https://www.perfectcircuit.com. Beardyman Links: https://www.beardyman.co.uk/ Mr. Bill’s Links: https://live.mrbillstunes.com/ https://discord.gg/ySjhgWQ https://mrbill.bandcamp.com/ https://www.youtube.com/user/MrBillsTunes Podcast Production Inquiries: fumodenver@gmail.com

Of Feather and Bone put out one of the best records of 2020 with Sulfuric Disintegration, so I was really excited to speak with drummer Preston Weippert. Like Rats played with Of Feather and Bone in Baltimore a few years back, and I was very impressed with them. Since then, they’ve released two albums and dropped any pretense of being anything other than a death metal band. Fascinatingly, they compose most of their music through improvisation and jamming, which is not typical for most death metal bands. Of course, I wanted to get into the weeds with Preston and really understand their creative process, and how they hold their output to such a high standard while creating music through improvisation. Hint: they’re willing to scrap an entire album’s worth of material if they think it isn’t up to snuff. Learn more from Preston here: Bandcamp: Of Feather and Bone | Volunteer Coroner | Trust Collective Instagram: @v_coroner | @offeatherandbone If you're enjoying the show, the best way to support it is by sharing with your friends. If you don't have any friends, why not a leave a review? It makes a difference in terms of other people finding the show. You can also subscribe to receive my e-mail newsletter at www.toddnief.com. Most of my writing never makes it to the blog, so get on that list. Show Notes: [01:54] Is it cheating to do a two foot blast? [04:30] Of Feather and Bone writes their songs by jamming together—which is somewhat unusual for a death metal band. How much is pure improvisation? [12:29] Of Feather and Bone’s most recent record “Sulfuric Disintegration” is a rewrite of an entire album that was scrapped. [19:37] Many bands start strong and get worse over time, but Of Feather and Bone has had the opposite trajectory. And, the interplay between hardcore, death metal, and other extreme genres. [29:10] More on improvisational composition and developing the skill of improvising. [39:28] Denver has an excellent scene for extreme music. Where did this come from? How are bands handling Covid? [48:28] Preston’s electronic project Volunteer Coroner—and learning to appreciate ambient and noise music [01:00:49] Learn more from Of Feather and Bone, Volunteer Coroner, and Trust Collective Links and Resources Mentioned: Morbid Angel Immolation Incantation Celtic Frost A389 Anniversary Bash His Hero Is Gone Tragedy Urko Battalion of Saints Discharge Dead Congregation Drum Cam Funeral doom Primitive Man Ethan Lee McCarthy (Primitive Man | Many Blessings) Interview Spectral Voice Suffering Hour Profound Lore Records Blood Incantation Casket Huffer Vermin Womb Mayhem “Silvester Anfang” I said that the Mayhem intro was composed by Morton Subotnick but it was actually Conrad Schnitzler Skin Crime Dada Posh Isolation Vanity Productions Total Black Prurient Outsider Art

Hilary talks with Sara Landeau (The Julie Ruin) about pedalboards as art, the gendering of technology, breaking things to learn, and etudes for dive-bombing. Plus, gear and class privilege. Huge thanks to this episode's sponsors!  https://www.earthquakerdevices.com/ (EarthQuaker Devices)- extra special effects pedals made by hand in Akron, OH! https://skylarbatz.wordpress.com/ (Studio 121)- recording, production, beats and more in Providence, RI! SARA'S BIO Sara Landeau is a guitarist, multi-instrumentalist, educator, producer, composer, and artist based in NYC. In 2004, she started Brooklyn Music School for Women and Girls which offers music lessons in electric guitar, bass, rock drums, and electronics. She is a proponent of equality for women and believes in the ideology of self-improvement and empowerment through education. She is a founding member, co-songwriter, and lead guitarist of The Julie Ruin with Kathleen Hanna (Bikini Kill/Le Tigre) and has released acclaimed albums on Hardly Art Records (SubPop), achieved top 10 chart hits, radio and television appearances, a number 1 on CMJ charts, and music in films and commercials.  She has performed on Late Night with Jimmy Fallon, The Seth Meyers Show, and Carson Daly Show and reviews and interviews include New York Times, NPR, Rolling Stone, Spin, New York Magazine, Paper Magazine, Billboard, Los Angeles Times, Timeout, Esquire, Big Takeover, NME, Pitchfork, Fader, Consequence of Sound, Flaunt, Bust, and more. College Music Journal (CMJ)  listed song “I Decide” #1 in 2017. Rolling Stone listed album ‘Run Fast” 2015 as #3 in their top ten albums of the year. The recipient of 2019 Max Matthews Sound Artist Artist award from Brooklyn College, the 2019 Cycling 74 Max Expo Grant, Women in Computer Music Scholarship Stanford, 2019, and an award-winning educator with the Girls Rock Camp Alliance, she has also performed as a solo electro-acoustic composer and guitarist. Her performances often include custom instruments and sonic sculptures utilizing electro-conductive materials such as paint and threads with sounds and compositions created in Max MSP. She has studied with Morton Subotnick, Marina Rosenfeld, and David Grubbs while receiving an MFA in Sonic Arts at Brooklyn College. MENTIONS John Cage / Lee Ranaldo / The Trash Women / The 5. 6. 7. 8's / Jack White / Nick Cave / The Birthday Party / Rowland Howard / Kenny Mellman / Kathleen Hanna / Clara Shuman / Tara Rodgers / Delia Derbyshire / Suzanne Ciani / Mary Ford / Pink Noises / Max MSP / Fender / Gretsch / Ludwig / Silvertone / Gibson / Reuss / Digitech / She Shreds / Tom Tom / Fanny's / Guitar Center / Sam Ash / Moog / Buchla / Sisters with Transistors SARA'S LINKS https://www.instagram.com/saralandeau (Sara's Instagram) https://saralandeau.com/ (Sara's Website) http://www.thejulieruin.com/ (The Julie Ruin Website) https://www.instagram.com/thejulieruin (The Julie Ruin Instagram) MID-RIFF LINKS http://hilarybjones.com/midriffpodcast (Website) http://instagram.com/midriffpodcast (Instagram) http://facebook.com/midriffpodcast (Facebook) https://hilarybjones.us20.list-manage.com/subscribe?u=43bb95b305fb0c7d53fbc8d3a&id=146b44f072 (Newsletter) https://www.hilarybjones.com/blog (Blog) Thanks for rating/reviewing on https://podcasts.apple.com/us/podcast/mid-riff/id1494997227 (Apple Podcasts)! CREDITS Sara's Bumper Track: “https://thejulieruin.bandcamp.com/track/i-decide (I Decide)” by The Julie Ruin Theme Music: "Hedonism" by https://towanda.bandcamp.com/ (Towanda) Artwork by https://www.juliagualtieri.com/ (Julia Gualtieri)

On episode 134 of The Quarantine Tapes, Paul Holdengräber is joined by composer Morton Subotnick. Morton is a pioneering composer in electronic music. Morton and Paul discuss the changes in music since the 1950s and when Morton realized that he was living through a pivotal moment in the history of music.Morton worked on the development of early electronic instruments. He talks about how technology has changed the process of making and listening to music. Then, Paul and Morton touch on Mozart, Stan Brakhage, and the challenge of trying to make “new new” music instead of just “new old” music. Morton Subotnick is one of the pioneers in the development of electronic music and multi-media performance and an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. His work Silver Apples of the Moon has become a modern classic and was recently entered into the National Registry of Recorded works at the Library of Congress. Only 300 recordings throughout the entire history of recordings have been chosen.Subotnick is also doing pioneering work to offer musical creative tools to young children. He has authored a series of six CD ROMS for children, a children's website, and developing a program for classroom and after school programs that will soon become available internationally. He tours extensively throughout the U.S. and Europe as a lecturer, composer, and performer. 

Episode 11 Vintage Drones and Beats Playlist Alan Sondheim, Day's Eye, from the album All 7-70* ‎– T'Other Little Tune (1968). For dilruba, trumpet, tabla, and Moog Modular Synthesizer. Eliane Radigue, Chry-ptus I (1971), excerpt, from the album Chry-ptus. Realized on the Buchla Synthesizer at Morton Subotnick's studio at New York University. Originally two tapes that were played simultaneously, with or without being synchronized. La Monte Young and Marian Zazeela. 31 VII 69 10:26 - 10:49 PM for sine wave drone, voice, and bowed gongs. From “the black album,” 1969. Numbered edition limited to 2800 copies, of which mine is number 661. Maggi Payne, White Night, from the album Crystal (1986). Eliane Radigue, Σ = a = b = a + b (1969), two 7” discs, we heard side a-4. Composed while she was living in Paris, just before coming to New York. “Sides A and B can be listened to separately or simultaneously, synchronously or asynchronously. Sides A and B of this disc can be combined indefinitely at any speed 78, 45, 33 or 16 turns.” 250 duplicates of this disc were made. I do not own this disc. Annette Peacock and Paul Bley, Dual Unity. From the album Dual Unity, 1972. For piano and vocal treatments with the Moog Synthesizer. Luc Ferrari, Cellule 75 (1975), excerpt, for piano, percussion and magnetic tape. Composed May - November 1975. Performed at Mills College. Recorded and Mixed by Maggi Payne. The Archive Mix in which I play two additional tracks at the same time, to see what happens. This time, however, I am playing three tracks. Two are different portions of Eliane Radigue's Vice Versa Etc., mix 1 from 1970. The third track is the ending of Cellule 75 by Luc Ferrari. Eliane Radigue, excerpt, Vice Versa Etc. Mix 1 (1970), from the opening of the mix. Eliane Radigue, excerpt, Vice Versa Etc. Mix 1 (1970), from the closing of the mix. Luc Ferrari, excerpt, Cellule 75 (1975), from the end of the piece. Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (2020).  

This week we go back to an old Caesura classic: Album Dares, where we “dare” each other to listen to an album the other hasn’t heard before. This week’s picks: the debut Specials album, and Morton Subotnick’s Silver Apples of the Moon. Albums of the Week: Scott: Fleet Foxes—Fleet Foxes EP Elaine: Oneohtrix Point Never—R Plus 7

In this very special 1 year anniversary episode of Source Of Uncertainty we talk to the legendary Morton Subotnick!!!! Before we talk with Mort, we explore 2 delay modules within the Buchla ecosystem, the 277r Signal Delay Unit, and the new 1979 DSD.Show notes:Hello: 0:00Kyle’s Signal Delay Unit Model 277r Demo: 17:30Robert’s 1979 DSD Demo: 47:20Interview with Morton Subotnick: 1:13:00Goodbye: 2:20:30For more information about Morton Subotnick, visit his website at http://www.mortonsubotnick.com/. Listen and subscribe to Podular Modcast: https://podularmodcast.fireside.fm/Listen and subscribe to Esoteric Modulation: https://www.esotericmodulation.com/subscribe-to-podcastSubscribe to Waveform Magazine: https://www.waveformmagazine.com/Support the show and get access to exclusive videos and audio content through Patreon: https://www.patreon.com/sourceofuncertaintyFind us on Instagram @sourceofuncertainty Contact us at sourceofuncertainty.audio

Morton Subotnick, pioneering electronic composer, talks about putting on remote concerts in the 90s and gives some advice about working from home.http://mortonsubotnick.com/

Nú þegar heimsmeistaramótið í handknattleik stendur yfir er viðeigandi að líta um öxl og minnast þess þegar sama mót var haldið á Íslandi fyrir aldarfjórðung. Næstu daga flytjur Lestin örseríuna Þegar Ísland hélt stórmót og í fyrsta þætti ætlum við að skoða aðdragandan að HM '95, þar sem gekk á ýmsu og jafnvel kom til greina að hætta við mótið. Ein áhrifamesta plata allra tíma er ein fyrsta raftónlistarplata sögunnar, Silver Apples of the Moon frá árinu 1967 eftir bandaríska tónskáldið Morton Subotnick. Subotnick braut blað í tónlistarsögunni með því að búa til algjörlega nýtt listform en platan var eins konar auglýsing fyrir Buchla hljóðgervilinn, sem átti eftir að móta hvernig raftónlist hljómaði næstu áratugina. Þórður Ingi Jónsson skoðar magnað líf og brautryðjandi feril tónlistarmannsins Morton Subotnick í dag. Marta Sigríður Pétursdóttir rýnir í heimildarmyndina Ég er einfaldur maður, ég heiti Gleb. Og Tómas Ævar Ólafsson flytur okkur annan pistil sinn af þremur um veggjakrot.

Nú þegar heimsmeistaramótið í handknattleik stendur yfir er viðeigandi að líta um öxl og minnast þess þegar sama mót var haldið á Íslandi fyrir aldarfjórðung. Næstu daga flytjur Lestin örseríuna Þegar Ísland hélt stórmót og í fyrsta þætti ætlum við að skoða aðdragandan að HM '95, þar sem gekk á ýmsu og jafnvel kom til greina að hætta við mótið. Ein áhrifamesta plata allra tíma er ein fyrsta raftónlistarplata sögunnar, Silver Apples of the Moon frá árinu 1967 eftir bandaríska tónskáldið Morton Subotnick. Subotnick braut blað í tónlistarsögunni með því að búa til algjörlega nýtt listform en platan var eins konar auglýsing fyrir Buchla hljóðgervilinn, sem átti eftir að móta hvernig raftónlist hljómaði næstu áratugina. Þórður Ingi Jónsson skoðar magnað líf og brautryðjandi feril tónlistarmannsins Morton Subotnick í dag. Marta Sigríður Pétursdóttir rýnir í heimildarmyndina Ég er einfaldur maður, ég heiti Gleb. Og Tómas Ævar Ólafsson flytur okkur annan pistil sinn af þremur um veggjakrot.

Nú þegar heimsmeistaramótið í handknattleik stendur yfir er viðeigandi að líta um öxl og minnast þess þegar sama mót var haldið á Íslandi fyrir aldarfjórðung. Næstu daga flytjur Lestin örseríuna Þegar Ísland hélt stórmót og í fyrsta þætti ætlum við að skoða aðdragandan að HM '95, þar sem gekk á ýmsu og jafnvel kom til greina að hætta við mótið. Ein áhrifamesta plata allra tíma er ein fyrsta raftónlistarplata sögunnar, Silver Apples of the Moon frá árinu 1967 eftir bandaríska tónskáldið Morton Subotnick. Subotnick braut blað í tónlistarsögunni með því að búa til algjörlega nýtt listform en platan var eins konar auglýsing fyrir Buchla hljóðgervilinn, sem átti eftir að móta hvernig raftónlist hljómaði næstu áratugina. Þórður Ingi Jónsson skoðar magnað líf og brautryðjandi feril tónlistarmannsins Morton Subotnick í dag. Marta Sigríður Pétursdóttir rýnir í heimildarmyndina Ég er einfaldur maður, ég heiti Gleb. Og Tómas Ævar Ólafsson flytur okkur annan pistil sinn af þremur um veggjakrot.

Mark Deutrom is a guitarist, composer, songwriter, and producer. Mark Deutrom studied composition at California Institute of the Arts in Valencia, CA . There he attended seminars with such composers as John Cage, Lou Harrison, Morton Feldman, Aaron Copland, and Morton Subotnick. In 1986 Deutrom co founded Alchemy Records in San Francisco, CA. During his time at the label he produced a record for his own band, Clown Alley, as well as records for Sacrilege, Melvins, RKL, and Neurosis. In 1993 Deutrom was invited to play bass in the Melvins. He was in the band from 1993-1998, and played on and contributed material to the albums "Prick", "Stoner Witch", "Stag", "Honky", " and additional releases. During his time with the band they toured with Tool, Nirvana, Nine Inch Nails, Kiss, and Rush among others. In 2006 he was invited to collaborate with SunnO))) on various live dates in the USA and Europe. Deutrom has released various solo projects and continues to produce projects for others. The band Bellringer is the live vehicle for his music and currently features RL Hulsman on drums, Aaron Lack on drums, and Brian Ramirez on bass and vocals. In 2017 Mark Deutrom signed a licensing agreement with French heavy music label Season of Mist to reissue his catalog, and also for new music beginning with the album The Blue Bird released on January 4 2019. --- Send in a voice message: https://anchor.fm/brutally-delicious/message

About: Peter Grenader has an enduring history in electronic music. From having studied music composition at the California Institute of the Arts under Barry Schrader and Morton Subotnick, to having been past member of the SEAMUS board of directors, and the founder/primary designer of EAR/Plan B Synthesizers and their primary designer. He has performed throughout the United States and Europe, and in 2001, he won the Periòdic Experimental Music Festival in Barcelona, Spain.
 He has been a featured composer at the 17th American Composer’s Forum Salon in Venice and  performed at  REDCAT in Los Angeles with Analoglive! with film composer Gary Chang, Alessandro Cortini, Richard Devine, Chas Smith, Thighpaulsandra, and video artist Paul Tzanetopoulos. 
Recent collaborations include The zZyzx Society with Jill Fraser and featuring Thighpaulsandra, Chas Smith. Jennifer Irvine, Katherine Redlus and Danny Carey of Tool, The Third Ear with Shiro Fujioka and Doug Lynner and POV with guitarist Miles Richmond and featuring Steve Roach and Thighpaulsandra. 
Released recordings include Secret Life (2013) on Coda Recordings, zZyzx Society (2018) on ZSR Records, Patch.cv TWO (2019) on Organic Artists Records and POV (2019) on Blue Trousers Records - commissioned by and sold exclusively on Steveroach.com Most recently, he was featured in the Patch.cv modular documentary series produced by David Elliot Johnson and Organic Artists LLC. Links: https://www.zzyzxsociety.com/ http://www.ear-synth.com/ https://soundcloud.com/petergrenader

About: Jill Fraser is a composer and electronic music pioneer. She was mentored by Morton Subotnick, studied with Mel Powell and Earle Brown at CalArts and attended master classes with, among others John Cage and Lou Harrison. After finishing her master’s degree in composition she worked at Serge Modular in Hollywood and took her modular synths into the Hollywood studios to score films. Her composing credits on film scores include Personal Best directed by Robert Towne with collaborator, the infamous composer Jack Nitzsche and Hardcore (starring George C Scott, directed by Paul Schrader). Jill has composed both electronic and acoustic music for hundreds of TV commercials for Lexus, BMW, Honda, Porsche, Nissan, Mazda, Mitsubishi, Mattel, Carl’s Jr, NBC, Apple Computers, Adidas, Estee Lauder, Baskin Robbins, Yamaha Motorcycles and many, many others. She has won 3 Clios for original music and is a voting member of the Academy of Television Arts and Sciences. She toured with singer Buffy Sainte Marie and performance artist Ivan E Roth. Her performances with Ivan were part of the vibrant Los Angeles punk and spoken word scene and she played live modular synthesizer, opening for acts including the Minutemen and Henry Rollins. Ivan and Jill released the CD Alphabetical Disorders on Periodic Music featuring “Life is a Noun”. Links: http://www.jillfrasermusic.com/ https://thezzyzxsociety.bandcamp.com/releases https://www.facebook.com/jillfrasermusic

“What is M.O.O.T.? A fair question. The very fact that you have this record in your hands means that you are curious and aware that something is happening. M.O.O.T. will show you what it is and where it is.” M.O.O.T. — which stands for Music of Our Time — was a series of records released by Columbia, established by its enlightened president Goddard Lieberson and was intended to be a guide to the electronic music revolution of the late 1960s and early 1970s. The episode features: Morton Subotnick, Steve Reich, Morton Feldman, Robert Ashley, Terry Riley, Richard Maxfield, Pauline Oliveros and Harry Partch.

She’s a composer and vocalist who’s performed with pretty much every orchestra on earth. He’s a composer best known for his electronic music, especially an early work, Silver Apples of the Moon. “Lawyer and Other Lawyer to Wed,” runs pretty much every NY Times wedding announcement. How did it omit theirs?

Warsaw's analog techno maverick Jurek Przeździecki (b.1973) is one of the more powerful and uncompromising voices in former Eastern Bloc electronic music scene. Bred throughout the 90s on a varied diet of first wave techno, new beat and post-industrial mutants like SPK or Psychic TV, he developed his own vision of highly intricate and detailed yet definitely danceable, funked-up techno for connoisseurs of the genre. Actively involved in producing music for two decades plus, he started his career in world-touring Bigwigs, later to release his solo and collaborative stuff on such labels as Cocoon, Whirlpoolsex, Synewave Records, Recognition, Nachtstrom Schallplatten or Affin. His productions were appraised and played out by numerous DJ/producer heavyweights including Laurent Garnier, Oliver Ho, Joey Beltram and DJ Hell, while Depeche Mode's Martin Gore included Jurek's track in band's tour DJ set. Currently, he recorded two quite successful EPs with Jacek Sienkiewicz as a duo Tumult Hands. He's been also quite busy focusing on his long-running Epi Centrum project whose LP will be out on Damon Wild's Synewave Records soon. He devotes most of his time to studying arcanes of deep composition and researching the possibilities of various legendary studio gears, such as Buchla's modular Morton Subotnick-designed System 200e. Lives and works in Warsaw. Follow EPI CENTRUM here: Resident Advisor: https://www.residentadvisor.net/dj/jurekprzezdziecki Facebook: https://www.facebook.com/EpiCentrumAkaJurekPrzezdziecki Instagram: https://www.instagram.com/jurekprzezdziecki/ Soundcloud: https://soundcloud.com/epi_centrum Beatport: https://www.beatport.com/artist/epi-centrum/54283 Discogs: https://www.discogs.com/it/artist/376505-Epi-Centrum Bandcamp: https://recognition.bandcamp.com/

Morton Subotnick In Conversation with Katie Gately On the heels of the 50th anniversary of his album, Silver Apples of the Moon, Morton Subotnick came to LA to perform two celebratory shows at CalArts. He sat down with Katie Gately at the dublab Studio to talk about this legendary electronic album, his current performance practice, and the history behind his groundbreaking compositional approach. Subotnick also touched upon his storied collaborations with the electronic music innovators, Don Buchla, Ramon Sender, and the members of the San Francisco Tape Music Center. Morton Subotnick is a pioneer in the development of electronic music and multi-media performance and an innovator in works involving instruments and other media, including interactive computer music systems. Most of his music calls for a computer part, or live electronic processing; his oeuvre utilizes many of the important technological breakthroughs in the history of the genre. His work, Silver Apples of the Moon, has become a modern classic and was recently entered into the National Registry of Recorded Works at the Library of Congress. “First you make the machine, then the machine makes you” -Marshall McCluhan In Conversation is produced by dublab. Sound editing and music are by Matteah Baim. Due to rights reasons music from the original broadcast has been removed. To hear more, please visit dublab.com.

Vocal virtuoso and sound artist Joan La Barbara looms large in experimental music. From multiphonic singing to circular breathing, she’s developed a whole new vocabulary of trills, whispers, cries and clicks and collaborated with the likes of Philip Glass, Steve Reich, John Cage and her husband Morton Subotnick. In her lecture at the 2016 Red Bull Music Academy, she detailed how she came to master the human voice.

During the embryonic development of the modern musical synthesizer, Morton Subotnick envisioned a day in which an individual could become the audience, the director, and the performer of a musical work all at once. The belief was that a device could exist that one could explore a sonic space with in real time and move from "point to point" within this space guided by feelings, emotions, or any other perturbation of the mind. With the creation of such a device (the "synthesizer") in 1963, Subtonick's idea became reality however alternative interpretations of its utility also emerged. With time, the "synthesizer" came to predominately be an instrument with which equal tempered, melodic music was created, recorded, and distributed among the masses. A select few have, however chosen to investigate and develop the concept closer to Subotnick's original vision of the man-machine interaction. adamon is Damon Mar’s pursuit of this. adamon is Damon Mar Lawrence F**king Kansas Links: https://soundcloud.com/adamon https://adamon.bandcamp.com/
 https://www.youtube.com/user/adamonnoise
 http://marsynth.com/ https://ethereallive.wordpress.com/2011/12/21/el012-adamon-ships/

Musician Christopher Lathouwers stops by the podcast to talk about meeting me in third grade, his punk rock years, dropping out of high school, having dreadlocks down to his knees, being a middle child, Santa Maria vs. the Bay Area, moving to a tiny house in the mountains, his obsession with modular synthesis, how to say 'Moog', Don Buchla, Morton Subotnick, East Coast and West Coast synthesis, random voltage, when to stop the Turing machine, plucking the vactrol, sculpting sound, always pressing record, improvising at Synthesethesia, limiting himself to 6U, Alessandro Cortini, D.M.T., ibogaine, and conquering addictions through psychedelics. Find him online at: https://www.youtube.com/user/lacedheavy or https://soundcloud.com/musicalfungus Or follow him on Instagram: @musicalfungus

Personal heroes. This is a very personal subject for most people, because our choice of heroes says a lot about us. My reverence for Morton's work has a lot to do with how it changed my ears - and therefore my life. Being introduced to Silver Apples allowed me to think of music as a less discrete, more fluid, material. Don't need to limit yourself to standard instruments focused on verses and choruses; you can choose to use electrons to develop phrases, premonitions, echoes and silence instead. I was never able to think of (or hear) music the same way again. In this chat, Morton and I talk about his current work, the events that got him to think about electronic music, and how he came to revisit the use of the Buchla modular system. We also talk a little bit about his upcoming book project, and the documentary that is being made about him. But it was a relaxed and enjoyable chat - appropriate for this highlight of my podcast: Number 200. Thanks again to everyone that has been listening over the years. Keep on listening, and I'll keep on doing it - now enjoy!

What happens when a composer writes music without pen and paper, using machines? How does that change the creative process? How does it morph the art itself?  Today on Meet the Composer, our producer Alex Overington — usually behind the studio glass — takes us on a road trip to unravel the creative process of those composers who write without a score. We meet the synthesists, the samplers, the electronic musicians, and dive deep into the tools they’ve adopted to define their craft.  Join us as we uncover what it means to be a composer who sculpts directly with sound, through conversations with such artists as Matmos, Kaitlyn Aurelia Smith, Tyondai Braxton, Laurie Anderson, Morton Subotnick and more.   Heard a piece of music you loved? Discover it here! 0:21—Kaitlyn Aurelia Smith: Rare Things Grow | Listen 2:27—Terry Riley: A Rainbow in Curved Air | Listen 3:16—Johannes Brahms: Symphony No. 4 in E minor | Listen 4:03—Gustave Mahler: Symphony No. 4, IV. Adagietto | Listen 4:33—Oneohtrix Point Never: Problem Areas | Listen 6:02—Matmos: Ultimate Care II | Listen 6:30—Kaitlyn Aurelia Smith: First Flight | Listen 7:41—Kaitlyn Aurelia Smith: Envelop | Listen 11:29—Matmos: Mister Mouth | Listen 12:59—Morton Subotnick: Silver Apples of the Moon | Listen 13:48—The Vogues: Five O'Clock World | Listen 14:42—Arthur Smith: Banjo Boogie | Listen 15:26—Morton Subotnick: Silver Apples of the Moon | Listen 15:51—Stephen Foster: Camptown Races | Watch 16:04—Johannes Pachabel: Canon in D | Listen 16:55—Kaitlyn Aurelia Smith: Sundry | Listen 18:25—Morton Subotnick: Silver Apples of the Moon | Listen 20:28—Tyondai Braxton: Opening Bell | Listen 20:56—Tyondai Braxton: Gracka | Listen 22:43—Tyondai Braxton: Scout1 | Listen 24:39—Kaitlyn Aurelia Smith: Wetlands | Listen 28:30—Pierre Schaeffer & Pierre Henry: Orphée 53 | Listen 29:25—Mistinguett: Mitsou | Listen 29:38—Pierre Schaeffer & Pierre Henry: Orphée 53 | Listen 29:57—The Sugarhill Gang: Apache [Jump On It] | Listen 30:20—Kanye West: A "Dope Ass Beat" | Watch 30:39—Matmos: Very Large Green Triangles | Listen 31:26—Matmos: Ur Tchan Tan Tse Qi | Listen 32:49—Jingle Cats: Jingle Bells | Listen 33:22—Matmos: California Rhinoplasty | Listen 34:28—Matmos: Lipostudio... And So On | Listen 34:37—Matmos: L.A.S.I.K. | Listen 35:20—Matmos: L.A.S.I.K. | Listen 37:27—Matmos: You | Listen 39:14—Matmos & So Percussion: Aluminum | Listen 40:50—Matmos: Ultimate Care II | Listen 47:46—Matmos: Ultimate Care II | Listen 49:14—Laurie Anderson: Another Day in America | Listen 53:04—Laurie Anderson: Sharkey's Day | Listen 53:59—Edward Grieg: Lyric Pieces for the Piano, op. 43, "Butterfly" | Listen 54:27—Laurie Anderson: My Right Eye | Listen 55:31—Laurie Anderson: Another Day in America | Listen 57:35—Laurie Anderson: The Lake [Instrumental] | Listen   

The music Aurora Halal creates is informed by many different disciplines. She is a producer, but also a videographer and visual artist who has worked on films about modular synth godfather Morton Subotnick amongst others. She is also the force behind Brooklyn’s Mutual Dreaming party series as well as the Sustain-Release festival. In just a couple of years she has cooked up an expressive and experimental techno sound—solo and with the likes of Ital—on labels such as Lovers Rock and her own Mutal Dreaming Recordings. Oppressive and foggy, her distorted, imperfect sounds made up of heavy drums and scurrying synths have taken her to plenty of remarkable live gigs all over the world. Now she steps up to our mix series with equal aplomb.

For composer Daniel Wohl, the distinction between a physical performer and an electronic sound is inconsequential. While his music builds on the traditions of heady electronic pioneers like Morton Subotnick and Paul Lansky, he also takes inspiration from pulse-driven dance beats, minimalist chamber music and even visual art. Wohl's latest collection Holographic earned him accolades from both the contemporary classical and independent rock worlds for its seamless integration of live musicians and electronics, and its ability to transcend genre. It's heady but accessible, constructing surreal sonic landscapes as much at home in a concert hall as in an outer-borough warehouse or art space. We join Wohl backstage before his performance at Le Poisson Rouge to discuss the art, appeal and challenges of performing electroacoustic music live. Download selections from Daniel Wohl's Holographic as part of Season Two of LPR Live, with host John Schaefer. Listen to trailblazing new music performed live at Le Poisson Rouge, and enjoy interactions with artists and audience members. Subscribe to LPR Live on iTunes or wherever you get your podcasts. 

Early electronic music history, direct from the source. For more, visit Resident Advisor: http://www.residentadvisor.net/podcast-episode.aspx?exchange=278

Early electronic music history, direct from the source.

Early electronic music history, direct from the source.

A bonus beat edition of More Than Human on a Thursday afternoon - same treats, different time slot: Aphex, T.E.W., Lee Gamble, Sinoia Caves, Morton Subotnick. Teatime.

http://soundcloud.com/finestego | Radio with http://soundcloud.com/anenon and http://soundcloud.com/krts ‘Behind The Beats’ special on http://soundcloud.com/bln-fm-1 60 minutes with exclusive and unreleased tracks. Hosted by Karolina Kaczor and Malte Tarnow on Radio BLN.FM. ▸▸ Every second Tuesday, Wednesday and Sunday of the month (August, 12th / 13th / 17th at 8/9/10 PM CET). Anenon is Brian Allen Simon, an artist and the founder of the Non Projects record label. Constantly shedding the non-essential in search of a deep and individualized core, Brian’s music feels potent and refined, yet still raw. His work reaches audiences through speakers and venues where music is given serious consideration. An experimental artist using contemporary tools, Brian mines the intersection of electronics, jazz, improvisation and spiritual atmospherics. He is a native of Los Angeles. Simon has performed internationally throughout Japan, Europe and North America, sharing the stage with the likes of Morton Subotnick, Julia Holter, Laurel Halo, Baths and many more. He is a distinguished entrant of the 2011 Red Bull Music Academy. Anenon’s releases have all been subject to critical acclaim, including a spot for Acquiescence as one of XLR8R’s Best Releases of 2012. The show includes music from submerse, Anenon, Starfoxxx, Pixelord, Seers, Kiasmis, Jabu, Floex, Hidden Orchestra, My Panda Shall Fly, Mau’lin, Lakker, Monsoonsiren, LAPLACE, Krts and many more… Finest Ego | Radio with Anenon and KRTS “Behind the Beats” special on BLN.FM Tracklist: ➨ Finest Ego | Intro (Produced by http://soundcloud.com/submerse)
 01. http://soundcloud.com/starfoxxxsounds – Bae HD [http://soundcloud.com/donky-pitch, 2014 ]
02. http://soundcloud.com/pixelord – Answer [http://soundcloud.com/infinite-machine, 2014]
 03. http://soundcloud.com/seers-music – Quit Me [Unreleased, 2014]
 04. Kiasmos – Burnt [Forthcoming http://soundcloud.com/erasedtapes, 2014]
 05. http://soundcloud.com/j-a-b-u – Empty Days [http://soundcloud.com/ramprecordings, 2014]
 06. http://soundcloud.com/floex – Saturnin Fire And The Restless Ocean (Hidden Orchestra Remix) [http://soundcloud.com/denovali, 2013]
 07. https://soundcloud.com/mpsf & https://soundcloud.com/maulin – 15 Keys (http://soundcloud.com/lakker Remix) [Forthcoming http://soundcloud.com/projectmooncircle, 2014] 
➨ Anenon Interview
 08. http://soundcloud.com/anenon – Shibaura [Forthcoming http://soundcloud.com/nonprojects, 2014]
 09. http://soundcloud.com/anenon – Inner Hue [http://soundcloud.com/nonprojects, 2012]
10. http://soundcloud.com/anenon – Karma [Forthcoming http://soundcloud.com/nonprojects, 2014] 
➨ Anenon Interview End
11. http://soundcloud.com/anenon – Lights and Rocks [Forthcoming http://soundcloud.com/nonprojects, 2014]
 12. http://soundcloud.com/monsoonsiren – Paper Tiger (Produced by http://soundcloud.com/laplaceyeah) [Unreleased, 2014]
 ➨ KRTS ‘Behind the Beats’ special
 13. http://soundcloud.com/krts – Berlin Girls [http://soundcloud.com/projectmooncircle, 2014]

Guardian Australia brings you an Adelaide festival podcast full of musical pioneers as we talk to Morton Subotnick, the grandfather of electronic music, and Speech from legendary hip-hop outfit Arrested Development. Plus: all the action from the Adelaide Fringe, and a review of comedian Wil Anderson's new show

Morton Subotnick released the first all-electronic album, Silver Apples of the Moon, in 1967. Last Friday, he returned to Moogfest 2012 in Asheville, N.C., to perform the whole thing live. Hear the performance in its entirety.

Four Tet’s Kieran Hebden explains why Silver Apples of the Moon by the American composer Morton Subotnick stands out for him as a classic of early electronic music. Author and journalist Rob Young provides some background to the work, which was created on a Buchla synthesizer at the San Francisco Tape Music Center, and conceived specifically for two sides of an LP.

"In 1913 Futurist Luigi Russolo developed several noise machines, which he named ‘intonarumori’. In his manifesto, The Art of Noise, Russolo argued that musical instruments could no longer satisfy man's thirst for sounds. Almost 100 years later, people are still exploring the possibilities of sound. This is what I tried to capture in this mix - testing the limits of sound, from shrieking highs to almost imperceptible lows, finding new ways of interpreting and portraying life through the medium of sound. Despite including over 100 artists, the mix by no means represents a completist viewpoint; so many perhaps important artists in the development of 'noise' were left out. It was not my intention to do a 'who's who' of noise music, but rather to show how the exploration of sound has developed over time and how fascinating these explorations are. I did at times take into account the historical significance of the piece/artist when choosing tracks, although I was steered mainly by what was sonically interesting to me. Well that's it - the mix should speak for itself. If you are interested in digging deeper please follow the links provided. Listen at maximum volume and enjoy." Marolo, January 2007 Tracklisting: Luigi Russolo – Risveglio Di Una Cita (1913) Marcel Duchamp – La Mariée Mise À Nu Par Ses Célibataires, Même John Cage – Imaginary Landscape 1 (1939) John Cage – Imaginary Landscape (1942) Halim El-Dabh – Wire Recorder Piece (1944) Pierre Schaeffer – Etude Aux Chemins De Fer (1948) Hugh Le Caine – Dripsody (1949) Edgar Varese – Interpolation, 3rd Interpolation (1954) John Cage – Radio Music (1956) 15 minutes Iannis Xenakis – Diamorphoses (1957) György Ligeti – Continuum, Glissandi (1957), Artikulation (1958) György Ligeti – Pièce Électronique #3 (1958) Edgard Varèse – Poème Electronique (1960) Stockhausen –  Kontakte (1960) Tod Dockstader – Four Elementary Tapes ¾ (1963) Stockhausen – Telemusik (1966) Beatriz Ferreyra – Demeures Aquatiques (1967) AMM – Ailantus Glandulosa (1966) Wozard Of Iz – Blue Poppy (1968) Pierre Henry – Prologue (1968) Jean-Claude Risset – Flight & Countdown (1968) Delia Derbyshire / John Peel – Voice Treatment (1969) La Monte Young – The Volga Delta (1969) 30 minutes Morton Subotnick – Wild Bull Part 2 (1968) Jean-Claude Risset – Mutations (1969) François Bayle + Robert Wyatt + Kevin Ayers – It (1970) Iannis Xenakis – Hibiki-Hana-Ma (1970) Luc Ferrari – Presque Rien  (1971) Yoko Ono – Toilet Piece (1971) Laurie Spiegel – Sediment (1972) La Monte Young – From Poem For Chairs, Tables, Benches, Two Sounds Faust – 11 (1973) Throbbing Gristle – Whorls of Sound (1975) Alvin Lucier – The Duke Of New York (1976) BBC Radiophonic Workshop – Central Control Room In Exillon City, Styre's Scouting Machine, Atomic Reactor Runs Wild (1978) Chrome – Inacontact / I am the Jaw (1979) Whitehouse – Politics (1980) Maurizio Bianchi – Industrial (1980) 45 minutes Merzbow – Music Concret/Tape Dada (1980) NON – Pagan Muzak Loops (1980) Frieder Butzmann – Tales of Death (1981) Esplendor Geometrico – PIE (1981) MB – Treblinka (1981) Throbbing Gristle – Medicine (1982) Borsig – Zu Den Anderen Gerollt Werden/Helmut (1982) E.g Oblique Graph – Black Cloth (1982) Esplendor Geometrico – Disco Rojo (1982) Consumer Electronics – Keloid (1982) SPK – War of Islam (1983) Alison Knowles – Assemblage (1984) Diamanda Galás – Panoptikon (1984) Controlled Bleeding – Knees And Bones (1985) Zoviet France – Signal (1986) Butthole Surfers – Hay (1987) 1 hour Merzbow – Chopin is Dead (1987) Hanatarash – Frogirl (1988) Esplendor Geometrico – Mekano-Turbo (1988) John Watermann – Still Warm (1989) Voice Crack & Borbotomagus – Untitled (1991) Jackofficers – Flush (1991) Iannis Xenakis – S.709 (1992) Scanner – Untitled (1993) Melvins - Magic Pig Detective (1994) Merzbow - Ananga-Ranga (1994) Fennesz – 3 (1995) Vromb – Facteur Humaine iii (1996) Mike Patton - I Killed Him Like a Dog, Screams Of The Asteroid, Porno Holocaust, Catheter, Raped On A Bed Of Sand (1996) 1 hour 15 minutes Restgeraeusch – 1H / 1Min (1996) Oval – Shop in Store (1996) Lucien Monbuttou – Kpiele, I Find The Enemy (1997) Jonathan Azande – Opaque Misery (1997) Francis Dhomont – Scherzo (1997) Aube – Vent Finalzinho (1997) Electricity – Dunia Wanja Wa Fujo, Indlela Yababi (1997) National Bird – Wakar Uwa Mugu (1997) Godfrey J Kola – Somalia! (1997) Mbuti Singers - Massacre Rite (1997) Jim O’Rourke – There As (1997) Toys’r’us – Untitled (1997) Fraughman – Of The Elements (1998) Boredoms – Super Shine (1998) Merzbow – Munchen (1998) 1 hour 30 minutes Merzbow – Soft Water Rhinoceros (1998) Scalpel – 2.08 (1998) Dumb Type – Zero Radius (1998) ATR – Brixton Academy (1999) Merzbow & Genesis P-orridge – Flowering Pain (1999) Voice Crack – Green Ellipse/Red Square (1999) Shizuo – Untitled (1999) Maldoror – Baby Powder on Peach Fuzz (1999) Zipper Spy – Untitled (2000) Dolores Dewberry – Paragraph (2000) Diane Nelson – Dissected Insect (2000) Winterkälte – Toxic Hotspot (2000) Signal – Centrum (2000) Massimo - Hey Babe, Let Me See Your USB And I'll Show You My Firewire (2001) 1 hour 45 minutes DJ Smallcock – YinYue (2001) Ryoji Ikeda – 00010 (2001) Cyclo – C4 C9 (2001) Tripod Sardine – TV (2000) Speedranch – Halfway up the Stairway of Mucus (2001) Fennesz / Jim O'Rourke / Peter Rehberg – We Will Diffuse You (2002) Huren – Satem (2002) Vromb – Subréalité (2002) Coh – Hurt Later / Terra Beyond / In Spaces Between (2002) Massimo – 6-1-8 (2002) Merzbow – Tadpole / Forgotten Land (2002) Merzbow – Black Gun Red (Kim Cascone mix) (2003) Wlliam Basinski – Disintegration Loops DLP4 (2003) KK Null – Andromeda 2 (2003) Space Machine – 4 (2004) Chessmachine – 16 Move (2004) 2 hours Zeena Parkins & Ikue Mori – Miura (2004) Otomo Yoshihide - Where There's Smoke, There's Weapons (2004) The Lappetites – Funeral (2005) Merzbow – Merzbuta track 4 (2005) Zeena Parkins – 16 Feet + Cello (2006) Drifting Stranger – Oh Daddy Love Me Good (2007)