Synthwave – Page 11 – 7th Level Music

Johnny Jewel releases “The Witch” from his latest soundtrack – “Holly.”

Johnny Jewel (Chromatics, Desire, Glass Candy) has created the original motion picture soundtrack for the highly anticipated Fien Troch-directed new film Holly, which will come out October 13th via Italians Do It Better. The score also features Desire and is Johnny Jewel’s tenth solo album of experimental film music, following on from critically acclaimed works Windswept, Digital Rain, Home (OST), & Lost River (OST). Today the first single from the Holly soundtrack “The Witch” is streaming online. As well as this, Johnny Jewel is set to embark on a special live tour throughout Europe in October and November, performing 60 minutes of cinematic bliss from his music for films.

Nominated for the Venice Film Festival and opening the Ghent Film Festival, Holly follows the story of a 15-year-old girl who calls her school to say she is staying home for the day. Soon after, a fire breaks out at the school, killing several students. With everyone touched by the tragedy, the community comes together, trying to heal. Anna, a teacher, intrigued by Holly and her strange premonition, invites her to join the volunteering group she runs. Holly’s presence seems to bring peace of mind, warmth, and hope to those she encounters. But soon, people begin to seek out Holly and her cathartic energy, demanding more and more from the young girl.

On the soundtrack, Johnny Jewel said “I used music to usher in the unseen elements of Holly’s story. Underscoring the supernatural overtones of the film, I studied the wind in her hair, counted the plumes of smoke billowing from the burning high school, & stared into the howling forest swaying in the distance. The looming musical foreshadowing mirrors her gifts. As Holly’s character slowly unravels, the score begins to warp as it’s stretched to an ominously slow crawl.

Throughout the film, vague hues overlap seamlessly like clouds constantly morphing. As the audience, we project meanings to the shapes that emerge from the chaos in what appear to be patterns. It’s abstract enough to be unrecognisable, yet it’s somehow familiar. Inspired by the masters of mood like Goblin’s blood curdling chimes for Dario Argento, Tangerine Dream’s spiraling synthesis for William Friedkin, & John Carpenter’s hyper-minimalist approach to scoring his own films with Alan Howarth, I explored a genre-based language to trigger the audience’s subconscious. Metallic synthesizers, celeste bells, mellotron flutes & detuned music boxes haunt the recurring musical motif. Like an inevitable storm rolling in, the soundtrack is eerily elusive & at times, almost formless. At other times, the music is crystal clear & so sharply in focus you could reach out & touch it.”

On the collaboration, writer and director of Holly Fien Troch added “I’ve always been drawn to Johnny’s music, as it is reckless & physical. His music is an emotional roller coaster. Every time I see scenes of my film with Johnny’s music on, everything I’ve done & worked for is lifted to another level. When you work with Johnny, you don’t just get the score for your film. It’s like finally finding that missing element to make the story complete. It makes the film whole & gives it its own identity.

“Listen to “The Witch” via YouTube here: https://www.youtube.com/watch?v=nEtM7hR-QvM
Listen to “The Witch” via other streaming services: https://idib.ffm.to/thewitch
Pre-save album: https://idib.ffm.to/hollysoundtrack

See Johnny Jewel live:
Oct 25th – Saint Sebastian, Dabadaba ES
Oct 27th – Neuchatel, Case A Chaos CH
Nov 2nd – Vienna, Rote Bar Im Volkstheater AT
Nov 3rd – Milan, Circolo Magnolia IT
Nov 4th – Prague, Meet Factory CZ
Nov 7th – Berlin, Hole 44 DE
Nov 8th – Amsterdam, H.J.E. Wenckebachweg 48 NL
Nov 9th – Brussels, Botanquie – Rotonde, BE
Nov 10th – Barcelona, MIRA Festival ES
Nov 11th – Porto, Mouco PT
Nov 14th – Paris, Le Hasard Ludique FR
Nov 15th – Dublin, The Sugar Club IE
Nov 16th – Manchester, The White Hotel UK
Nov 17th – Glasgow, CCA UK

Keep your mind open.

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[Thanks to Frankie at Stereo Sanctity.]

Sally Shapiro covers Pet Shop Boys’ “Rent” for their newest single.

Today Swedish synthpop duo Sally Shapiro (made up of Sally Shapiro and Johan Agebjörn) announce a new 12″ ‘Rent‘ co-mixed by Johnny Jewel, which is out Sept 20th digitally & Oct 6th physically via Italians Do It Better and have shared the title-track, covering Pet Shop Boys, online now.

On the single, Johan offered “I am a longtime fan of Pet Shop Boys and have been thinking from time to time about covering some PSB song, without any clear idea of how to do it. Suddenly it became apparent that the melancholic and painfully beautiful harmonies of ‘Rent’ would suit our style perfectly, and I started playing a synth line over the chorus.”

Johnny Jewel added “Sally Shapiro’s cover of this Pet Shop Boys classic keeps the original close to the heart. Emphasizing the baroque leanings of the chord progression, they take it further with a 16th note melody careening over icy pads. The result is a Synthwave skyline scraping the upper atmosphere in the never-ending race to survive the first of the month. It’s a twisted tale of the politics of economy in relationships where the currency is love. Sally’s crystalline coo glides over Johan’s elegant Italo production as the bass line anchors the galloping rhythm section. Home is where the heart is…but shelter comes first in this game of love.”

Sally added “We also think the lyrics to Rent are intriguing, how the singer – in our version, a mistress – tries to convince herself that she’s happy, while the melancholy shines through. Pet Shop Boys is also very much childhood nostalgia for me.”

Johan was a member of the Pet Shop Boys Club as a child, and even got a penpal request published in the official fanclub magazine in 1993. Johan said “I received numerous answers! I had a pretty long correspondence with a fan from the UK.”

Listen to “Rent” on Soundcloud here: https://soundcloud.com/sallyshapiro-music/rent-1
Listen via other streaming services here: https://idib.ffm.to/rent
Pre-order 12″ here: https://sallyshapiro.bandcamp.com/album/rent

17 years ago, Sally Shapiro shared their first song online. Blogs & record labels immediately took notice and Italians Do It Better’s introduction to the pair was I’ll Be By Your Side, a shimmering Italo Disco track with ethereal vocals that hypnotised everyone who heard it. Johan’s elegant production was years ahead of what anyone else was doing at the time, & the elusive falsetto of the dreamlike singer was unforgettable.

In 2007, their debut album, Disco Romance, was revered by the press. The album was given a spot in Pitchfork’s Top 50 albums of 2007 & is even ranked as the best italo disco album of all time on rateyourmusic.com. Their sound was a unique take on the romantic club music of the mid 1980’s. At the time you could count the artists exploring this territory on one hand. Johnny Jewel began corresponding with Johan later that year resulting in Johan’s remix of Glass Candy’s “The Chameleon“.

Their debut album saw remixes by other likeminded producers like Lindstrøm, Tensnake, Junior Boys, CFCF, & Juan MacLean. In 2009, My Guilty Pleasure, picks up where Disco Romance left off. They collaborated with Electric Youth (known from the ”Drive” soundtrack) on their third album Somewhere Else in 2013.

Johan is a fixture on European dance floors collaborating with Lindstrøm, Glass Candy, Annie, Wolfram, Hercules & Love Affair, & more. In 2018 he produced the addictive Samantha Fox single “Hot Boy”. Sally is notoriously shy, remaining shrouded in anonymity. To this day she insists on recording her vocals alone in the studio & refuses to perform her songs live. In 2016, the duo went underground & released what was thought to have been their final single. Working in deep seclusion over the last half decade, they released “Sad Cities”, an incredible collection out in 2022 via Italians Do It Better, to critical acclaim. They also appeared on Italians Do It Better’s Madonna cover compilation (with ”Holiday”) and on last year’s After Dark 4.

‘Rent’ will also feature on Sally Shapiro’s new album, which is currently in the works.

Keep your mind open.

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[Thanks to Frankie at Stereo Sanctity.]

Review: Mandy, Indiana – I’ve Seen a Way

Recorded, no joke, in caves, gothic crypts, and shopping malls and next to construction sites and yoga classes, Mandy, Indiana‘s first full-length album, I’ve Seen a Way, expands on their sexy, creepy, synthy sound with a mix of heavier dance beats and stranger field recordings.

“Love Theme (4K VHS)” opens the album with synthwave bliss as you drive Charlie Sheen’s car from The Wraith down a street lit by solar-powered batteries embedded in the ground. It flows into “Drag [Crashed]” and turns the romantic lounge of the previous track into a slightly frightening industrial club floor-filler with Valentine Caulfield singing / shouting about toxic masculinity and the male gaze in French as her bandmates pound you into the ground. “Pinking Shears” is full of thick synth bass from Simon Catling and hip-hop drumming from Alex MacDougall while Caulfield’s vocals move around the room like a panther proclaiming, “This shitty world has exhausted me.” and verbally slapping us awake with lyrics like “…we elect bankers and big bourgeois and rentiers and we are surprised to get fucked.”

Her vocals on “Injury Detail” are only slightly subdued, which provide an interesting balance with the snappy drums and hissing, throbbing synths. “The Driving Rain (18)” layers the synths atop Caulfield’s vocals to make them almost robotic. On “2 Stripe,” she tells the tale of peasants serving a king, a queen, and their daughters while they sleep in cold cellars and nearly starve…until they realize they far outnumber the royals and take the castle and land by force. It’s a cautionary tale for the 1%, who are treacherously close to losing all of it all of the time.

Scott Fair‘s guitar wails and squeals through “Iron Maiden,” a mostly instrumental track with Caulfield sometimes crying out like she’s stuck in the titular device. “It’s not a revolt, it’s a revolution,” Caulfield sings on “Peach Fuzz.” “They take us for idiots,” she proclaims as the track builds into a synth war march.

“Crystal Aura Redux” is aptly named because it sounds like you’re walking through a hall of mirrors with crystals hanging from the ceiling that are light by a disco ball. The album ends with “Sensitivity Training” – a warning for all of us. The instrumentation brings alarm klaxons, protest chants, and marching beats to mind as Caulfield asks, “Do you hear the sound of the the boots clattering on the pavement? They’re coming for us.” She’s warning us of the rise of fascism, or perhaps to flip the script and make it a warning for those same fascists who will one day realize they’re vastly outnumbered.

I’ve Seen a Way (or i’ve seen a way, as it’s often written) is a stunning debut LP, one of the best of the year. It’s a dance record, a protest album, and a synthwave stunner all in one. Their creativity seems to have no bounds, as does their anger and passion for calls to action. Go visit them.

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]

Review: Lindstrøm – Everyone Else Is a Stranger

The New Yorker once dubbed Norwegian DJ and producer Lindstrøm as “the king of space disco.” That’s as good a description for him as any I could dream up, and it’s epitomized in his latest record, Everyone Else Is a Stranger, which is full of neat rhythms, pulsing synths, and a vibration to it that seems to defy gravity.

The first few seconds of “Syreen” alone are designed to fill dance floors with the synthwave beats and inspiring electric piano notes. “Nightswim” is perfect for just such an activity at your lake house or a Las Vegas rooftop pool. It instantly makes you feel cool and sexy, but not so much that you turn into a “trying too hard to be cool” d-bag. He finds that sweet spot of “Let’s have fun and be sexy and cool with each other. No bad vibes here, just love.” The whole record is like that, really.

I can’t help but think Lindstrøm was influenced by Giorgio Moroder (and who isn’t, really?) when I hear the opening synths of “The Rind” – a neat synthwave track that prepares you for dancing, sparring, or shagging with an android (possibly all three). The ending title track is like a ten-minute cool-down meditation after the dance fest that’s been happening for the previous three songs. Lindstrøm has always excelled at evoking dreamy imagery in his music, and the title track is a fine example of that craftsmanship.

I also like the title of Everyone Else Is a Stranger. Except whom? Well, you, of course. You know who you are. You’re whomever is touched and moved by this record in anyway. He made it for you. Don’t refuse the gift.

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

Review: Club Coma (self-titled)

Hailing from Austin, Texas and playing sold-out shows before they even released any music, Club Coma (Geoff Earle – synth, bass, and vocals, Scott Martin – guitar and vocals, and Aaron Perez – drums) play a neat mix of experimental rock, dance rock, and shoegaze on their debut, self-titled album.

Opener “Give Me a Chance” sounds like something Thundercat might cook up, and I’m sure he’ll be jealous that he didn’t create something so funky when he hears it. “The Mirror” has a bit of a dance-punk sound to it, and “New Cruelty” even adds goth-synth touches. “I’m frightened of my TV screen. I’m scared of the things it’ll do to me. I’m scared of the phone in my pocket. I keep checking, and I don’t know how to stop it,” Martin sings on “TV Screen.” Seriously, dude, we’re all with you on this (and the addictive beats of the song only help the imagery).

“I went through that bad shit, and now I’m immune,” they sing on “Immune,” an empowering track that has Perez knocking out a steady beat perfect for your bicycling playlist, Earle getting his groovy synth groove groovin’, and Martin reminding us that we’ve come through a lot in the past few years, and we can, and should, think of ourselves as bad asses from this day forward.

Their cover of The James Gang‘s “Collage” is sharp. They turn it into a synthwave stunner. “It hit me hard like a lightning bolt,” they sing at the start of “Anesthesia,” a song that might be about addiction, or it might be about, finally, getting a rest after all the stuff mentioned in “Immune.” The looping string section in it takes the track up a few notches. It’s a wild touch. “Keep It Together” gets dreamy for the final song, making you feel like the gentleman on the cover, an image of a modern Icarus, falling into the arms of people who seem happy to see him. You’re falling, or perhaps floating, into a calmer state in that club where being in a coma for a little while might do you good.

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

Metro Riders release “Spasm” ahead of upcoming album due September 29, 2023.

A pungent ooze emanates from the subway. As a sticky drum machine sequence rolls out like thick dark fog, ice cold synth swirls rise from the depths.

Since the debut album Europe By Night, one of the main references associated with Henrik Stelzer and his Metro Riders project has been that of cinema, and particularly the European genre films of the 1980s. With its seedy subject matters manifesting both in visual style and music, the vibe of that era has crystallized over time. Passed down to us from deteriorating video cassettes, it became an invaluable key to decoding our present day reality.

And this is true for his new album Lost in Reality, announced today for a September 29th release via Possible Motive. Stelzer does not hide the fact that he builds heavily on that vibe; referencing it through track titles and utilizing a particular recording setup consisting of a Fostex and a reel to reel in order to achieve and recreate the feeling of those soundtracks — as heard on magnetic tape rather than vinyl.

Hear it yourself on the new single “Spasm,” out today, and pre-order the album here.

The motion picture soundtrack as an arbitrary genre definition becomes, in the hands of Stelzer, a pair of X-ray specs for him to envision a kind of music that deals in grains and contrasts rather than hooks and choruses. And like Roddy Piper in John Carpenter’s 1988 film They Live, he hands those glasses over for us to see the true face of our times.

On Lost In Reality, Metro Riders maps out an emotional geography of the cities at night, wherein the cinematic haze becomes a tool by which we can view the cities with new eyes. Not steering away from the darker alleys nor the harsh realities of modern day politics masquerading as progress. Yet escapism, in the end, seems the only viable option. But not as an endgame, but rather a stepping stone for building a new vocabulary for an utopian language.

Lost In Reality is the second album from Sweden based Metro Riders (real name Henrik Stelzer). Employing outdated software and now obsolete analogue recording equipment, Metro Riders conjures a suspenseful and gloomy, true to the era re-imagining of lost sounds. Metro Riders encompasses a very niche palette, everything from the prophetic visions of John Carpenter,to the warbled world of Troma films, to Italian horror flicks, euro-crime and the cybernetic sewers of The Skaters.

Keep your mind open.

[I might spasm if you don’t subscribe.]

[Thanks to George at Terrorbird Media.]

Slighter releases “Pulling Me Under” from his upcoming album due July 21, 2023.

Alternative-electronic artist Slighter presents his new album ‘This Futile Engine’, released via Brutal Resonance Records and Confusion Inc. This 13-track record features collaborations with Steven Seibold (Hate Dept) and Craig Joseph Huxtable (Ohm, Landscape Body Machine, Front Line Assembly, Noise Unit), as well as Yvette Winkler (Vaselyne), Morgue VVitch and Deep Dark Water.

Following up the intense, moody and cinematic lead single ‘Have No Fear’ (with traditional A-side and B-side versions), Slighter also presents an enthralling video for the latest single ‘Pulling Me Under’ feat. Craig Joseph Huxtable, with whom he had previously collaborated on earlier singles ‘Give Me’ and ‘Lights Out’, as heard on FOX’s Second Chance in 2016.

Slighter is the solo moniker of Colin C., who has been fine-tuning the future of electronic music since kickstarting his music in Mid City Los Angeles in the early 2000s. Creating from a unique vantage point, he was involved in collaborations for various Metropolis Records releases and Cleopatra Records compilations, in addition to Slighter releases via his own Confusion Inc. imprint.

Mixed and mastered at The Cell Studio, through the sonic experimentation and innovation entailed in recording this album, Slighter continues to provide new fuel for the counterculture..

“This record was a lot of fun to make with my friends. I’m always enjoying collaborating on Slighter albums and, this time, it felt best to leave the majority of the vocal work to some great voices from Craig to Steven and Tara, Yvette, and Anastasia. It has been an experimental but cohesive experience, the classic cinematic vibes I’m known for hitting with faster Techno and killer bass lines across a 10 track narrative,” says Colin C.

“I think I have a pretty unique way of working outside of genres, but my work still gives off this sort of expansive cinematic vibe, which also retaining a darker mood that gets me associated with various dark sub-culture genres. The themes I often explore has me adopting an ‘Electronic Death Music’ umbrella for the music I make – a play on words, with the music I make being the antithesis of popular EDM”.

While very much an independent artist who largely files under the musical radar, Slighter’s music has also found its way on to mainstream shows over the years, with songs and remixes featured on such television shows as Showtime’s ‘House Of Lies’, ‘Elementary’(CBS), ‘Bones’ and ‘Lethal Weapon’ (FOX), ‘Defiance’ and ‘Covert Affairs’ (NBC-Universal).

As of July 21, ‘This Futile Engine’ will be released across fine digital platforms, including Apple Music, Spotify and Bandcamp. Available as a Deluxe Edition limited edition CD and as a digital download, this album includes three exclusive bonus remixes of ‘Cold Black Waters (feat. Morgue VVitch)’, ‘Pulling Me Under’ and ‘Have No Fear’.

Keep your mind open.

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[Thanks to Shauna at Shameless Promotion.]

Alien Gothic goes “Into the Night” with their debut single.

Colorado-based artist Alien Gothic present their debut single ‘In The Night’, a song that stretches cosmic goth music into a whole new realm, combining all the elements the duo has been striving to integrate into the project in the four years since their inception.

Conjuring up music that can be described as gloom from other worlds, they have been trying to find their way back to the original trajectory they were on previous to crash landing in Barnum, Colorado. With no time to put their lives on hold, they have cooked up a deal to release their ‘High and Dry’ album via Latenight Weeknight Records.

With classic goth rock as its backbone, ‘In The Night’ also sees darkwave smoldering at the surface. A symphonic journey telling the tale of two unknown lifeforms, bringing their favorite sounds to a place they have never explored before, this music is inspired by the beauty of the world around them, while still being pulled into the darkness of the dead stars they came from.

The video tells the tale of their recent exploration as they look for a way out of this world, gravitating to the most iconic structures they find along the way. Mixing in elements of AI, traditional film and lost portraits of the two core members, the song blends reality and fiction, while introducing a vibe they hope to spread to all the other planetary systems around us.

Made up of Ryan Policky (A Shoreline Dream) and Andy Uhrmacher (Genessier), Alien Gothic creates deep gothic electronica, fused with spacial goth autoharp symphonies, deep mellotron overtures mixed with noises from unknown origins on the vast hour long debut. Themes and words recall events that the duo have had from the far reaches of the beyond. With deep beats, lush goth rock entwine with psych and shoegaze layers to create cosmic, pulsating melodies.

Recorded from 2020-2023, Alien Gothic take a journey out of a world gone mad, to spread a sound that is immersive and rich with varied instrumentation. Soundscaping goth is what these artists have become known for elsewhere along the milky way, their spectrums now hitting earth to bring forth a dreary alien orchestra, lost deep in a dark forest beyond the normal stretches of human imagination.

“It’s something we knew would destroy the seedy, cobweb filled danceclubs of the past, bringing forth a new era of goth… alien goth!” says Ryan Policky.

As of July 18, ‘In The Night’ will be available exclusively via Bandcamp. The full ‘High and Dry’ album will be released digitally on August 18 across all fine music platforms.

Keep your mind open.

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[Thanks to Shauna at Shameless Promotion.]

Review: Mort Garson – Journey to the Moon and Beyond (2023 reissue)

I first heard of Mort Garson on an Amoeba Music “What’s in My Bag?” YouTube video featuring members of The New Pornographers. In it, bassist John Collins mentioned how bandmate Neko Case introduced him to Garson – a fellow Canadian who made weird electro music for television, films, and plants. Collins describes him as “a real studio cat.”

That studio cat’s albums are being reissued by Sacred Bones, and one of them is Journey to the Moon and Beyond – a collection of TV ad themes, film themes, and, yes, music he made to be broadcast during the 1970 moon landing. It’s a wild collection of electro oddities and fascinations.

“Zoos of the World” starts us off with an immediate drop into a world of 1970s electronic wonder. It sounds and feels like something you’d hear on a Disneyworld ride that’s long since closed and been turned into an overpriced restaurant. “The Big Game Hunters (See the Cheetah)” mixes Esquivel-like jazz (and sexy feminine vocals) with psychedelic synths and slick beats. “Western Dragon” comes in three parts: One a brief outro (part 3), one with a wild guitar solo (part 2), and one a cool meditative track (part 1).

The album’s centerpiece is “Moon Journey,” which simulates the sounds of space capsules closing, rockets launching, heroes being heroic, navigational systems bleeping and chirping, retro-rockets firing, and the strangeness of being in low gravity. There are three tracks titled “Music for Advertising” (numbers 6 through 8). Number 6 has a little bit of a bossa nova feel to it, number 7 is luxurious and thrilling, and number 8 is bold, adventurous, and robotic.

The inclusion of the main theme and end credits to the 1974 blaxploitation film Black Eye is pure gold, as is “Captain DJ (Disco UFO Part II)” – a groovy, sparkling disco dance track with Saturday morning cartoon lyrics and vocals (“Disco U-F-Oh-Oh-Oh! The faster you spin, the further you go!”). “Three TV IDs” is a collage of three TV jingles for cool stations you saw as a kid and then never again because they were bought out by some corporate monstrosity.

“Love Is a Garden” could be a follow-up to his entire Plantasia album (an electro record made for playing to your plants), as it’s soothing and almost an 8-bit version of floating down a jungle stream. “The D-Bee’s Cat Boogie” is a wonky, wild trip, and the album closes with the Black Eye end credits and its sexy, smoky vocals atop Garson’s slick arrangements (check out that 1970s jazz flute!).

This is a super cool record, and one of the best reissues I’ve heard in a long while, let alone one of the most fun electro records I’ve heard in a couple years. God bless Sacred Bones for putting Garson’s stuff back out there for people like me to discover.

Keep your mind open.

[Journey to the subscription box while you’re here.]

[Thanks to Alex at Terrorbird Media!]

Mort Garson takes us to “Zoos of the World” from an upcoming release of some of his classical material.

A master of playful sonic whimsy, electronic pioneer Mort Garson spent a lifetime quietly pushing the boundaries of synthesis. The latest track to his name, “Zoos of The World,” is baroque and unpredictable. Centered on warm keyboard patches that come together to replicate the tonalities of a retro-futuristic orchestra, the springy cut was taken from a 1970 National Geographic special. The track follows “Moon Journey,”the soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. Nearly in tandem with the release date, July 20th will mark Garson’s 99th birthday, and the anniversary of the moon landing. Both taken from the forthcoming archival release Journey to the Moon and Beyond, out July 21 via Sacred Bones.

Journey to the Moon and Beyond advanced listening parties have been announced at the following locations for July 20, 2023:

Amoeba, San Francisco, US

Balades Sonores, Paris, FR

End Of An Ear, Austin, US

Family Store, Brighton, UK

Monorail, Glasgow, UK

Newbury Comics, Boston, US

Rough Trade, New York, US

Seasick Records, Birmingham, US

Stranger Than Paradise, London, UK

It’s hard not to use plant terminology when discussing the long, strange career –and subsequent renaissance– of Mort Garson. Like a seed buried deep and left to germinate for months (or in this instance, decades), his great body of work was scattered in record bins and tape closets and all but forgotten in pop culture. A classically trained musician and electronic researcher with a tireless work ethos that led to nearly over a thousand writing and arranging credits, Mort Garson’s music got buried in the topsoil of time.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more. (And naturally, just playing the vinyl reissue of Plantasia at home made every single plant in your house thrive.)
Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom. Journey to the Moon and Beyond finds even more new facets to the man’s sound. There’s the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson), some previously unreleased and newly unearthed music for advertising. Just as regal is “Zoos of the World,” where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name. The mind reels at just what project would have yielded a scintillating title like “Western Dragon,” but these three selections were found on tapes in the archive with no further information.

The crown jewel of the set is no doubt Garson’s soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That’s one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive. So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort’s many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world –in small daily things, popular trends, and big historical events– with our tweets, posts, reaction videos, and the like. In that way, Garson lived such history and then added his own little spin on things.

Keep your mind open.

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[Thanks to Alex and Andi at Terrorbird Media.]