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Subtitled \"warm earth music for plants... and the people that love them,\" it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Before Brian Eno did it, Mort Garson was making discreet music. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored the 1969 moon-landing and plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell's \"By the Time I Get to Phoenix.\" But as his daughter Day Darmet recalls: \"When my dad found the synthesizer, he realized he didn't want to do pop music anymore.\" Garson encountered Robert Moog and his new device at the Audio Engineering Society's West Coast convention in 1967 and immediately began tinkering with the device. \"My mom had a lot of plants,\" Darmet says. \"She didn't believe in organized religion, she believed the earth was the best thing in the whole world. 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Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him.\"My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,\" Darmet says of Plantasia's new renaissance. \"He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.\" Garson seems to be everywhere again, even if he's not really noticed, just like a houseplant.\u003c\/p\u003e \u003cdiv data-bt-autogen\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003ePlantasia\u003c\/li\u003e\n\u003cli\u003eSymphony for a Spider Plant\u003c\/li\u003e\n\u003cli\u003eBaby's Tears Blues\u003c\/li\u003e\n\u003cli\u003eOde to An African Violet\u003c\/li\u003e\n\u003cli\u003eConcerto for Philodendron and Pothos\u003c\/li\u003e\n\u003cli\u003eRhapsody in Green\u003c\/li\u003e\n\u003cli\u003eSwingin' Spathiphyllums\u003c\/li\u003e\n\u003cli\u003eYou Don't Have to Walk a Begonia\u003c\/li\u003e\n\u003cli\u003eA Mellow Mood for Maidenhair 1\u003c\/li\u003e\n\u003cli\u003eMusic to Soothe the Savage Snake Plant\u003c\/li\u003e\n\u003c\/ol\u003e \u003cp\u003e\u003cstrong\u003eUPC:\u003c\/strong\u003e 843563116029\u003cbr\u003e\u003cstrong\u003eLabel:\u003c\/strong\u003e Sacred Bones\u003cbr\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e 6.21.19\u003cbr\u003e\u003cstrong\u003eFormat:\u003c\/strong\u003e CD\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Alliance Entertainment","offers":[{"title":"Default Title","offer_id":55354969129128,"sku":"277931","price":14.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0633\/5456\/8872\/files\/3917398.jpg?v=1774280642"},{"product_id":"ladytron-paradises-cd-new-n","title":"Ladytron - Paradises (CD) (New (N))","description":"\u003cp\u003eThe iconic and influential electronic pop group Ladytron returns with a new album 'Paradises' - their first since 2023's critically acclaimed 'Time's Arrow'.Spanning dance and indie movements since their formation in Liverpool at the end of the last millennium, Ladytron have earned a unique position by carving out new sonic and conceptual space, and refusing to abide by formula or trend. In the early 2000s, the fiercely individual group were placed at the forefront of the so-called electro-clash scene (which now enjoys another revival), but with time, they came to appreciate the pop cultural moment that they had reluctantly become part of.The new album follows a period of renewed cultural presence for the band. Their 2002 single \"Seventeen\" unexpectedly went viral on TikTok, introducing Ladytron's sound to a new generation and amassing hundreds of thousands of fan-made clips. 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Following 2021's immersive Harlecore project, Harle considers Cerulean his true debut. \"This is my debut album-It really is the big one.\"Cerulean is a voyage into vast, alien sonic landscapes where speaker-blowing bass and euphoric trance synths meet intricate textures, from tactile sound design to field recordings of waves. It embodies Harle's pursuit of melancholic euphoria - a blend of megalophobic majesty and raw humanity - inspired by Andrei Tarkovsky's Stalker, existing \"on the threshold between dreams and reality.\"Seeking \"the best melodies sung by the best voices,\" Harle enlisted an exceptional cast of collaborators, including Caroline Polachek, Clairo, Julia Michaels, PinkPantheress, Oklou, and MNEK, alongside newer voices like kacha-even his own daughters. Cerulean balances dancefloor power with emotional resonance to brilliant effect. Harle's wide-ranging influences - from hedonistic rave to the haunting Dark Souls video game series, Philip Glass's Einstein on the Beach, and Renaissance composers John Dowland, Thomas Tallis, and William Byrd - underpin the album's dazzling, genre (and centuries)-spanning focus.Born in North London, Harle's early exposure to avant-garde concerts and chart pop shaped his singular musical lens. 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On their Sacred Bones debut URGH, the four-piece - vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall - are a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Across the ten tracks, the band interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.Much of the album was written during a residency at an eerie studio house in the outskirts of Leeds, then recorded across Berlin and Greater Manchester. It was an intense environment partially due to the health issues faced by Caulfield and Macdougall during the writing and recording process.Yet Mandy, Indiana remain uncompromising. Caulfield uses her voice as a distorted instrument and a weapon, oscillating between playful and eviscerating. The throbbing siren-sound of \"Magazine\" stands alongside the cut-up vocal fry of \"try saying\" and the shapeshifting ferocity of \"ist halt so,\" which channels the urgency of protest movements, referencing resistance to the genocide in Gaza while speaking to struggles more broadly, while final track \"I'll Ask Her\" is a deliberate directness calling out toxic boy's club culture and a tenacious reckoning that hangs over the album at large.Although there are still undeniable \"bangers\" (like the frazzled rap of \"Sicko!\" featuring billy woods), URGH often feels hewn with precise cinema. From the bristling techno of \"Cursive\" to the deconstructed feedback loops of \"Life Hex,\" the album moves between industrial catharsis and cinematic unease, threading a tension that Fair describes as \"a remix of itself.\" This contrasting palette is both a necessary aspect of the record as well as the underlying connective tissue.Though deeply personal, URGH reflects the violent, fractured state of the wider world. Caulfield's lyrics grapple with assault, systemic indifference, and the omnipresence of pain, while also insisting on moments of beauty and solidarity. 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