The Mojo Ambience “ok_computer,” a CD released by Mojo magazine in 2008, represents some of the best techno music of our time. Drawing upon the achievements of computer music geniuses, such as John Chowning, Robert Moog, and Max Mathewes, the various artists compiled on this album make use of ambient textures, synthesizers, and modulation melodies. Through the atmospheres created within the music, this compilation of techno music allows the listener to envision different life experiences, such as being frightened of circuses, skateboarding or rollerblading, and partying. In the first three songs, “Circus of Death,” “Down in the Park,” and “Silent Shout,” the atmosphere created throughout the entirety of the songs plays to the senses of the listener, especially through the use of ambient textures and synthesizers. “Circus of Death” begins by simulating flying through the modulations used by the Human League. Combined with the eerie circus music created from what sounds like a high pitched version of a Hammond organ, this piece manages to illicit a spooky image of circuses. The Human League, the artist of the piece, also utilizes heavy reverb and menacing lyrics and sound effects in order to create this horrifying atmosphere. Though not as intense as “Circus of Death,” “Down in the Park” takes the listener on a musical journey, it seems, through its texture. All of the modulation melodies produced on this track simulate some form of movement, perhaps riding a skateboard or rollerblading. For a specific reference, this song could possibly be included on the soundtrack of a skateboard video game. It truly reminds me of the soundtrack of Tony Hawk’s “Underground.” “Silent Shout,” the most upbeat of the three, utilizes vocal synthesizers or computer generated vocals to create its ambient texture. The juxtaposition of this voice to the heavy bass and echoing of melody serves to emphasize the idea of the “Silent Shout” performed by Gary Numan and the Tubeway Army. The incorporation of computer generated vocals is a reflection on Max Mathewes, who invented this technique, and his song “Bicycle Built for Two” which uses similar modified vocals. Overall, the ambient textures created in these three pieces captures the concept capitalized upon by John Chowning in the 1970s, particularly in the creepy atmosphere created in his piece “Stria,”” which was produced using an FM synthesizer. The work of Robert Moog, who invented the Moog synthesizer, is also present on this album in the song “Burning Car.” John Foxx, the artist of this piece, used a lot of zip and zap sound effects which are similar to the vibrations created using the Moog synthesizer. The same random sound effects are also present, along with reverbbed vocals, in the piece “Place I Know/Kid Like You,” which shows the influence computer music has on modern music today. The best song on this album in terms of the usage of ambient textures, synthesizers, and modulation melodies would be the instrumental track, “Afraid of Monsters.” This piece is completely computer generated, and truly serves as one of the greatest examples of today’s computer music. The introduction, which consists of a melody superimposed by a series of zips, shows the importance of polyrhythm (more than one rhythm, each serving to emphasize the others at the same time or as an echo) and modulation melodies. In fact, the entire piece is built from the original “zip series,” as more modulation melodies are added throughout the track. “Afraid of Monsters” also creates a peaceful ambience through its melody, simulating a peaceful sleep. However, the synthesizers and modulation melodies serve as the disturbances or “monsters” which are present throughout that peaceful sleep. The rest of the album incorporates many of the aforementioned techniques, but creates many different atmospheres; for example, “Pepper Box” simulates the ‘70s psychedelic flare, “Plastic Man” presents a jazzy cruising melody, and “The Acid Life” simply makes the listener want to go to a highlighter party or rave! “ok_computer” is a compilation extremely reflective of computer music history. It shows us how integral computers and technology really are to modern music, and that without it, music would not be possible.