Garson self-released the album Mother Earth's Plantasia in 1976. He used his Moog to create the suitably groovy vibe of each of its 10 instrumental tracks. "Concerto for Philodendron & Pothos" twinkles like the first stars to emerge after a sunset. "Symphony for a Spider Plant" bubbles with wonder. "A Mellow Mood for Maidenhair" bears traces of a psychedelic awakening. But the stated audience of this strange but soothing music was not people. It was for plants.
Still, in recent years, a new generation of artists, many with connections to the ambient electronic music community, have embraced the idea of making music in highly specialized ways to foster a connection with plants. Among them is Kurt Attard of Australia's Brainwave Power Music, whose YouTube channel has over half a million subscribers. He used "binaural beats and isochronic tones" for several videos aimed towards plants; combined they currently have over 800 thousand plays. In Germany, B. Ashra's Music for Growing was made specifically for nurturing hemp plants by using what he calls THC's "molecular frequency" of 10.77 Hz. David Edren of Belgium was inspired directly by Garson's Plantasia when he made Music for Mimosa Pudica & Codariocalyx, a sprightly minimalist project dedicated to a pair of houseplants he kept in his home. "The album invoked an extra layer of focus in my life and work," says Edren, "which is gentleness and positiveness towards all beings around us."
As the planet faces impending ecological crises, plants are seen as one of our greatest allies to combat climate change. After years of mistreatment, many artists may feel like it's time to normalize relations between humankind or plant life, or at least do something to foster a greater bond. "We're at this pivotal moment where people are understanding that the only way to come back into harmony with our environment is to realize that we're not separate from it," Shapiro says.
This is the first work performed by Stevie Wonder to create a soundtrack, the documentary "The Secret Life of Plants", based on a book of the same name of Wallon Green. As the producer of the documentary -Michael Braun- and the sound engineer -Gary Olazabal- were describing to him every detail and sequence of the documentary, Stevie Wonder was transforming it into sound sensations. It Was recorded between February and April 1979 and released in late October. It's a double album that comes three years after the huge success of the previous album and that is not well received by critics, the album was largely instrumental and very unorthodox in the business, giving more priority to compositional and creative aspect. Despite this, and that the documentary was not shown to the general public got a platinum record and No. 4 on the charts R&B and Pop in the USA
The journey through the secret life of plants employing unusual combinations synthesizer including the first use of a digital synthesizer sampling -Computer Music Melodian- is one of the first digital recordings. On this album Stevie Wonder mixed sounds from oriental folklore, African music, classical music, jazz, or ambiental music, crediting one of the first recordings New Age. The album cover was chosen by Rolling Stone in 1991 in a list showing the best top 100 classic covers. The technical mastery of Stevie Wonder, is perfectly merged with the suggestive mysticism radiating documentary content, creating a fascinating testament to the emotional and spiritual symbiosis that may exist between plants and man. An album of worship for many people, getting his digital recordings were influences for the new digital sound that will come a little later in the music of the 80s.
While the idea of plants possessing a secret life may be rooted in mythology and folklore, there are scientific studies that suggest plants have remarkable abilities to communicate and perceive their surroundings. Research on plant intelligence and sensory perception reveals that plants can respond to stimuli, communicate through chemical signals, and exhibit adaptive behaviors.