Moment Amplified

Ultra Tonal

Wide Blossom is a last movement of Sketch of Nature.

Wide Blossom

Dust

Centre Church Jo Thomas

Light Reality

Jo Thomas 
Poly plastic
PolyPlastic from A Sketch of Nature, Composer Jo Thomas Violinist Simmy Singh
 Ty Cerdd 2021

PolyPlastic from A Sketch of Nature, Composer Jo Thomas Violinist Simmy Singh

SunshineoverNimbus

Sunshine over Nimbus

Hollow Cloud Sunshine Over Nimbus

Jo Thomas - Alpha

Jo Thomas - Glitch

Jo Thomas - Dark Noise

Trails 3

Cascade Infinity is a work for Gezhung and Electronics . It was composed by Jo Thomas. Played live in Pontio by Luxi Tain on the 18.2.24

Cascade Infinity Jo Thomas (segements)

We swim where the birds are

Agna Rita – many voices, one message - review by Abi Bliss 
All fish weirs on the Thames and the Medway and throughout England are to be entirely removed, save on the sea coast.
You may be forgiven for not immediately identifying that as a line from the Magna Carta, the document revered across eight centuries as one of the icons of British freedom and democracy. But the treaty signed by King John in 1215 was chiefly about restraint. It offered royal subjects freedom through protection, whether that meant limiting the power of the crown to seize property and demand taxes, standardising weights and measures of wine, ale, corn and cloth – or stopping the obstruction of waterways. 
View it from a distance through the foggy lens of history and the Magna Carta makes a fine symbol of liberty; examine the details up close and you discover clauses such as: No-one is to be taken or imprisoned on the appeal of woman for the death of anyone save for the death of that woman’s husband. It seems that freedom is more for some than others.
In contrast, electroacoustic music entices with the promise of a world without limits. Confined only by their own imagination and the available technology, composers can sculpt sounds, synthesise, manipulate and refine them to levels of detail more delicate than any human ear can perceive. They can recreate worlds or shape impossible new ones, bend the laws of physics or, as Jo Thomas did on 2010’s Alpha, merge human with machine into a cyborg future.
In a similar way to abstract visual art and sculpture, electroacoustic music offers listeners – indeed, demands that they exercise – the freedom to interpret. And if composers are rulers only in the most intangible sense and only for the length of each piece, still it is here that they should feel the need for self-restraint, to allow listeners space to build their own houses of meaning around these orphaned sounds and furnish them with individual experience.
Diffused across 22 speaker channels and more than an hour in length in its installation form, Agna Rita is Thomas’s largest and boldest work to date. Even in its stereo CD version, the scope is striking. Yet although at times it confronts and challenges, there are no bombastic displays of power here. Instead, it welcomes in listeners on a human scale. 


Single

GrantedbyGod

Granted By God Agna Rita

Our Noise Agna Rita

 Agna Rita – many voices, one message - review by Abi Bliss 
All fish weirs on the Thames and the Medway and throughout England are to be entirely removed, save on the sea coast.
You may be forgiven for not immediately identifying that as a line from the Magna Carta, the document revered across eight centuries as one of the icons of British freedom and democracy. But the treaty signed by King John in 1215 was chiefly about restraint. It offered royal subjects freedom through protection, whether that meant limiting the power of the crown to seize property and demand taxes, standardising weights and measures of wine, ale, corn and cloth – or stopping the obstruction of waterways. 
View it from a distance through the foggy lens of history and the Magna Carta makes a fine symbol of liberty; examine the details up close and you discover clauses such as: No-one is to be taken or imprisoned on the appeal of woman for the death of anyone save for the death of that woman’s husband. It seems that freedom is more for some than others.
In contrast, electroacoustic music entices with the promise of a world without limits. Confined only by their own imagination and the available technology, composers can sculpt sounds, synthesise, manipulate and refine them to levels of detail more delicate than any human ear can perceive. They can recreate worlds or shape impossible new ones, bend the laws of physics or, as Jo Thomas did on 2010’s Alpha, merge human with machine into a cyborg future.
In a similar way to abstract visual art and sculpture, electroacoustic music offers listeners – indeed, demands that they exercise – the freedom to interpret. And if composers are rulers only in the most intangible sense and only for the length of each piece, still it is here that they should feel the need for self-restraint, to allow listeners space to build their own houses of meaning around these orphaned sounds and furnish them with individual experience.
Diffused across 22 speaker channels and more than an hour in length in its installation form, Agna Rita is Thomas’s largest and boldest work to date. Even in its stereo CD version, the scope is striking. Yet although at times it confronts and challenges, there are no bombastic displays of power here. Instead, it welcomes in listeners on a human scale. 


We Won't Deny  Agna Rita

Crystal is nearly 40 minutes long. It has been written for 5.1 DVD as a commission for Diamond Light Source. On the 20th of October it was  performed live in the space of the electron storage ring. 

''Work and process'' 
It is a sound work composed directly from frequencies generated by the electron storage ring, a particle accelerator. The work also uses binaural recording from locations inside Diamond’s experimental hall, storage ring and beamlines. Writing this work, my imagination was sparked from the start and my aim was to write a work of substantial length which reflected both the actual content of the spectrum of the space and also the metaphorical content of the sounds.

The Diamond synchrotron is a rich multi-spectral sonic environment, with a cacophony of sounds generated by machines which hiss pure nitrogen, pump air from vacuum chambers and cool high-powered magnets. There is never one time where any sound is exactly the same. It is a large space, circular; extremely reverberative, vibrating complex tones from the electro-magnetic and mechanical interfaces which generate the electron beam which travels at near the speed of light. The actual physical space of the synchrotron seems to capture pure human intelligence, concentration and the ability to look beyond what is currently possible. It is light, futuristic and like nothing I have ever seen before.

Most of the sounds you hear in this work are the sounds of electron injections into the particle accelerator at certain times of the day. This happens on a regular basis every 10 minutes; it is predicable and ever present. The sonic content of the injections is grainy and dry. I choose to listen to the micro tonalities captured in
the streams of injections developing detailed micro melodies which appear and disappear not unlike the atom injections. The injections are heard in full at the end of the work.  I also took binaural field recordings from points in the synchrotron area and I used a selection of these within the work.


Crystal is designed both for concentrated listening and also for installation. One can walk into the work at any time and capture phrases “injections of a sonic palette” or simply sit down and listen to the whole work. It captures my experience of listening in on the inner workings of the synchrotron. The space itself captures a sense of timelessness, and my aim was to reflect this in the form of the music.
The work was commissioned and published by Diamond Light Source, composed in the Electro-acoustic Studios of the University of Wales Bangor, with support from a research grant from the University of East London. Many thanks to all involved in making the work.
 
Jo Thomas, London October 2011


Crystal Diamond Light Source

Life is a Delicate thing.

Random Feathers was written in the Summer of 2017.I am using very high frequencies within this work as I wanted to develop a full ambient reflective space.It was written in the Studio's of EMS Stockholm and edited in the home studios of Jo Thomas in North London.It is a work which invites concentrated listening maybe for a few moments or an hour, it is delicate work and full of internal movement.It comes in 5 movements. It is being played in the art lending library on the 8th of December.

Random Feathers

Tula

Ultra

Shine

Jo Thomas Live Performance from Leeds Belgrave Music Hall.
Inspired by the work of Radio Phonic's This album has been put together for the Synth Remix Tour. 
Composed and Remixed for the Synth Remix Tour./ Classical Remix 
Inspired by work from the papers of Delia Derbyshire and notes from the Radio phonic workshop. 
Support and Funding for the whole project gratefully received from 
Arts Council of England, Sound and Music, PRS Foundation and the Fenton Arts Trust..
credits
Composition and performance Jo Thomas
Sound Hannah Broderick
Live at Belgrave Music Hall

Nature's Numbers: Echo's of the Earth [ Live at Leeds Belgrave Hall]

Live Performance from Leeds Belgrave Music Hall.
Jo Thomas For Synth Remix 2018 
Inspired by the work of Radio Phonic's 
Composed and Remixed for the Synth Remix Tour./ Classical Remix 
Inspired by work from the papers of Delia Derbyshire and notes from the Radio phonic workshop. 
Support and Funding for the whole project gratefully received from 
Arts Council of England, Sound and Music, PRS Foundation and the Fenton Arts Trust..
credits
Composition and performance Jo Thomas
Sound Hannah Broderick

Time Lament

Static Love

Bandcamp Buy

Cover

Mermaids , 
Jo Thomas for Holidays Records 2013
Released by Holidays Records, Spring 2013. ‘Mermaids’ was written as a commission from Holidays Records for publication on vinyl. The concepts of the work are built around freedom and unity framed in metaphors of water and transformation. The sound sources are mostly from the Human Voice.

http://www.jothomas.me
http://www.holidaysrecords.it/
 

Track 1 Mermaids (excerpt)

Mermaids , 
Jo Thomas for Holidays Records 2013
Released by Holidays Records, Spring 2013. ‘Mermaids’ was written as a commission from Holidays Records for publication on vinyl. 

www.jothomas.me

Track 2 Bream Choir (excerpt)

Threads

Jo Thomas is an artist composer and creative musician based in London who works with live electronic and installation. Her work is published through her own imprint Soft Apple , Naxos, NMC recordings, Holiday Records and Entracte. 
www.jothomas.me

Jo Thomas

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