Synergy -

Synergy is the recording/performance moniker of American electronic musician Larry Fast (born December 10, 1951), who released seven albums between 1975 and 1982 on Passport Records.

Fast pioneered structured, orchestral synthesizer compositions that blended sequenced rhythms with layered textures. His 1975 debut Electronic Realizations for Rock Orchestra introduced the Synergy sound, followed by Sequencer, Cords, Games, Audion, and Metropolitan Suite — albums that expanded his palette with evolving synth technologies.

He contributed synthesizer work and arrangements to Peter Gabriel’s first five solo albums and toured extensively with him. Fast also recorded with Nektar, Shadowfax, Sylvia, Hall & Oates, and the Intergalactic Touring Band, applying his electronic innovations across rock, jazz, and pop contexts. His early experimentation with Moog, Oberheim, and 360 Systems modules shaped a career defined by technical ingenuity and compositional sophistication.

Background

Larry Fast grew up in Livingston, New Jersey, studying piano and violin before expanding into guitar and bass. By the early teens, he was already building primitive electronic devices, constructing oscillators and filters from magazine circuits and personal designs, and experimenting with tape recording, stereo, and audio circuitry. He attended Lafayette College in Pennsylvania, earning a degree in History while merging his classical training with computer science to explore electronic sound.

In the mid-1960s, as Moog instruments evolved from modules into complete systems, Fast acquired his own Moog hardware alongside his custom-built devices. He began performing with local bands and creating recordings for other musicians, including Rick Wakeman of Yes, whose 1973 Tales from Topographic Oceans sessions brought Fast to the UK and led to his first recording contract with Passport Records.

Before launching his Synergy project, Fast contributed synthesizer work to various acts and film/TV scores, including early collaborations that honed his orchestral electronic approach. His early setup combined Minimoog, Oberheim modules, and 360 Systems components, laying the foundation for the structured, symphonic textures and sequenced rhythms that would define his solo albums.

Electronic Realizations for Rock Orchestra

Synergy released his debut album, Electronic Realizations for Rock Orchestra, in May 1975 on Passport.

Larry Fast recorded and performed the album entirely solo, using a battery of analog synthesizers, sequencers, and signal processors to emulate the tonal breadth of a full symphonic ensemble. Its structured electronic arrangements merge baroque phrasing, filmic tension, and futuristic sound design—bridging early synth exploration and symphonic rock formalism.

Fast composed four of the album’s five pieces and arranged one by Richard Rodgers (“Slaughter on Tenth Avenue”). The project stands as an early demonstration of the synthesizer’s orchestral potential, with layers of Minimoog, Oberheim Expander, Mellotron M400, ARP 2600, and custom-built control devices.

Each side alternates between cinematic development and thematic variation. The two longest tracks, “Legacy” and “Slaughter on Tenth Avenue,” unfold as extended movements that simulate chamber and brass textures through analog tone modulation. “Synergy” and “Relay Breakdown” use sequencer-driven pulses to suggest machine precision, while the closing “Warriors” builds from spatial ambience to grand symphonic cadence.

A1. “Legacy” (10:05) — Multi-section suite with interlocking sequences and layered counterlines that emulate strings, reeds, and brass through synthetic tone shaping.
A2. “Slaughter on Tenth Avenue” (11:46) — Adapted from Richard Rodgers’ 1936 ballet score; reinterpreted electronically with oscillating strings and phased percussion figures.

B1. “Synergy” (5:26) — Futuristic tone study with oscillated motifs and phased resonance textures.
B2. “Relay Breakdown” (6:18) — Sequence-based rhythmic study suggesting mechanical communication signals.
B3. “Warriors” (12:54) — Expansive closing piece alternating atmospheric drones and martial symphonic bursts. Original bassline by Jerry Rutman.

Sessions occurred at House of Music, West Orange, New Jersey, between January 2 and February 3, 1975, with Larry Fast as producer, arranger, performer, and engineer. Mixing took place at Mediasound, New York, from February 11–17 with Clearmountain as remix engineer, and mastering followed at Sterling Sound on February 24 by Robert Ludwig.

The album was mixed for Sansui QS quadraphonic playback. Cover artwork, titled Manchester Bridge II, was created by Charles Magistro. Back cover photography was taken by Fast himself.

Electronic Realizations for Rock Orchestra was marketed as a demonstration of synthesizer orchestration and became an influential early document of progressive electronic music, contemporaneous with works by Tomita and Wendy Carlos.

Later in 1975, Fast supplemented British-German space rockers Nektar on their sixth album, Recycled, a cosmic song suite.

Sequencer

Synergy released his debut album, Sequencer, in May 1976 on Passport.

The album continues Larry Fast’s exploration of multi-layered electronic composition, this time with a leaner, more mechanical sound that emphasizes rhythmic pulse and tonal contrast over the symphonic scope of Electronic Realizations for Rock Orchestra. The title reflects Fast’s growing focus on the sequencer as a compositional tool, shaping each track’s phrasing and structure through programmed motion.

Fast performed, arranged, and engineered the album himself on an array of analog synthesizers and sequencers, joined only by Nektar drummer Ron Howden on percussion. He wrote five of the album’s seven pieces and arranged two adaptations: one of Mason Williams’ 1968 instrumental “Classical Gas,” and one of Antonín Dvořák’s “Largo” from New World Symphony.

Fast’s own compositions occupy the first half and much of the second. “S-Scape,” “Chateau,” and “Cybersports” layer sequenced tones and synthetic timbres into interlocking patterns that suggest digital landscapes. The two-part “Paradox” suite merges classical phrasing with spatial effects, while the closing “(Sequence) 14” builds an evolving pulse piece through programmed modulations and timbral shifts.

A1. “S-Scape” (5:50) — Opens with oscillating sequences and phased accents that simulate percussive movement.
A2. “Chateau” (4:16) — Tonal blend of baroque motifs and airy synthesizer voicings.
A3. “Cybersports” (4:39) — Employs rhythmic alternation and rapid signal exchanges that mimic digital communication.
A4. “Classical Gas” (Mason Williams) (3:00) — Originated as a 1968 hit instrumental by Mason Williams; rendered here as a tightly sequenced electronic adaptation emphasizing the original’s contrapuntal motion.

B1a. “Largo from Dvorak: New World Symphony” (Antonín Dvořák) (3:40) — Transposes Dvořák’s slow movement into an atmospheric synth arrangement.
B1b. “Icarus” (3:20) — Expands on the preceding mood with a rising harmonic progression symbolizing ascent and collapse.
B2. “(Sequence) 14” (11:14) — Extended multi-section suite structured around evolving modular patterns and rhythmic mutation.

Sessions occurred at House of Music in West Orange, New Jersey, where Fast engineered and arranged the material with producer Marty Scott and percussionist Ron Howden. Mixing also took place at House of Music, and mastering followed at Sterling Sound by George Marino.

Art direction was handled by Toni J. Wadler with graphic design by Don Montgomery and cover illustration by Larry Laslo. Photography was by Lee Marshall.

Sequencer appeared in a gatefold sleeve through Passport Records, marketed in the U.S. by ABC. It consolidated Fast’s reputation as a leading American synthesist and demonstrated his early integration of sequencing technology as both compositional framework and rhythmic engine in electronic music.

1976/77 Session Credits

Apart from his own music, Fast produced Watercourse Way, the 1976 debut album by Shadowfax. He also proliferated as a sessionist with keyboard credits on albums by Deodato, Dr. Buzzard’s Original Savannah Band, and the red Vibration release by veteran R&B singer Sylvia Robinson. Fast also joined the backing band of Peter Gabriel, the former Genesis frontman who recorded his first solo album that autumn.

In 1977, Fast appeared on albums by Martha Velez and Hall & Oates tour bassist Stephen Dees (Hip Shot). He also partook in the Intergalactic Touring Band, a fictional group comprised of transatlantic stars (Anthony Phillips, Arthur Brown, Annie Haslam, Ben E King, Meat Loaf, Rod Argent) for a sci-fi concept album on Passport Records.

Cords

Synergy released his debut album, Cords, in September 1978 on Passport.

Larry Fast crafted Cords as a suite of orchestral electronic compositions performed entirely on synthesizers, sequencers, and modular systems. Recorded between September 1977 and April 1978, the album merges classical structure with futuristic sonics in a manner distinct from contemporaries like Tomita or Tangerine Dream, emphasizing linear development and tightly constructed phrasing over ambient drift.

Fast composed and performed all material, programming and producing the album himself. He co-wrote select pieces with guitarist–synthesist Pete Sobel, who also contributed electronic guitar simulations and served as associate producer.

The ten-track set explores themes of technology, mythology, and communication breakdown. “On Presuming to Be Modern I–III” bookends the album in three movements, tracing a cycle of societal ascent and collapse through synthetic timpani bursts and layered tonal clusters. The two-part “Phobos and Deimos Go to Mars” conveys motion and distance through rhythmic stereo interplay and metallic timbres, while “Sketches of Mythical Beasts” combines phased string tones and oboe-like leads to evoke shifting forms. “Disruption in World Communications” employs Arabian-scale motifs and alarm-like textures that suggest geopolitical anxiety. Later tracks like “Full Moon Flyer” and “Trellis” introduce melodic resolution amid mechanical pulse patterns.

A1. “On Presuming to Be Modern I” (3:06) — Opening prelude in cyclical rhythmic figures, portraying technological optimism and decay.
A2a. “Phobos and Deimos Go to Mars (Part 1 – Phobos)” (3:45) — Depicts Martian terrain through layered chimes and spatial rhythm.
A2b. “Phobos and Deimos Go to Mars (Part 2 – Deimos)” (3:29) — Continuation with sharper rhythmic contrast and tonal descent.
A3. “Sketches of Mythical Beasts” (3:32) — Phased string textures and synthetic woodwinds suggest metamorphic creatures.
A4. “Disruption in World Communications” (4:18) — Simulated alarms and Middle Eastern scales underscore tension and collapse.
A5. “On Presuming to Be Modern II” (2:58) — Transitional reprise that closes the album’s first thematic arc.

B1. “A Small Collection of Chords” (1:25) — Short interlude built from arpeggiated harmonic progressions.
B2. “Full Moon Flyer” (7:43) — Expansive mid-tempo sequence featuring layered tonal ascent.
B3. “Terra Incognita” (3:50) — Abstract passage representing uncharted psychological space.
B4. “Trellis” (3:38) — Counterpoint of lattice-like rhythmic strands.
B5. “On Presuming to Be Modern III” (3:25) — Closing movement revisiting the opening theme in darker resolution.

Sessions occurred at Synergy Studio and the House of Music in West Orange, New Jersey, with Fast producing, engineering, and programming. George Marino mastered the album at Sterling Sound in New York.

Cords features cover art by Hipgnosis, whose design reflects the album’s synthetic-human tension with an abstract visual of entanglement and circuitry.

Passport issued Cords on clear vinyl labeled “A Revolutionary Transparent Recording.” The album marked the first Synergy release to incorporate synthesized guitar textures, expanding Fast’s electronic palette beyond keyboard architecture.

Fast also played on 1978 titles by Odyssey, Good Rats, Phil Upchurch, Stormin’ Norman & Suzy, and Peter Gabriel’s second solo album (“scratch”).

Games

Synergy released his debut album, Games, in August 1979 on Passport.

The album marks a further step in Fast’s development of solo electronic orchestration, realized entirely through analog and digital synthesis. Games introduces sharper, percussive pulses and more overt rhythmic structures than its predecessors, incorporating sequenced low-end patterns and machine-tempered percussion textures that anticipate early 1980s electro-symphonic forms.

Fast composed and programmed all material across the album’s six-part suite, using systems by Moog, Oberheim, Sequential Circuits, and Bell Labs’ digital synthesizer prototype. Greg Sims contributed computer programming on “Delta Four.”

Games unfolds as a continuous electronic cycle divided into two main sections. The Delta sequence on side one evolves through layered oscillations and rhythmic shifts, while Soundcheck: Delta 3 on side two reworks live themes that originated during Fast’s 1978 tour with Peter Gabriel. “Delta Four” incorporates a piercing, violin-like timbre that builds tension before resolving into smoother tonal suspension. “Delta One” combines upbeat Moroder-esque drive with atmospheric synthesis, contrasting the album’s more experimental passages.

A1. “Delta Two” (5:38)
A2. “Delta Four” (6:18)
A3. “Delta One” (7:34)

B1. “Delta 3/A” (2:24)
B2. “Delta 3/B” (2:10)
B3. “Delta 3/C” (4:02)
B4. “Delta 3/D” (3:06)
B5. “Delta 3/E” (2:18)
B6. “Delta 3/F” (4:45)

Sessions occurred between February and June 1979 at Synergy Studio and the House of Music in West Orange, New Jersey, with Fast as producer, engineer, and programmer. Charlie Conrad mixed “Delta One.” Robert Ludwig mastered the album at Masterdisk, New York.

Games features cover design and photography by Eric Staller, Mike Mangino, and Murray Brenman, whose image depicts abstracted light sculptures in motion.

Fast also played on 1979/80 albums by Boz Scaggs (Middle Man), Carly Simon, Kate Bush (Never For Ever), and ex-Stories single Ian Lloyd. He did synth programming for Hall & Oates on their eighth album, X-Static, which marked their full embrace of new wave rock. Larry and Kate both appear on Peter Gabriel’s 1980 third solo albums (“melt”), a precedent-setting blend of art rock, post-punk, and world-beat.

Audion

Synergy released his fifth album, Audion, in October 1981 on Passport.

The album balances electronic rock on its first side with symphonic, digitally sequenced compositions on the second. Fast integrates structured guitar-like textures and rhythmic sequencing into more melodic, atmospheric passages, modernizing his synthesizer palette with deeper, richer tones.

Fast composed and performed all material. Digital and analog synthesis employs Moog, Oberheim, Sequential Circuits, PAiA, Deltalab, Apple computers, and Eventide hardware.

Audion divides into two conceptual halves: side one emphasizes energetic, structured electronic rock, as on “Revolt at L-5,” featuring driving synth pulses and string-like timbres that suggest electric guitar riffs. “Terminal Hotel” and “Electric Blue” present tension and release through layered textures and contemplative, sequenced lines. Side two returns to expansive, symphonic electronic arrangements, with tracks like “After the Earthquake” and “Ancestors” highlighting fanfare-like keyboards and synthesized orchestral flourishes. “Shibolet” evokes a playful, medieval-sounding motif, and “An End to History” closes with ambient, reflective tones.

A1. “Orbit Five” (1:01)
A2. “Revolt at L-5” (4:51)
A3. “Terminal Hotel” (4:11)
A4. “Electric Blue” (6:18)
A5. “Ancestors” (5:28)

B1. “After the Earthquake” (3:30)
B2. “Falcons and Eagles” (5:44)
B3. “Flight of the Looking Glass” (3:22)
B4. “Shibolet” (4:35)
B5. “An End to History” (6:11)

Sessions occurred at Synergy Studio with Fast as producer and engineer. Lacquer cutting took place at Dureco Studio, mastered by K.G.

Audion features cover design by Larry Fast, whose artwork depicts cosmic and futuristic abstractions aligning with the album’s outer-space themes.

1981–86 Activity

In sequence with Audion, Synergy released Computer Experiments: Volume One, an album of computer-generated music. In 1982, he scored the soundtrack to The Jupiter Menace, which explores the gas giant’s gravitational pull on Earth.

Fast also played on 1981/82 albums by Foreigner, Garland Jeffreys, Hall & Oates, Johnny Warman, Meat Loaf, and Southside Johnny & The Asbury Jukes. His Prophet-5 work features prominently on “Shock the Monkey,” an MTV and radio hit from Security, Peter Gabriel’s fourth solo album. Between 1983 and 1986, Fast played on albums by Bonnie Tyler, Joan Armatrading, Rosie Vela, and the studio-based dance project Iam Siam.

Metropolitan Suite

Synergy released his sixth proper studio album, Metropolitan Suite, in November 1987 on Audion.

The album presents a concept reflecting Fast’s fascination with urban architecture, translating metropolitan structures and cityscapes into layered electronic compositions. It combines symphonic synth orchestrations with digital sequencing and occasional DX7 timbres, blending futuristic textures with orchestrated gestures reminiscent of Vangelis and Jarre.

Fast composed and performed all material, employing Moog, Memory Moog, SC Prophet 5, and Yamaha DX7 synthesizers, with digital editing by Rhonda Schoen and engineering assistance from Neil Nappe.

The Metropolitan Suite portion (tracks B1–B5) forms a continuous conceptual arc depicting New York’s industrial and cultural landscape, from the subdued “North River” to the ceremonial tension of “Steam and Steel Towers” and the martial undertones of “The City Goes to War,” culminating in the reflective “The End of an Era.” The remaining tracks explore atmospheric and urban-inspired electronic pieces: “Into the Abyss” and “Prairie Light” extend the suite’s thematic textures, while “West Side Nights” introduces lounge-tinged synth layers, and “Redstone” closes with a contemplative resolution.

A1. “Into the Abyss” (7:18)
A2. “Prairie Light” (6:54)
A3. “West Side Nights” (8:15)

B1. “North River” (1:20)
B2. “Steam and Steel Towers” (6:15)
B3. “The City Goes to War” (6:17)
B4. “Metropolitan Theme (Main Theme)” (4:09)
B5. “The End of an Era” (3:10)

Sessions occurred at Synergy Studio for MIDI composition from January to October 1986. Digital multitrack recording took place at House of Music, West Orange, NJ, from September 3–8 and October 16–20, 1986, with mixing at House of Music from November 1–10. Fast produced and engineered the album.

Metropolitan Suite features cover artwork by Larry Fast and Murray Brenman, with light sculpture by Bill Parker. Photography includes front cover by Pete Turner and back/booklet by Miguel Pagliere. Mastering was handled by Bob Ludwig.

Discography: