She named her ensemble the LSI Philharmonic: "('Large Scale Integration' circuits, i.e., computer chips)".

"[5] But why do all this?...The goal ought to be providing the base on which to build new sounds with orchestral qualities that have not been heard before but are equally satisfying to the ear...look for the next steps using the experimental hybrid and imaginary sounds which have grown out of this work.These efforts bear fruit in her later work Beauty in the Beast (1986) and Tales of Heaven and Hell (1998).

[5] According to Curtis Roads, "Three compositions produced in the 1980s stand as good examples of compositional manipulation of analysis data: Mortuos Plango, Vivos Voco (1981) by Jonathan Harvey, Désintegrations (1983, Salabert Trajectoires) by Tristan Murail, and Digital Moonscapes (1985, CBS/Sony) by Wendy Carlos.

It was re-released in 2000 on the now-defunct East Side Digital label with new cover art that Carlos said was rejected by CBS.

"[9] The New York Times praised the "inventively colorful, atmospheric suites," writing that Carlos shows, "fairly convincingly, that digital synthesizers can mimic orchestral timbres far more successfully than the old analogue machines could.