isolatedmix 111 - Ian Boddy (DiN)

There aren’t many ambient labels that have been going for 20+ years, but you can count Ian Boddy’s DiN as one of the greats. An amazing musician and synthesist himself, Ian has curated one of the finest ambient synthesizer-focused labels around, with many of the genre’s greats gracing the catalog over the years. Scanner, Tetsu Inoue, Robert Rich, Nigel Mullaney, Bluetech, and Markus Reuter featuring with stunning full-lengths, and within the label’s Tone Science compilation series, the curations spreads its arms ever wider - proven with the latest edition Tone Science Module 5, featuring works by Hélène Vogelsinger, Johnny Woods and Lisa Bella Donna.

Ian also makes brilliant label-focused mixes that highlight some of the work on the label, in both mixed and individual track format, so when I proposed an isolatedmix, we went straight into discussing his own personal inspirations as a mix concept. In true OG style, Ian has dug into a selection of early ambient music, that is often presented in extended (long-form) style (as it was much more back in the day) which means these types of tracks rarely see themselves as a part of DJ mixes nowadays. Ian has taken these excerpts and seamlessly blended them into one educational look back into some of the greats of the early ambient style.

A big thanks toWendy Carroll for the isolatedmix art/image.

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ASIP - You're likely considered a veteran of the scene now, but for those new to you, can you give us a brief introduction?

IB - Well I first got into Electronic Music in the mid-1970s through bands such as Tangerine Dream, Klaus Schulze, Vangelis & Jean Michel Jarre. In 1978 whilst at University studying Biochemistry I was introduced to an open-access sound studio at a place called Spectro where I was confronted by weird & wonderful instruments such as the VCS3 & a host of Revox reel to reel tape recorders. It didn’t take long to get hooked and in 1980 I released my first cassette album & started to play improvised concerts. In 1983 my first vinyl album The Climb was released followed by a performance at the very first UK Electronica festival.

I continued to release albums & perform concerts & hone my craft and then in the 1990s, I got into producing library music as well as sound design work. In 1999 I launched the DiN label & in 2002 after 12 years working for Akai I went full-time professional earning a living from my music. The intervening years have seen me split my time between pursuing my own releases / running the DiN label, composing library music & creating sound libraries/sound design.

Your mix contains a lot of early ambient musicians. Whether it’s Kraut-rock, Berlin-School, or Brian Eno, what's your point of view on the absolute beginnings of the ambient genre and what was your own experience?

It’s a very different experience hearing new music for the first time in your formative years - which is usually in your teens - then coming to a genre of music later in life or when said genre has already been out for quite a while. So the first two Electronic Music tracks I can distinctly remember hearing were The Mysterious Semblance at the Strand of Nightmares by Tangerine Dream from the album Phaedra & Wahnfried 1883 by Klaus Schulze from the album Timewind. I was probably about 15 or 16 and they simply blew me away. I hadn’t heard anything like this before because, well, there simply wasn’t anything else like this before. Each of these artists only had a handful of albums out so it didn’t take long to discover their back catalogues. There were no reference points. This was an incredibly inspiring time for me to hear this music and I think the many years that they have been out now & the tsunami of other music like this will diminish the effect for someone getting into this music now.

The term Ambient music is much overused and I was also around at the time when Music For Airports came out & again this was incredible to hear at that time. What both these styles have in common - the Berlin School guys and the ambient side that Eno championed was the ability to get lost in the music. To quote Julian Cope when talking about the very early Tangerine Dream album Zeit - “the music becomes the room”.

What made you start DiN in 1999?

In the 1980s my cassette & vinyl releases were on a series of small boutique labels and then in the 1990s, I started to release my own work such as The Uncertainty Principle & The Deep on CD on a label I called Something Else Records. However, it was very piecemeal and had to be fitted in & around my family life & work at Akai. There was no real plan or strategy. I’ll openly admit I really got into the Fax label and liked how the sorely missed Peter Namlook had a rotating pool of artists with lots of interesting cross-genre fertilisation of ideas.

So in 1998, I started to formulate my own ideas for a label. I wanted to combine my own Berlin School synth heritage with other styles of electronic music. I’ve never been one to do the same thing over & over again. I also wanted to more actively pursue musical collaborations with a range of artists. I also wanted the label to have an identifiable visual aesthetic and to be released as collectible limited editions. Thus DiN launched in 1999 & to date (May 2001) has 66 physical releases on the main DiN label, 5 volumes of the Tone Science series & 26 digital-only albums - with plenty more to follow.

The label has a rotation of very consistent artists, but what do you look for in any new artist demos that come your way?

Two things really - a certain, almost indefinable “quality” & a musicality which catches my ear. It’s just one of those things - you “just know” when something is good - trust your instincts. I mean I’m not running DiN as some huge multi-national corporation where profit is the only driver of your business. I have other forms of musical earnings from the more commercial worlds of library music & sound design so in a way I can afford to indulge myself with DiN. It’s a reflection of my musical personality.

What's been your proudest moment running the DiN label to date?

I wouldn’t say I have a proudest moment more than I’m very proud of DiN in its entirety. I can’t quite believe it’s been going for over 20 years now and that there have been almost 100 releases in total. I’d like to think that for someone new discovering DiN it would be like “Wow” what is this label and then the joy of working through the catalogue. Sure not every release is going to appeal to everyone but I can remember having that experience with Fax & it was quite a ride.

Your partner’s (Wendy’s) art features heavily on the label and on this mix - are there any creative differences when it comes to choosing art or working together?

Yes, Wendy & I have been together for almost 8 years now. She’s a very talented photographer & artist who is just now later in her life finding the time to spread her creative wings. I’ve always had a certain aesthetic for the DiN artwork which avoided the obvious cliches of space & sci-fi imagery. I like the ambiguity of Wendys work - they’re often familiar things such as rock, tree bark or rust but presented in such a way that they go beneath the surface and show the whole amazing world of detail & texture that many folk often don’t even notice.

Your career has undoubtedly seen many chapters of synthesizer music over the years. What's your point of view on the future for this style? Do you feel like this type of music will become even more accessible with the advent of software and cheaper versions of classic synths?

Well, certainly when I first started out in 1978 it was very expensive to buy these instruments. I think my first synth was a Jen string machine in 1980 and then shortly after a single case of Roland System 100-M modular which I still have. This was pre-MIDI & computer software but it doesn’t really matter. The technological side of electronic music has always been a driving force for how it sounded but musically a composer will always find a way of expressing themselves whatever the tools they have available. Now of course it’s so much easier in so many ways to record & release music in all genres let alone electronic music.

However what hasn’t changed is that you as the composer has to have a musical idea, there has to be some form of a creative spark of what you are trying to achieve musically. The whole renaissance in the use of modular synths is very refreshing. I mean during the 1990s folk were throwing these things away but I never gave up on my use of modular. But the last few years have seen an explosion in the use of these systems. I think this is great as it’s brought a new generation of musicians in who are finding new & evolving ways of expressing their own musical personalities which I for one find fascinating.

Can you tell us about the mix you have prepared for us and the inspiration behind it?

I wanted to showcase my musical heritage - there’s no reason why I should hide away from it, so much of the music is what inspired me when I was a teenager & into my twenties. So there are tracks from Tangerine Dream, Klaus Schulze (part of Wahnfried 1883 which I mentioned above), Vangelis, Ashra & Popul Vuh. Also connecting to other artists I’ve talked about & which are important to me is part of Discreet Music by Brian Eno which uses tape looping that I used to experiment with whilst at Spectro as well as a piece by Peter Namlook.

I’m also very much into classical music too which for me often has crossover with some styles of Electronic Music especially those pieces that have an impressionistic feel. I couldn’t resist using a piece by Ligeti - probably made famous by its use in the film 2001 crossing over into Rubycon by Tangerine Dream.

The set closes with one of my favourite composers Arvo Pärt with this incredible piece that comes out of a track by Biosphere - such lovely juxtapositions. I’ve done a lot of these mixes on DiN with the six iNDEX compilations as well as the two DiN mixes and Tone Science albums so I’m always looking to take the listener on a musical journey with highs & lows, points for reflection and emotional intensity.

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Listen on Soundcloud, Mixcloud, or the ASIP Podcast.

astrangelyisolatedplace · isolatedmix 111 - Ian Boddy (DiN)

Download

Tracklist*:

01. Vangelis - Creation Du Monde
02. György Ligeti - Atmosphères
03. Tangerine Dream - Rubycon Part One
04. Ashra - Nightdust
05. Klaus Schulze - Wahnfried 1883
06. Brian Eno - Discreet Music
07. Popul Vuh - In Den Gärten Pharaos
08. Pete Namlook - Trip 1
09. Wendy Carlos - Fall
10. Biosphere - Kobresia
11. Arvo Pärt - Cantus In Memory Of Benjamin Britten

*Many of these tracks are extended / long tracks, so you could consider these as excerpts.

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Ian Boddy | DiN | Web | Facebook | Twitter | Instagram | Youtube

isolatedmix 86 - Scanner: The Night You Dreamt

Releasing music since the early 1990’s, electronic music producers rarely come as seasoned as Scanner. Robin Rimbaud’s productions can be found on seminal labels such as Sub Rosa (home to early records and label-mates such as Coil, Gigi Masin, Bill Laswell, John Cage, Stars of The Lid) Glacial Movements and Lawrence English’s, Room40 amongst many more over the past ~30 years.

But along with the relentless catalog spanning the full spectrum of experimental and electronic music, Robin has also scored over 65 contemporary dance productions including works for establishments such as The London Royal Ballet, the worlds first Virtual Reality Ballet, sound installations at airports, and collaborations with Bryan Ferry, Michael Nyman and Steve McQueen. And you know that classic trick of police scanner recordings over ambient music? Well Robin was doing that back in 1993, with Scanner -Scanner.

To try and do his background justice here would probably be an injustice… so to say, there’s a world of Robin Rimbaud to explore, is an understatement.

Our journey here though, begins after Robin and I were discussing some of his unreleased music which he made in Captiva Florida at the Robert Rauschenberg Residency last year. It featured only one synth and one effects unit, and was stunningly beautiful for such a minimal piece of music. It inspired me to ask Robin to make a synth-focused isolatedmix, of which he duly obliged and even included one of the pieces we were discussing. Timing worked out perfectly too, as we gear up for James Bernard’s Modular synth release on 25th Feb, this is a lovely warm up. The result is a true narrative told through the many styles of synthesizer-focused music. From vets such as Klaus Schulze and RDJ, to modern day innovators in Loscil, James Holden, OPN and Cortini, this is The Night You Dreamt.

Download.

Tracklist:

01. Coil: U Pel (Insense Offering)
02. Scanner: Captiva Pulse
03. Klaus Schulze: Wahnfried 1883
04. Alessandro Cortini & Lawrence English: Immediate Horizon 3
05. Aphex Twin: 101 Rainbows ambient mix
06. Oneohtrix Point Never : Child of Rage
07. Bruce Haack: Untitled #2
08. Matthew Shaw: Totemic Topologies part Three
09. Loscil: Deceiver
10. James Holden: Self-Playing Schmaltz
11. Scanner: Random Dreams

Scannerdot.com | Twitter | Soundcloud

Neither scene nor heard: a journey through ambient music

**New - Spotify Playlist to accompany this feature**

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I’ve seen a few articles over the past few years detailing the best ambient albums, the state of ambient or the return of ambient, and whilst they’re often very positive for the genre, the artists and every other person involved in making this type of music, I can’t help but feel a bit empty after reading them.

These articles rarely scrape the surface of a genre that has never gone away, and will probably never “make a comeback” but instead, the genre continues to evolve. Ambient music will always remain a sub-culture of many popular music styles out there, or more to the point of this article, be the hidden undercurrent that’s helped inspire many other styles of music.

Whilst I’m not opposed to the genre getting any more popular (hell, I might get more traffic to the site or sell more records), I can’t help but feel a little annoyed when it’s not represented well, especially when some people have been involved for years and so, so, so, so many styles, producers and labels are consistently overlooked.

It’s a big reason why I created this site back in 2008, and it’s why I’m writing now.

Since the inception of this blog, I’ve focused on those who don’t really get the exposure they deserve and the many hidden talents of not only ambient music, but electronica and to a lesser extent, techno. Why stop now? Whilst this article will dive into the early days and influences on the genre, it will also hopefully offer a different perspective from the more popular journalism outlets and instead, focus on the many styles of ambient music and it particular, the producers and labels that have accompanied me on my journey over the years.

Heads-up, it’s long. So take the time to explore the artists and labels featured and pay it a few visits once you’ve hopped off onto Discogs and Youtube. Every album and artist links out to further information, and there’s a full Youtube playlist at the bottom if you can’t wait. For anyone that really wants to dig into ambient music, I’m hoping here might be a good place to start.

Shit. Where the hell do I start?

Let me make an attempt to cover my own ass from the thousands of very opinionated music-heads first. I got into ambient music late. Very late. And I wouldn’t consider myself an expert, but I do spend much of my life listening to and writing about it, so I think it gives me a little bit of authorisation to talk on the subject.

Secondly, I haven’t listened to every ambient record out there. Like every piece of journalism ever written, this will be a subjective take, based on my own biased experiences. The last thing I want is for this to sound like a Wikipedia article on ambient. We’ll get the background done sharp, talk about how ambient music developed for me in the 90’s and then get into the many styles I experience today as a result of exploring the genre further and further. By the end of this, I hope I’ve done it justice, introduced newbies to an ever expanding landscape of music, and helped the veterans of ambient find some new pieces to enjoy.

BACKGROUND FOR BACKGROUND 

What is ambient music? (No I’m not joking). Seeing as many of my friends don’t even know what it is, this could prove a very helpful entry point. And to take a quote directly from ambient music pioneer, Brian Eno’s ‘Music For Airports’ (1978) liner notes:

“Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting”. 

Which to most people means, it’s background music. But to dive deeper, a more interesting quote reads:

“An ambience is defined as an atmosphere, or a surrounding influence: a tint. My (Brian Eno) intention is to produce original pieces ostensibly (but not exclusively) for particular times and situations with a view to building up a small but versatile catalogue of environmental music suited to a wide variety of moods and atmospheres”

— Brian Eno

This is where it gets very interesting for me. I’m a big believer in music for different moods, for different times, and different feelings, and this is just one of the reasons why my site/label is inspired by Ulrich Schnauss’ album A Strangely Isolated Place. This type of music transports me to wherever I want to be. It enables me to escape; helps me picture myself somewhere else entirely. And this is often the strength of ambient music – its atmospheres, emotion and the clear intention of depicting different environments.

I listen to ambient music to help me relax and escape. And I’ve now reached a point where I can respect the power of it so much, that I pay attention to the many differences, techniques and subtleties of productions. And that’s why I do what I do, listening to so much, writing about what I love and helping musicians get their own passion of producing this music, out there.

I HEAR 1978?

Well that’s when Brian Eno coined the phrase ambient. I don’t want to dwell too much on the evolution of ambient music, as this is where many other people could tell a better story. It’s my experience. Plus, I wasn’t around in 1978 and wasn’t even listening to music properly until a good fifteen years later.

To give it some context, and in the shortest of summaries, the likes of Tangerine Dream, Vangelis, Jean Michel Jarre, Steve Roach, Harold Budd, Erik Satie, Wendy Carlos, and of course Brian Eno are just a few of the many musicians often attributed as defining the approach we know today, through synthesiser-oriented styles during the 1970’s and 1980’s. And it wasn’t until the late 80’s and early 1990’s that the more electronic styles we associate with today came into play – the style that sparked my love for the genre.

The UK is often seen as the driving force for early electronic ambient music. The Orb will always be referenced for their pioneering work on The Orb’s Adventures Beyond The Ultraworld (1991) helping spur a new approach by combining samples with innovative production techniques, depicting lengthy journeys, often with no defined beginning, middle or end.

The KLF did it one year before in 1990 (with the help of The Orb’s Alex Paterson), and their album Chill Out is often referenced as the best of its kind - and I wouldn’t argue. [Edit - check out my reimagining of the KLF’s Chill out with all new music here]. Hang on, so what’s ‘chill out’ music? Not to diverge too much, but the term was used for the more drug-induced clubbing culture who created ‘chill-out rooms’ and without trying to rile up the genre fanatics, we’re still within the loose term of ambient music – you’ll just notice, as with most genres, there’s plenty more ways to describe styles and send you around in circles.

Back on track (like the Brownsville Turnaround on the Tex-Mex Border), and a beginning wouldn’t be a beginning without Aphex Twin. Richard D James gained much of his respect through his Selected Ambient Works – his debut album (as Aphex Twin) released in 1992, documenting many of his productions from ’85 to ’92. This album is one of the most accessible and enjoyable places to start if you’re trying to understand electronic ambient music. This album was followed by Selected Ambient Works Volume II in 1994, and again continued to define much of the electronic ambient music we here today.

SHEEP LEAD TO BLEEPS

The 90’s are often cited as the good years of both electronic and ambient music, and with this growth came a multitude of takes on the style. Electronic equipment became more accessible and an underground electronic music culture began to grow.

Alongside Aphex Twin, the likes of Autechre and µ-Ziq (Mike Paradinas) pushed the electronic (and in particular) “IDM” sound to new places. Whilst neither are strictly ambient artists, both played their part in creating some of the best ambient music during this period and shouldn’t be overlooked. This recent dedication to Mike Paradinas’ ambient work as µ-Ziq, is a great place to start, and Autechre’s, Amber, whilst not often highly praised, will lead you down some seriously dark rabbit holes to explore. Autechre’s VLetrmx21 remains one of my favourite pieces to date - a dramatic, poignant and thought-provoking piece. Needless to say, record labels such as Rephlex and Warp 
played a big part during this period.

Another innovator pushing the boundaries of ambient music and introducing more urban influences during this time were The Future Sound of London. The Manchester pair are often overlooked unless you dive deep into their discography, but much like The Orb and The KLF, Lifeforms can be seen as one of those all-encompassing electronic ambient journeys.

Global Communication. 1994. Tom Middleton and Mark Pritchard. 76:14 still remains one of the most ‘underground’ ambient albums despite The Guardian listing it within their 1,000 Albums To Hear Before You Die list. With tracks titled according to length, 76:14, continued to expand on the entire listening experience album we grew to love – not just a set of individual tracks.  I couldn’t tell you the title of a particular track, because I nearly always listen to it from start to finish – the way it should be. Global Communication went on to release several other records, but none came close to the prowess of 76:14. For those who’ve dug around Tom Middleton and Mark Pritchard, their work on The Keongaku EP prior to this release is as close as you’ll get to the 76:14 experience.

Biosphere (Geir Jenssen's) 1997 album Substrata is perhaps the modern-day Brian Eno experience, focusing on intimate listening and the very definition of background ambient music. More genre terms come into play with Biosphere (ambient techno for example) but Geir is a true pioneer of ambient music and to this day can be found sampling in the plains of Norway, playing rare live performances and sometimes putting together an eclectic DJ mix. Geir remains an elusive character within my knowledge of ambient music but is no doubt one of the most respected.

It was bands like Slowdive and Seefeel that started to put a spanner in the works. Whilst primarily seen as experimental or shoegaze, Slowdive released records such as the 5 EP in 1993, which focused on synthesised sounds – a first for Slowdive and a style that was very similar to that of Global Communication. In fact, Reload’s remix of Slowdive’s In Mind epitomised the ever-expanding ambient music of 1993 and its impact of styles outside of straight-up electronic. I love the comment on the 5 EP’s Discogs page – “The burgeoning ambient techno scene in 1993 was too much for them to resist…”!

Similarly, Seefeel’s 1993 release Quiqe is a perfect example of the genre-expanding beyond its existing limitations, with steadfast ambient tracks like Signals and more experimental tracks such as Climatic Phase 3.

The late Pete Namlook and his German Label FAX were also significant drivers of ambient music during the early 1990’s (see this 2018 article for a great overview). This is an area which I still need more time to explore, but if you read any best of ambient albums you’ll be sure to find a FAX release in there somewhere. As of August 2005, Namlook and company had released 135 albums –  experience some of them through this tribute mix.

Moving towards the second-half of the 90’s, ’96 witnessed the debut of one of the most instrumental characters in the ambient scene today, Wolfgang Voigt. His self-titled album as GAS, triggered a whole new world of dubby, atmospheric ambient music. Wolfgang is undoubtedly the reason why ambient music still has its place on one of the biggest techno labels of our time (as co-owner of Kompakt) and as a result, a big reason why the genre continues to evolve and make an impact on producers today. Released on the influential label Mille Plateaux label, GAS' releases remain some of the rarest LP’s on Discogs. [Edit - now mostly available again!]

The late 90’s were pretty much reserved for one special duo, Boards of Canada. Iconic releases in ’95, ’96, ’97 and ’98 saw ambient music meld effortlessly with electronica, offering a vintage, warm sound that felt like it had been around for years. The elusive Scottish pairing are solely responsible for the biggest cult of fans within the ambient & electronica genres (second to Aphex Twin maybe). Much like their music, their unique, mysterious ways are still going strong to this day and although many purists would argue until they are white in the face that they aren’t ambient, there’s no doubt they’ve played a massive part in inspiring and making the ambient sound more appealing to others.

Alongside BoC, the late 90’s witnessed Stars of The Lid progress the beautiful drone soundscapes which are so popular in today’s ambient music. Brian McBride and Adam Wiltzie are often included amongst the best-of ambient lists and their pedigree shows to this day with Adam Wiltzie going strong as part of A Winged Victory For The Sullen. The Stars of The Lid sound would end up becoming a big influence on the many guitar manipulations we hear in much of today’s ambient and experimental music.

TRANCE AND THE AMBIENT REMIX

This is where I risk a major drop-off in readers… but the late ’90s Trance era played a big part in my addiction to ambient and chill-out music, so I feel it’s important I cover it here. Perhaps this train of thought is new to many, or some don’t want to be associated with a genre which is now quite frankly, an embarrassment and laughing stock to anyone over 21 years of age. But the true Trance era (say pre-2002) was undoubtedly an offshoot of some of the best psychedelic ambient productions, and helped define the true meaning of chill out before it was commercialised by the likes of Ministry of Sound and Hed-Kandi, and ultimately generalised into EDM.

Rabbit In The Moon, Humate, BT, William Orbit, The Art of Trance, even Tiesto (yes, just listen to his late ’90’s work as Kamaya Painters and Gouryella) and labels such as Hooj, Platipus, Lost Language, and Bonzai were responsible for some of my favourite trance music in the 1990’s and in particular, a trend which emerged to be most relevant to this article; the ambient remix. Whilst this may send shudders down many ambient fans spine, I have no shame in admitting how much I enjoyed some of the remixes to emerge from trance music in the late 1990’s and early 2000’s. The ambient remix of Pete Lazonby’s Sacred Cycles (sampling Genesis no-less) and Energy 52’s Cafe Del Mar, remixed by Michael Woods (2000) come straight to the top of the pile and this compilation by Solar Stone (2001) encapsulates some of the best remixes to emerge (ironically including Tangerine Dream’s Love On A Real Train).

I won’t dwell on it here, as you’ll know by now I’m a closet Trance fan, but I still visit the likes of Salt Tanks, Sargasso Sea; Chicane’s, Far From The Maddening Crowds and Way Out West’s debut album on a regular basis. And if you still need persuading on the impact of ambient music on trance, Orion & J.Shore’s isolatedmix does a perfect job elaborating on some of the brilliant music being made in this vein today.

*2021 Edit*, a recent Trance Loops Mix features a lot of classic Trance music in “ambient loop” form that you may find interesting at this point.

I’M STILL IN A TRANCE

Something that’s along the same lines but perhaps more familiar with ambient fans, is the term space ambient or psy-ambient and for me, there’s pretty much just one label responsible for this sound recently: Ultimae Records.

Established in France in 2001 and still churning out quality to this day, Ultimae has become the go-to label for this type of electronic ambient music. Space-ambient is often reserved for similarly trance-like tracks, but can more often be recognised by the expansive pads, washes, atmospheres and futuristic samples each track contains. Whilst I’d be a fool to pigeon-hole Ultimae into this sound, they’ve produced some of my favourite artists in this style, including Carbon Based Lifeforms, Aes Dana (Ultimae co-owner) and Solar Fields.

Perhaps more obvious in design, but another great artist that pioneers this sound, is Lithuania’s Stellardrone (remind me to write an article on Lithuania’s ambient/electronica scene – it’s ridiculous) and randomly, this compilation by an old record store in London called Ambient Soho manages to traverse the ambient-space sound, in particular Innersphere’s Out Of Body, and B12’s VOID/Comm.

Spanning the more trance-inducing side of ambient and hailing from one of my favourite labels growing up, Global Underground’s Electric Calm series is also a well-respected and under-celebrated bunch of mixes and exclusive material that manages to transport you into the ether. Mixed by The Forth, they’re as formulaic as mixes come, but are packed full of great, fairly unknown material.

More recently, the likes of Petar Dundov is pushing the trance-like-ambient sound forward, invoking the spirit of synthesised ambient productions from the likes of Klaus Schulze and Tangerine Dream. And even beat-less reissues from the likes of Hiroshi Watanabe aka Kaito (Kompakt) draw parallels, with epic strings and countless moments of euphoria.

This may also be a good place to introduce Brock Van Wey aka bvdub. Whilst I definitely wouldn’t describe his music as trance, it’s certainly an original take on trance-inducing productions. His pieces are often over ten-minutes long and are a lesson in progressive atmospheres, peppered with techno undertones and more recently, garage-esque beats. He is a pioneer of the modern-day ambient sound and a must for anyone new to the genre, with an outstanding work ethic and an unparalleled output. I’d recommend starting at his 2011 release, Songs For A Friend I Left Behind, and in particular I Would Have Waited. Or, for that truly euphoric effect, try 2012’s, Don’t Say You Know.

AMBIENT ELECTRONICA AND THE BIRTH OF THE SWEET SPOT

Earyl 00's and some of my favourite labels are setting up shop, evolving the electronic sound. Electronica is a largely debated genre and in my eyes can represent a wide range of electronic music which isn’t necessarily meant for dancing, but more for listening. From glitchy IDM based analogue music, to downtempo and ambient drones infused with sparse beats and heavy melodies. This is where I truly fell in love with music. Ambient electronica managed to combine the escapism and relaxation of ambient music, alongside more interesting and complex electronic production techniques. And none can be more responsible for inspiring me more than City Centre Offices.

Beginning with Arovane, Herrmann & Kleine, Bitstream and Casino Versus Japan, it was 2002’s release of Far Away Trains Passing By, from Ulrich Schnauss that really blew me away. Two years later, and A Strangely Isolated Place followed suit, and finally Arovane’s Goodbye Forever on Lillies presented the power of the piano on a largely IDM focused album. Admittedly, these releases were a far stretch from the beat-less soundscapes of ambient purists such as Brian Eno, but for me, they were just as powerful in emotion and escapism.

It was the early 2000’s that unwittingly birthed one of today’s biggest stars of the genre, Jon Hopkins. Released on British Label Just Music, (also home to Echaskech and Honeyroot – two more gems that need more listens) Jon Hopkins began his career with a sublime style of ambient electronica on Opalescent. Both Cold Out There, and Private Universe are essential ambient tracks that epitomised the promising career Jon had ahead of him scoring films (Monsters); being nominated for a Mercury Music Prize; making head-rattling electronica on Immunity and my favourite; sampling the London Olympic Games opening ceremony fireworks on Abandon Window.

Fast-forward to today, and this style has evolved so much it would be impossible to capture the hundreds of brilliant artists making this type of music. Ghostly International is however a decent place to start.

The birth of Tycho’s Sunrise Projector in 2004 was the beginning of his more recent dominance within the Ghostly family; his blissful sun-drenched guitars and live percussion are the closest you’ll come to Ulrich Schnauss’ early work. And whilst the likes of Ghostly’s Lusine and Recondite can hold any dance-floor, their music remains within the realm of escapism and hits home with many of todays ambient fans who need that up-tempo edge every now-and-then.

Dive further into Ghostly’s catalogue and you’ll find the purest of ambient and experimental music sat alongside the more popular electronic functions it’s now famous for. With artists such as Loscil, The Sight Below, Heathered Pearls, Christopher Willits and KILN. For a true round-up of Ghostly’s amazing contribution to modern ambient music, head to their SMM Series.

It’s within this style of music that you also start see the massive impact Boards of Canada have on the evolution of the warm, nostalgic sound. Relatively unknown but highly recommend artists such as Horizon Fire, Northcape, Freescha, Sarin Sunday (Com Truise in his early days) and even ASIP’s Parks do a great job at capturing this beautiful matrimony of synth-laden electronics and blissful euphoria.

Diving deeper and one of my favourite labels, n5MD has been responsible for some of the most interesting ambient electronica of recent years. Loess, Crisopa, (ghost), Ocoeur, and Preghost are just some of the artists coming from this brilliant label. n5MD has also played host to more ‘IDM’ style artists such as Arovane and Proem and the more recent ambient crossover with shoegaze & post-rock (see further below) via port-royal, Lights Out Asia and Bitcrush. 

POP AMBIENT

Whilst his very own Kompakt Records grew synonymous with the emerging minimal techno scene hailing from Germany in the early 2000’s, Wolfgang Voigt (GAS) quietly coined his own style of ambient music – labelling it Pop Ambient. This yearly series is now synonymous with a very certain production style and ethos, challenging the very meaning of ambient music, but always rooted in layered drones, cyclical sculptures and often traditional instrumentation.

Since its first release in 2001, Pop Ambient has established some of the most respected artists in the genre and similarly, re-established some favourites who would have otherwise been lost amongst a myriad of other guises or musical styles on the label. Markus Guentner has been a staple since the very first release and to this day pushes his unique ambient washes and faint melodies far and wide, including releases here on ASIP and Moodgadget (owned by Heathered Pearls).

Marsen Jules, whilst originally releasing on the aforementioned City Centre Offices, also makes regular appearances on Pop Ambient with his intense poems in sound. As does Argentina’s Leandro Fresco, another master of beautifully composed, richly coloured ambient music.  2015’s edition sees Kompakt continue to push into new realms, bringing regulars such as bvdub, Ulf Lohmann, Gustavo Lamas and Leandro Fresco back into the fold alongside newcomers like Thore Pfeiffer.

AMBIENT INTELLIGENCE

As techno music grew and evolved in the 2000’s, ambient music was treated to some of its most defining and innovative moments. Ambient techno is an area so rich, that I still discover new (old) titles every week, but it was the likes of Mille Plateaux introducing us to GAS that kickstarted this evolution. 

More recently, German labels such as Traum Schallplatten and Raster-Noton gathered pace in the 00’s (see the ASIP tribute mix to Traum’s ambient output here) alongside the likes of Mule Musiq/Mule Electronic, artists such as Koss, Minilogue, (Sebastian Mullaert releasing a new ambient album with Eitan Reiter) and Lawrence with his ambient LP A Day In The Life.

One of my favourite releases to define the ambient techno genre of late, was the Composure Ambient Techno for Japan compilation. Put together to raise funds after the Japanese Tsunami in 2011, this compilation includes some of the finest music to grace the term ambient, techno or indeed ambient techno. From here, if you dig further, your world opens up into the multitude of amazing artists included. From following Donato Dozzy, you’ll find his 2010 release ‘K’  and perhaps stray into the sublime ambient techno world of Voices From The Lake.

The Sandwell District, a couple of techno artists who (unfortunately) came together for just one album, will lead you to Feed Forward - another classic approach to ambient techno. And finally, one of my favourite producers, Donnacha Costello – I’ve done all the hard work for you here and highlighted some of his finest pieces to date.

And perhaps one of the most respected and innovative producers in this area, is Germany’s Carsten Nikolai aka Alva Noto. In 2009 Carsten released Xerrox Vol.2, and with it, Monophaser 2. This video does a great job in capturing the sparse, yet emotive composition that sets Carsten apart from the rest.

AIN’T TALKIN ‘BOUT DUB

Given techno is such a wide all-encompassing genre, you can’t blame me for digging even deeper into its ambient half and exploring one of the most recent styles to emerge. Ambient-dub, or dub-techno whilst very similar to the likes of the artists listed above, has seen a particular focus recently, with several producers creating a very unique, deep and bubbly style. It’s often bashed by many as being very boring and repetitive, but when done correctly, it can be as dreamy as the very best beat-less ambient masterpiece.

You can’t mention dub or techno without Echospace and Deepchord. More recently home to the previously mentioned bvdub but more prominently known for releases by Model 500 (Juan Atkins), cv313 and Deepchord himself, the label is a favourite for die-hard techno fans and an innovative outlet for the more atmospheric techno productions that fall into this more ambient style.

Sharpening the ambient side of dub-techno even further, Iceland’s Yagya pioneered his unique style on his widely praised album, Rigning. It came some seven years after his first release in 2002 (Rhythm of Snow), and I can pretty much guarantee that any new fans of Yagya are working their way backwards through his catalogue, especially after his most recent release on Delsin. Despite having earlier albums, it was the sound of rain on your roof, the clap of thunder, emotional, rising pads and a driving dub-techno beat in Rigning that hit home for many. 

It seems as though this style is a thoroughly independent practice at the moment, with most of what I listen to released by the artists direct through the likes of Bandcamp. Finding dub-techno on vinyl is a nearly impossible affair, yet labels such as Dewtone Recordings, and Silent Season, two of my favourites, do their very best in pushing this type of independent music forward. Whilst neither are strictly focused on dub-techno, (or vinyl) both have a rich roster of artists that span this style, alongside straight-up ambient and more experimental sounds. ASC, Edanticonf, Purl, Alveol, Segue, Martin Nonstatic and Adam Michalak come highly recommended. The below track by Textural Being epitomises the slow burning melodies and atmospheres of dub-techno I have grown to love.

#DRONELIFE

Whilst dub-techno added rolling beats to ambient music, there are those stripping away the more obvious mechanics and focusing purely on mood, atmosphere and repeated layers of sound. Drone is one of the more reserved and less accessible styles of ambient music, yet is probably the closest to the genres original conception, and arguably pre-dates Brian Eno through the 1960’s minimalist movement. BUT, they didn’t have a hashtag back in the 60’s.

I remain less familiar with drone music due to the intricacies of its design and origins, mainly because of the appreciation needed for the instruments used in the making of this music. But attending a workshop with Rafael Anton Irisarri aka The Sight Below, (or his Substrata Festival) you begin to see the complexity involved in sound design and the meticulous detail that goes into this style of music. What can seem like one single sound, is often a series of instruments, processors, loops, delays, vocals, samples and hours of hard work. And then sometimes, it’s just a plain and simple improv between the biggest music geeks in the world.

Approaches can vary from the very light and melodic ambient tones of Loscil, through to the legendary tape-loops of William Basinski’s 2002 Disintegration Loops. And further along the spectrum, the haunting wall of noise coming from Tim Hecker.

Any mention of drone or experimental music usually throws up one of the best labels in the business – Kranky. Not only home to Tim Hecker, this label has also pioneered a wide range of ambient, drone and experimental styles from the likes of Stars Of The Lid, Loscil, Grouper, Windy & Carl, and Pan American. Kranky can also hold part responsibility for the more recent emergence of the modern-classical sound, with A Winged Victory For The Sullen and Christina Vantzou.

THE TANGIBLE EXPRESSIONISTS

Compositions and performances are often meant to be heard, studied and to a large 
extent, watched – the opposite to how we defined ambient music at the start of this article. But recent years have seen such an emergence of brilliant artists that could be considered ambient via their modern-classical success. 

Composers such as Ryuichi Sakamoto played a large part in integrating modern classical into the ambient or techno genres, partnering with the previously mentioned Alva Noto for example, alongside the well-known re-interpretations from Max Richter or the lesser-known (but hugely respected) Murcof. But more recently there’s just one label that’s heavily influenced me: Erased Tapes.

Their unbelievably talented German wizard Nils Frahm has consistently released beautiful piano compositions on the label since the very beginning, but has only recently seen his greatest acclaim with Spaces. And rightly so, this was my favourite album of last year, hands-down and his recent Boiler Room set captures his magic perfectly.

Often alongside Nils is Ólafur Arnalds, the Icelandic multi-instrumentalist. Likewise, Ólafur is a genius with the piano and together the pair have propelled the modern classical genre forward in recent years, simultaneously restoring my faith in the live performance at the same time – spellbinding, magical and utterly breath-taking every time. Expanding even further into the Nordic realm, and Otto A Totland’s Pino, (hailing from the brilliant duo Deaf Center) is another great composer (Pino boasts a beautifully packaged CD to boot).

I’ve also seen a resurgence of young talented composers. The likes of ASIP’s very own Levi Patel and Halo, both under 25 and creating masterpieces that wouldn’t sound out of place in-front of an expectant crowd of hundreds. Their talent never fails to baffle me.

Emerging label Serein recently presented us with Brambles. And Luke Howard’s Sun, Cloud remains a gorgeous yet powerful dose of theatre. New Zealand’s Rhian Sheehan continues to release some of the most spellbinding work I’ve ever heard, often traversing into an ambient guise on releases such as Seven Tales Of The North Wind.

Once I’m down this route, I often find myself leaning towards some of the masters of post-rock too. Balancing the emotion of the modern classical composition; with the raw power of guitars and drums; signed off with subtle ambient undercurrents; this style of music is yet another rabbit-hole of wonders.

The American Dollar, while specialising in post-rock, have recorded several ambient versions of their releases, highlighting the close melodic ties between the two styles. Similarly, Hammock are the true masters in this approach, producing some of the most emotional and climatic pieces of ambient, drone and post-rock you’ll come across. And should you need to dive in any further, I’ve long appreciated Stray Theories and Good Weather For An Airstrike – doing their own independent thing and definitely deserving of more ears.

And lastly, where instruments add depth and character, there are those that use them with subtlety, adding colour to an otherwise calm ambient drone. Keith Kenniff, (or Helios to many), is a great example of this approach, alongside 36 - an independent musician from the UK releasing some of the most powerful, tear-jerking, melancholic music possible. As are the many, many artists that seem to hail from Japan like Arc of Doves, Ex Confusion, Nobuto Suda and the Home Normal collective.

THE NEXT CHAPTER

As I’ve already mentioned with the strength of recent modern classical music, I’m hoping we see plenty more prodigies like Nils Frahm shine. If a young pianist needs any inspiration they needn’t look any further than his Spaces album, or any of his live shows.

There’s a lot of love for what Burial started a few years back and I’m enjoying seeing this type of music evolve, (especially as I absorbed plenty of UK Garage when I was younger!) Artists such as Borealis and Sven Weisemann’s Desolate project nail the fine-line between this urban approach to electronica and the subtleties of ambient atmospheres. It’s hard to come across this type of stuff on a regular basis without it feeling too repetitive, but news of a new Desolate album is sure to keep it moving along nicely.

Similarly, the blissful sparse beats coming from the likes of Kiyoko push a new style forward, along with James Clements’ more ambient focused work as ASC and his label Auxiliary. With drum’n bass influences, productions range from industrial ambient to 170 BPM electronica (the Autonomic sound).

Recently we’ve seen a few artists start to integrate ambient textures and in particular modern classical elements into house and techno music. Max Cooper has been doing this brilliantly for the past few years, mainly through his remixes, and now Erased Tapes’ Kiasmos (Ólafur Arnalds and Janus Rasmussen) are set to show what it truly means to integrate a piano composition into dance-floor-oriented music.

~

There’s no doubt that ambient music is at one of its strongest points for a long time (as FACT Mag politely pointed out recently – and to answer the question I don’t think we’ll ever beat the 90’s!) It would be easy for me to list some releases that are coming up this year that excites me, but that’s one of the main reasons my site exists. Ambient music, drone, and modern classical in its purest form will undoubtedly remain the same, as they aren’t scenes revolving around a place, a movement, or a bunch of people. But I’m always excited by the producers, labels, and artists that are looking to push this type of music further.

 I’m guessing ambient music will always be in the background like Eno meant it to be. It will continue to take many forms, add different perspectives to more popular styles, and appear in places you probably wouldn’t expect it (hell, Zane Lowe may even launch Apple Music with an ambient track ;-)

But that’s the magic of it for me; the modest, fluid and intimate nature of ambient music demands attention, and if it’s given, you’ll be rewarded with some of the best music out there.  

I started this article to help dive a little deeper into ambient music, but upon reflection, I’ve still only scratched the surface. There’s no doubt some subjective inconsistencies, a whole heap of brilliant artists and labels missing, and I’ve probably riled the genre police in every paragraph.

Hopefully, I’ve either introduced you to a new genre, style, artist, or label and from there, you’ll never know where you end up. You may even be inspired to set up a blog, site, or record label after your favorite album…

Below is a Spotify playlist featuring some of my favorite tracks mentioned in this article. It should keep you going for a very, very long time. And lastly, always remember to support the many artists featured in this article, doing their own thing and making our lives much more pleasurable. Thank you for reading this far.

An edited version of this article was featured in the final Substrata 2015 festival program.