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A compilation, Ambient 4: Isolationism, curated by The Bug’s Kevin Martin, proved that isolationism was a broader church than expected, with appearances from AMM, lo-fi noise-rockers Total, and Japanese polymath Keiji Haino’s medieval drone-drift outfit Nijiumu. When you're confined to a smaller set of possibilities, you must examine all the unconscious choices you might normally make when writing a given track. For a time there, the dancefloor became a space of musical heterogeneity, where ambient met techno and house – genres informed by the fundamentally black American expressions of dance music. Consider this a way to wade into the foggy wilderness that is ambient music. Chillout spaces dotted most raves and other underground dance parties, providing music that expressly shunned hard rhythms and fast beats per minutes. With the simple introduction of a pulsing kick drum, Wolfgang Voight (under the moniker Gas, perhaps a reference to ambient’s nebulous musical form) marked out a new territory for the music … In the 80s, the age of lengthy, prog-friendly album tracks waned, but the cause was taken up by some of the burgeoning electronic scene’s frontrunners, including Art Of Noise, whose hardy perennial from 1984, ‘Moments In Love’, topped 10 minutes in its most blissed-out version. This is a practice - so take it as such. There are implications of ambient music, such as using fractal concepts rather than linear ones. In this tutorial, we'll examine a few simple techniques you can use when composing music - whether ambient, minimalist, or even rock or pop. My introduction to ambient music was Brian Eno’s MUSIC FOR AIRPORTS and STRUCTURES FROM SILENCE by Steve Roach. By Kenneth Kimutai too on April 25 2017 in Society. The music collected on Kankyō Ongaku, along with other significant albums such as Midori Takada’s scene-defining 1983 album Through the Looking Glass, is fundamentally imbricated with the lived environment and practices of consumption (the compilation name translates as ‘environmental music’). Sometimes, however, it is just as powerful to disrupt expectations in our music because it can cause the listener to sit up and take notice. There are a number of interesting producers currently working within ambient as a genre, or with the tools of ambient music. Here are a few other ways we can limit our choices that might ultimately serve our compositional goals. So - limiting our software is one means of limiting our choices. All of this suggests that a continual reframing of ambient as a set of 'parameters for, or practices of listening' could well be more productive, moving forward, than a simple reconfiguring of the genre’s coordinates. Adjunct Lecturer, The University of Queensland. This is a good thing! Voigt started producing in Cologne, a city which, in the nineties, allowed for eclecticism – it was a city of collectivism, where you could move between techno and acid at Kompakt, to electronica and experimentalism at the A-Musik record store, stopping off at the Liquid Sky Cologne nightclub, whose motto, inspired by the artist Dieter Roth, was ‘Selten Gehörte Musik’ – ‘seldom heard music’. Using GarageBand here requires that I make choices about performing, recording, editing and processing, within a different, smaller set of possibilities. Tomita – snowflakes are dancing ? It somehow manages to be both murky and halatial, an elliptical world of sound that’s dense, humid, webs of tree branches giving way to trunks slick with peat and moss, matted organic matter crunching underfoot as you traipse through a forest that unfolds into an eternity. Again - consider this as a form of 'practice', much like playing scales or learning new rhythms - and a means of flexing your musical muscles. Any artist can benefit from learning these techniques, and applying them to get through writer's block, to challenge their creativity in new ways, or to simply refine and practice their various skills.

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