Despite the term’s origins with Brian Eno and his music for airports-the idea of music as neutral filler not to be noticed-it’s a style that’s always lent itself to zoning out, where the very sound of the thing is something to luxuriate in. In more recent years, other artists have folded their own influences into the ambient mold.
“Where ambient is apt to wash over you,” she wrote, “power ambient demands you pay attention to its constant shifts in mood and intensity.” Many of the artists she cited, like Ben Frost and Peder Mannerfelt, released albums with caustic, industrial aspects, giving more bite to ambient’s airy shape. Music writer Maya Kalev coined the term “ power ambient” that same year, grouping together beatless music not meant for the background. The beatless side to his music, he argued, was him probing techno’s lesser-heard tangents. “Put very simply,” he retorted on Twitter, “it’s techno.” In later interviews he expanded his point, saying that he considered techno to be an inclusive genre, a view shaped by his early club experiences, watching DJs like Laurent Garnier and Jeff Mills, who would lace together disparate styles in their sets. Call Super, for instance, rejected the tag when online record store Juno used it to describe his debut album in 2014. to Gaussian Curve from echo-heavy, looped fragments to soft keys and metronomic percussion.ĭebates have fired up again over what is or isn’t ambient. A broad church, its purveyors range from Huerco S. There’s been a booming revival in ambient music these past few years.
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