German experimental ambient duo TROUM, active since the ’90s, return with EmphasYs. The album’s seven drone-oriented tracks result from an unconventional process in which each is structured around a single focal instrument. Nonetheless, the album maintains a unifying sound and feel.
These instruments are electric guitar, cello, accordion, didgeridoo, acoustic guitar, zither, and saxophone. They are used to generate texture and atmosphere rather than melody and harmony. Thus, their output is heavily processed and joined with that of synthesizers and a supporting cast of secondary sources.
While this processing can render the focal instruments largely obscured, some are readily apparent. These include the gritty cello…
Category: ambient
…A major downtown transit hub, Chicago’s Union Station occupies an archaic building that is poorly designed, often crowded, and notoriously associated with delayed commuter trains. Sections of it are literally falling apart.
In May 2025, cellist Lia Kohl set up in Union Station’s Great Hall with nine other musicians from Chicago’s improvised / creative music scene for a free, 43-minute rush-hour set.
The instrumentation included cellos, bass clarinets, sax, trombones, tuba, and violin. The performance functions as a piece of sound art that combines slow-moving chamber music with the ambient noise of the space. Alongside strings, horns and reeds, one can hear voices, travelers walking by, luggage carts, and…
Not all of us can afford beachfront property with a convertible Bugatti to match, but thanks to the new album by Argento, we no longer need to. Inspired by the riches of the Tuscan coast, Miraggi is as sultry as music tagged ‘Balearic’ gets. Breathy flutes wisp up and down, casting their ocean spray as they pass. Lithe basslines sway against windswept chimes, beckoning you to leave it all behind. New age, downtempo, and jazz fusion shimmer and swirl together like crisp white wine.
…If this all seems like fantasy, it’s just as much of one for Argento. The side project was conceived by German-Italian producer David August, who spends most of his time hovering…
As Madelyn Byrd’s Through Damp Canyons opens, the camera is still. It’s a hot, dark night on the Sonoran Desert where they came of age – so dark that the arid landscape immediately disappears into the backdrop as thousands of insect wings buzz like uninterrupted static. Then, a motorcycle revs into the foreground, and the camera begins to move with it. Over the course of Night Rider’s next 50 minutes, Byrd’s amorphous soundscapes transmogrify in unpredictable and cinematic ways.
Byrd’s production has evolved since Transcorporeal Portal, and the title of second track Of Nature, Of Bodies, Of Dreams acts as a kind of thesis statement for their psychedelic minimalism. In the edges and cracks between key and vivid details – spoken word, more traditional…
Laurie Osborne (Appleblim) describes Liminal Tides with a series of antinomies: awake / asleep, self / no self, and conscious / unconscious mind / no-mind. To these, one could add Bristol / Berlin.
It’s no secret that Osborne has spent much of his career as Appleblim between these two cities. While he picked up the mantle Appleblim in London, DJing early dubstep at the foundational FWD>> clubnights, he began producing the stuff upon moving to Bristol in 2006. Bristol is also where his two record labels got their start: Skull Disco (2005-2008) which he ran with Sam Shackelton, and the solo imprint Apple Pips (2008-present, though largely inactive since 2013). At the same time Appleblim got big in Berlin, Ricardo Villalobos and the rest of the minimal techno…
The configuration of bass, drums, and piano is an all-too common one in the world of jazz music, but when those instruments are somewhat turned on their heads, the results can be unique and often stunning. That’s certainly the case with Enneads. Their self-titled debut features Zach Layton on an unusual 17-string electric bass and pianist Phyllis Chen using nodal points inside the lid of an amplified piano, run through a distortion pedal. Hamir Atwal’s drumming setup is fairly standard, but the way he works subtly around his bandmates creates an ambience that adds to the otherworldliness of this startling, moody record.
Released on the forward-thinking Birdwatcher label (responsible for experimental releases by artists like GADADU, Jessica Pavone, and…
Within the somewhat unusual confluence of synthesizers and a small orchestral ensemble, Canadian artist Flore Laurentienne produces music rooted in the landscape of his country and inspired by the vastness of the St. Lawrence River. The music is bright, simple, and powerful. Led by Minimoog player Mathieu David Gagnon, Flore Laurentienne are comprised of a string quartet, two keyboardists and a percussionist and their new album, Volume III, highlights the concept of beauty in chaos, and like the press materials suggest, the message is one of light: “It is the seed in the ground that becomes a plant and then a flower, blooming at its peak and then inevitably wilting so that the cycle can begin again.”
Following in the footsteps, needless to say,…
In Apichatpong Weerasethakul’s 2021 film Memoria, Tilda Swinton’s protagonist awakens in the middle of the night to a loud, startling sound with no clear source. The sound seems to follow her around in the days after, repeating at random intervals, but only she can hear it — a mystery that sends her on a journey deep into the Colombian jungle for answers. What she hears, a single note, is jarring and strangely physical, a sort of sonorous thud. It’s also a little musical, like industrial equipment accidentally clanking out a chord, shaking everything around it at a resonant frequency that’s more intriguing than terrifying. Similarly disruptive bass notes are all over Carmen Villain’s latest album, also called Memoria, which takes the bright, fourth-world…
Guitarist/composer Gyan Riley and guitarist/ producer Noah Georgeson were childhood friends in Nevada City, California, where they bonded over their love of classical guitar years before each carved his own successful, genre-diverse music career. (Riley has worked with the likes of John Zorn, Arooj Aftab, and his father, Terry Riley; Georgeson has collaborated with Fred Frith, Alvin Curran, and Joanna Newsom, to name a few.) Georgeson also went on to play with and produce multiple albums for freak folk artist and fellow guitar afficionado Devendra Banhart.
HUG is the trio of Riley, Georgeson, and Banhart, who got together at Sita Studio in Los Angeles without much of a plan in mind except to record some music together. The resulting…
In its opening moments, Blasé Saint seems easy to pigeonhole. “Lifelover” begins with the muted thump of a kick drum, a migrating flock of reversed percussion hits, and a keyboard line that sounds like an Angelo Badalamenti DX7 patch poached from some nerdy producer subreddit. Its palette, swaddled in an ASMR-ready mixture of cassette hiss and field recordings, gives “regulation dub techno.” But before you can get too comfortable, the song pulls you into its undertow; five minutes later, it spits you out in a wholly new place. Atonal loops bloom and fold into themselves, while the drums and synth, repeating on an infinite cycle, get subsumed by gigantic bass frequencies. It’s intense and impressive, dumping a familiar bag of tricks onto the table and rearranging…
Ka Baird is known for passionate, unpredictable vocal performances. Whether solo or in collaboration with others, Baird’s kinetics tend to be the focus. Their latest release, Thinking Music (For Just Intonation Rhodes Piano), sounds like quite the departure, and indeed it is.
No vocals here, no collaboration, no exploration of a physical space. (Though the piece was written for live performance.) It’s a 40-minute piece, in four movements, for solo Fender Rhodes. The twist is that the Rhodes is retuned in just intonation. This isn’t your Herbie Hancock-loving grandfather’s Rhodes.
A just-tuned Rhodes is a pile of contradictions, and Baird’s exploration of them is what makes this album compelling. Individual tones…
Summer is ending. We must not say this out loud; it is a hard pill to swallow. For many people, summer has already ended; vacations are over, classes have begun, the water has cooled. zakè‘s Tide Requiem for the Low Sea is a long, slow, poignant goodbye, holding on until the very last moment, like the last bit of a small island before it is submerged.
The physical representation is gorgeous: a double-sided picture disc, suitable for framing, showcasing photography by Tom Meluch (Benoît Pioulard). The images inspired both the music and their titles. One can imagine clinging to one of these peaks, like Blake Lively in “The Shallows,” albeit with more sadness than drama.
Each side contains a single track, logging in at 22:46. The title track occupies…
The line between poetry and music has always been a blurry one. Christopher Nolan recently claimed he cast musician and hip hop artist Travis Scott in his epic The Odyssey because the Homeric saga has been handed down through civilisations as “oral poetry, which is analogous to rap,” and therefore he was directly evolving the craft. Now, perhaps more convincingly and certainly less commercially, Tehran-based composer Siavash Amini and Brooklyn author Eugene Thacker take this statement one step further. Songs for Sad Poets, Vol. III sees the creative duo deliberately breaking down poetry into microfibres to thread back through ambient compositions, thus merging music and poetry at a more atomic level.
Songs for Sad Poets, Vol. III follows Amini and…
If there ever was a name ambient/drone artists fans hold dear to their hearts, then it would be long-standing duo that goes under the name of Windy & Carl.
The reasons for that is that the ambient/drone musical sphere has rarely had a band/artist (in this case a duo) that tries to make distinct connections to the natural world while investing a hefty dose of emotional content along the way.
Not with an official release since 2020 (Allegiance & Conviction), here the duo combine with another duo that go under the name of Optigan Conservatory, making the title of this collaborative album Windy & Carl Meet Optigan Conservatory a bit of a misnomer – the four musicians have been longtime friends. At the same time, ‘the meet’…
Donatell is the alter ego of Los Angeles-based artist and producer Daniel Memmi.
As Donatell, Memmi explores the discarded sounds, forgotten techniques, and dead-tech gestures of pop’s past, recombining them into uncanny future possibilities.
…If Italo Calvino had dreamed up Water for his Invisible Cities, he might have imagined it as a place with more screens than people, a city populated solely by screens: screens talking only to one other, faltering unison voices falling out of sync, a daisy chain of recent pasts and slightly less recent pasts, a time loop with a lazy, elliptical flow. A city of screens, and thus also a city of tropes — signs and symbols that have lost all interest in pointing to anything beyond…
Itta and Marqido once performed under the name 10. However, the duo changed their name to TENGGER upon the birth of their son and, soon after, bandmate RAAI. According to the press notes for the group’s latest album SKY, RAAI has begun to “step into his own artistic path,” presumably separate from his parents (10 became TENGGER around 2012, meaning RAAI is a teenager). Still, TENGGER hasn’t changed their name for their new release, perhaps because, again according to the press notes, “[RAAI’s] presence remains part of the project’s fabric,” which, if you’ve ever been the parent of a teenager, makes sense. Regardless of the nature of their son’s involvement, Itta and Marqido remain affected, even transformed, by his existence.
