September 2023 – Adventures in Ambient: Music of Another Dimension

Prelude

In the last article (August 2023), I explored the alluring realm of dub reggae, as one of my musical passions. This month, as we race headlong into autumn with its cooler, darker evenings, I’d like to explore another musical genre close to my heart, ambient electronica. There seems to be a great deal of consensus about where ambient came from while, at the same time, a great deal of disagreement about what it is today, let alone where it is going. While this may sound inherently contradictory, the convoluted world of ambient music is quite fascinating, at least to me. Unlike reggae, which had a defined geographical origin – the small island of Jamaica in the Caribbean – ambient has a completely different set of roots. Also, while dub reggae and ambient seem entirely discrete, there are some crossovers.

Once again, like dub reggae, the ambient musical landscape is not really guitar‑based. It is essentially one of three things, acoustic – mainly classical – instruments, the sounds of the natural and built world all around us, and electronic sounds, primarily but not exclusively synthesizers.

As with all previous articles, this is not intended to present any sort of definitive academic analysis, it is purely my interpretation of ambient music, past and current, as I see (or rather hear) it. There are a lot of blurred overlaps and permeable boundaries here, so I am certain that some readers will disagree vehemently with my version of the story. That is their prerogative and this is my article, so I’m sticking to my biased version. This is also only the proverbial ‘tip of the iceberg’ with lots more to discover.

No AI has been used in researching and writing this article. All images used are royalty free courtesy of Pixaby and Wikimedia Commons.

So, get comfy, chill and absorb yourself into the mesmerising universe of ambient music for a while.


Defining ambient

Perhaps a good starting point is to understand what the solitary word ‘ambient’ actually means, both in non‑musical and musical contexts.

Literally, ambient is an adjective meaning ‘of the surrounding area or environment’, ‘existing or present on all sides’ or ‘enveloping or completely surrounding’. As a noun, it means ‘an encompassing environment or atmosphere’. In this article we are not talking about ambient temperatures or ambient pressures, although these may affect sound vibrations in the environment. We are also not talking ambient light, although this may affect mood and temperament.

Defining ambient sound

Ambient sound is the total of all background or surrounding noises that exist in every direction, in any immediate surroundings, as measured by sound pressure level (SPL – expressed in decibels). Decibel levels are important because they provide information to the brain on how quiet or loud a sound is in relative terms. Human ears and brains are designed to detect slight variations in SPL in stereo (binaural hearing), which help us determine from which direction a sound originates. Basically, ambient sound is the total of what you can hear in the present moment, wherever you are.

Ambient sound is always present, even if it is at very low levels. Humans cannot tolerate near‑0dB for long. 0dB is unobtainable under normal conditions. Experiments have shown that people who are deprived of ambient sound can quickly become unsettled or disoriented because humans rely on ambient sound to locate themselves within their environment. The dissociation of sight and sound is inherently problematic for us. The quietest place on Earth is an anechoic chamber at Orfield Laboratories in Minnesota, USA. It is so quiet that the longest anybody has been able to experience it is just 45 minutes.

The simple fact is that there is always some ambient sound present in our lives. These ever‑present characteristics play a part in ambient music compositions.

Defining ambient music

Ambient music is a term that means, ‘a genre of instrumental music that focuses on patterns of sound rather than typical melodic form and is used to promote a certain atmosphere or state of mind’. Another definition is ‘incidental music intended to serve as an unobtrusive accompaniment to other activities and characterised by quiet and repetitive instrumental phrases’.

So far, so what? Useful background info but it doesn’t really mean much on its own. So let’s delve a bit deeper.


A brief pre‑history of ambient music

There is a significant amount of information on the hinterwebby thingummy about the history of the genre, so this is a brief retelling of the essential elements, starting in France, then Germany before crossing the Atlantic to America and then back to the UK. These unfolding events were probably all ahead‑of‑their‑time and in the vanguard of experimental art.

Let us begin by going all the way back to 1917. French composer Erik Satie (1866‑1925) used Dadaist‑inspired explorations to invent what he called musique d’ameublement (‘furniture music’ or, more literally, ‘furnishing music’), music played by live musicians and designed to be unconsciously experienced rather than consciously listened to. Satie described his compositions as music that could be performed at a function to create a background atmosphere for the function, rather than being the prime focus of it. In Satie’s words, his music would, “… be part of the noises of the environment”.

Satie’s use of repeated short compositions is said to have influenced ‘minimal music’ from 1960s onwards, particularly the experimental avant‑garde music of composer John Cage. Satie is also regarded as an essential forerunner to modern ambient music and a key influence on British artist, Brian Eno.

During the 1940s, Frenchman Pierre Schaeffer (1910‑1995) who was, amongst other things, a composer, engineer and musicologist took a different approach. Schaeffer experimented with recording sound, then processing the signals to create an abstract sound collage. The resulting sounds and tones were unrecognisable from the originating source material. Schaeffer used musical instruments, vocals, recorded environmental ‘sound objects’ and electronic sound synthesis. This type of music composition became known as musique concrète (concrete music).

Prolific and controversial German composer Karlheinz Stockhausen (1928‑2007) was a pioneer in electronic music. Stockhausen’s electronic music compositions comprised abstract noise collages created through the use of tape loops, oscillators and recorded sounds. He also specialised in ground breaking ‘spatial music’, using multiple sources to locate sounds within a three dimensional space (an early form of surround sound). Stockhausen created one of the first examples of purely electronic music using sine wave generators and filters, called ‘Studie I’ (1953). In 1954, he pushed the boundaries of classical music using acoustic instruments augmented by electronic sounds. The same year, he published the first fully electronic music score. Stockhausen, the so‑called ‘father of electronic music’, was an important figure who rejected conventions and heavily influenced multiple genres outside classical music, including jazz, pop and rock decades later.

Muzak is a type of background music created by American inventor George Owen Squier in 1934. Known commonly as elevator music (or lift music in the UK), it became used predominantly in public spaces, retail stores and other venues. The word muzak has become embedded in the public consciousness as synonymous with all types of generic and inconspicuous background music. Muzak was particularly prominent during the 1960s and 1970s. Muzak has been a registered trademark of Muzak LLC since 1954. Ambient by stealth?

From the 1950s, particularly in Germany, elektronische musik (electronic music) took precedence over previous forms such as musique concrète. The term ‘elektronische musik’ was first used by German composer and musicologist Herbert Eimert in 1952 to describe music created only by the use of electronic instruments and technology. As the genre developed, elements of musique concrète were incorporated into electronic music. Natural environmental recordings combined with music resurfaced later as a popular element of new age music. German electronic music heavily influenced krautrock, an experimental rock genre that emerged out of West Germany in the late 1960s and early 1970s with bands like Can and Neu!.

American composer John Cage was another influential figure in post‑war avant‑garde music including electroacoustic music. He had been experimenting with studio electronics since the late 1930s. In 1952, Cage ‘performed’ his now‑famous composition, 4′33″. The piece is not, as many believe, silence; it is the intentional ‘absence of deliberate sound’. The musicians do nothing but be on the stage with instruments. For the aforementioned duration of the piece, the audience is encouraged simply to listen to and experience the ambient sounds in the auditorium around them.

Minimal music is a form of art music that, as its name suggests, uses a very limited array of components to produce a composition. Minimal can apply to the instruments used, the sounds/tones produced, as well as the studio processes employed. Minimalism may comprise continuous drones, pulses or repetitive phrases. Minimalism emerged in New York in the late 1960s with American composers such as Philip Glass, Terry Riley, Steve Reich and La Monte Young. It has been suggested that minimalism was one influence behind experimental rock band The Velvet Underground during the 1960s and, much later, on electronic dance music (EDM) sub‑genres such as minimal techno. In 1990, British electronica duo The Orb used a sample from Steve Reich’s work on their hit single, ‘Little Fluffy Clouds’.

At this point, it is worth making quick mention of cinematic music, a.k.a. film scores or original soundtracks (OSTs). The first music to accompany film goes back to the earliest part of the 20th Century if not further, although its use really came into its own, ironically, with the advent of talking pictures in 1927. Cinematic music is composed specifically as a background to fit well with what is happening on screen by creating a certain atmosphere. Many classic theme music pieces would simply not exist without the films for which they were created. Some of the best cinematic music is an integral part of the audio‑visual experience, rather than the music being consciously listened to in isolation. The best soundtracks are equally good pieces of music in their own right and the art form has become highly respected (and profitable). John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, Bernard Herrmann, Lalo Schifrin, Vangelis, Jóhann Jóhannsson and Hans Zimmer are some of the principal cinematic music composers.

In the field of television, the BBC Radiophonic Workshop, set up in 1958, stands out for its experimental work in electronic incidental sound design and music for radio and TV. Key members of the unit included Delia Derbyshire, Daphne Oram and David Cain.


A brief history of electronic sound synthesis

It is probably true to say that synthesizers changed the world of music forever. Here’s a short resume of how that change came about. Warning! This is the techy bit.

Analogue synthesizers – The word synthesizer was first used by RCA in 1956, although it has widely been used to refer to electronic musical instruments from the early 20th Century onwards. Early electronic analogue sound synthesizers were developed in the 1920s and included the Theremin, invented by Leon Theremin in Russia in 1920, the Ondes Martenot, invented by Maurice Martenot in France in 1928 and the Trautnium, invented by Friedrich Trautwein in Germany in 1929.

There are basically only three parts to an analogue synthesizer; one or more oscillators to produce the sound, filters to change the sound, and voltage‑controlled amplifiers to adjust the volume of the sound. In addition, envelope generators are frequently used to change the behaviour of the sound (commonly referred to as ADSR – attack, sustain, delay, release).

Another major development in electronic sound synthesis was by American engineer Robert Moog (1934‑2005) who invented the first commercially available analogue synthesizer, the Moog Modular in 1964. The first fully integrated synthesizer, including the keyboard, was the Minimoog released in 1970. Moog developed his products in response to demand for more practical and affordable electronic musical instruments.

Moog Synthesizer

Samplers – A sampler is an electronic device that captures, records and plays back sections of the recordings. The first example was the Chamberlin, invented by American Harry Chamberlin in 1946. The British Mellotron, introduced in 1963, was perhaps the first famous electro‑mechanical instrument used to play back tape recorded sound samples.

Sequencers – A key factor in making music synthesizers usable was the introduction of the programmable sequencer to program and play back multi‑part arrangements. The first example was probably the analogue Buchla 100 synthesizer in 1964. More importantly, Moog introduced the Moog Modular Sequencer Module – the 960 Sequential Controller in 1968.

As synthesizers became more complex, additional features were added, such as arpeggiators that automatically play a sequence of notes based on a chord or scale, and a range of effects used to process the sound even further.

Digital synthesizers – The first digital synthesizer was made by Synclavier in 1977, while the first commercially successful model was made by Yamaha in 1983. The first production polyphonic synthesizer, able to play chords, was the analogue Oberheim Polyphonic Synthesizer, designed by Tom Oberheim, produced from 1975 to 1979. Yamaha, however, may disagree, citing their GX‑1 ‘Dream Machine’. These were followed shortly thereafter by the Polymoog. Another first was the programmable analogue Prophet 5 made by Sequential circuits in 1978. The culmination of these inventions was the introduction of the Fairlight CMI (standing for ‘Computer Musical Instrument’) in 1979, the first polyphonic digital synthesizer, sampler and sequencer.

Finally, polyphonic digital sound synthesis was here to stay, as was the studio recording technology able to exploit it. Miles away from ambient while owing a debt to it, Donna Summer’s massive disco hit single, ‘I Feel Love’ (1977), written and produced by Giorgio Moroder, was seen as a milestone and “a rejection of the intellectualization of the synthesizer in favour of pure pleasure”. It did, however, herald sound synthesis to the popular market. The phenomenal boom in synthpop during the 1980s, leading to the EDM boom of the 1990s, was the tangible result of lengthy electronic music development.

MIDI – MIDI (Musical Instrument Digital Interface) is a powerful industry standard protocol introduced in 1983 that enables wide variety of electronic musical instruments, computers, and audio devices to communicate. MIDI has become essential for synchronizing, playing, editing, and recording music.

These, and many other tools, were a valuable resource for the new generation of experimental composers and musicians. Everything was pretty much now in place.


A brief history of ambient music

Up to this point it is probably fair to say that elements of ambient music’s predecessors existed, and indeed thrived, on the periphery of the popular music of their time, rather than being front and centre of the mainstream. During the 1960s, that was about to change, albeit relatively slowly.

One interpretation of ambient music is that it is a style of calm, often electronic instrumental music with no discernible rhythm or beat, used to create or enhance mood or atmosphere. Ambient music emphasises tone and textural layers of sound that focus on the actual sounds being produced rather than the traditional musical form in which those sounds would normally reside. As such, ambient music may well intentionally eschew formal structured composition, harmony, melody and metre.

While now commonplace, ambient music, at least in the past, broke the rules of what we understand as familiar music or song content. Ambient music is not limited by accepted tropes of how it is produced, making use of acoustic and electronic musical instruments, unorthodox implements used as instruments, environmental sound recordings and sometimes vocals. A large proportion of ambient music is instrumental, not requiring narrative arrangement through either sung lyrics or spoken words.

One characteristic of ambient music since the 1990s has been the ubiquitous use of looping, creating repeated sections of sound, initially using tape and most commonly through digital effects. Another key trait has been the use of modern digital reverb and delay techniques to provide a sense of space, disconnection and otherworldliness.

One key element of ambient music is the way it can reward equally both passive and active listening. The listener can either focus on the content or allow ‘cognitive drift’ to occur, which can encourage a sense of calm, introspection or contemplation, meditation or as an aid to sleep.

While ambient music is a self‑contained genre, it does not stand alone; it has been incorporated into, or fused with, many other musical genres. This fact, in part, contributes to the debate about what ambient music actually means today and why it has become successful both artistically and commercially.

At last, getting to the point now… Ambient music as we now (think) we know it emerged in various forms during the 1960s and 1970s, largely thanks to the commercial availability of synthesizers. The album that is widely regarded as the watershed that brought ambient music to wider attention was, ‘Ambient 1: Music For Airports’ (1978) by British musician, producer and artist Brian Eno. This studio album also established the term ‘ambient music’ in the public mind set. Eno, either solo or in collaboration with other artists, released many subsequent ambient works, further defining the genre. By the early 1980s, the ‘new’ genre had become recognised and widely accepted. Eno has been oft‑quoted that “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”.

In 1995, Brian Eno used the term ‘generative music’ to describe any music created by a computer system that is ever‑different, non‑repeating and always changing. Eno has frequently used generative ambient music as a background for visual art installations, thereby creating an immersive audio visual experience. There are now a number of autonomous ambient music generators available on the Internet, such as Generative.fm, that provide completely unique compositions that never end, never repeat and last as long as the listener wants them to. The introduction of Artificial Intelligence (AI) into music is likely to expand the scope of generative music considerably.

A discrete subset of the genre is Japanese ambient pioneered by artists such as Hiroshi Yoshimura, Haruomi Hosono, Midori Takada, Osamu Sato and Susumu Yokota during the 1980s. The offshoot aligned with the Japanese concept of ‘wa’, meaning harmony and serenity. Japanese ambient was an expression of the deep cultural appreciation for nature, an aesthetic preference towards minimalism, and traditional values of maintaining peace.

Ambient has heavily influenced many sub‑genres of downtempo dance music, including ambient house, ambient techno, ambient dub, trip‑hop, nu‑jazz, new age, chillwave and deep house. Ambient has undoubtedly come a very long way from its avant‑garde artsy origins. Ambient was now cool and it was here to stay.

In recent years, ambient music has continued to evolve and expand. Some contemporary artists have incorporated elements of jazz, classical music, and other genres into their work, while others have experimented with new digital technologies such as AI and virtual or augmented reality to create new experiences. Improvisation and extemporisation have become integral elements of many ambient compositions.

Overall, ambient music has remained a vibrant and innovative genre that continues to explore the limits of what is possible in music. Perhaps, the essence of ambient music continues to flourish at the margins, requiring some effort to discover as the means of dissemination moves away from traditional record companies, labels, distributors and physical media. The Internet and streaming services may become the only means to access these esoteric future forms.

Ambient music’s experimental aspirations, though, have been an on‑going thorn in its side, which seems particularly hard to expunge. Partly because of its eclectic roots, many regard the lofty art & culture baggage of ambient as self‑absorbed, arrogant, sanctimonious, pompous and pretentious – or just plain dull and boring. Brian Eno in particular has attracted considerable scorn for refusing to conform to populist ideals and short‑term fads. The fact that he is not fazed by such clichéd criticisms and follows his own path regardless, encourages his opinionated detractors even further.

A predilection for ambient music is a choice, not a requisite and it doesn’t carry any cache amongst some imaginary elitist intellectual cultural community. It is, though, not for everyone, with many seeing ambient as a tedious interminable din. Indeed, if anything has been learned through the decades about ambient music is that its appeal is, at least partially, subliminal, nurturing our subconscious need for enlightened contemplation and therefore beyond our ability to control whether we appreciate it or not. Discuss…

Influential artists that have dabbled in ambient music either in part or whole include (in no particular order) Brian Eno, Aphex Twin, William Basinski, Steve Roach, Robert Rich, Pauline Oliveros, Cluster, Biosphere, Harold Budd, John Hassell, Max Richter, Tim Hecker, Terry Riley, William Orbit, Four Tet, Steve Hillage, Stars Of The Lid, Bonobo, Mark McGuire, Ash Ra Tempel, Alice Coltrane, Jon Hopkins, Edgar Froese, Oneohtrix Point Never, The Caretaker, Laurie Speigel, Tycho, GAS, Boards Of Canada, Burial, Fripp & Eno, Slowdive, Air, Julianna Barwick, A Winged Victory For The Sullen, Ben Chatwin, Richard Norris, Luke Abbott, The Cinematic Orchestra, Daniel Avery, Darshan Ambient, The Gentleman Losers, Ibizarre, A.M.P. Studio, Orbient, Nacho Sotomayor, Sigur Rós, Johnny Jewel, Bicep, Marconi Union, Memory Tapes, Neon Indian, Com Truise, The Orb, The KLF, Divination, Lawrence English and The Irresistible Force.


A brief history of other music genres related to (but not) ambient music

New age music –New age music emerged in the 1970s and 1980s, influenced by a variety of styles including classical music, jazz, world music, religious music, folk and rock. New age music often explores arcane folklore, ancient traditions, ethnic groupings, astrology, mythology, mysticism, spiritualism, fantasy and even the occult. Lacking any precise definition, it is often seen as an umbrella for many different and often divergent styles. Ambient and new‑age music are two distinct genres albeit with some overlap between them.

Starting with the similarities… New age music is a genre of music characterised by its soothing and relaxing qualities. It often features acoustic instruments such as flutes, harps, guitars and pianos, traditional Asian or African instruments as well as nature recordings and synthesizers. New‑age music is often used for relaxation, contemplation, yoga, massage, stress relief and anxiety management. As background music, it is used to create a calm, serene, peaceful atmosphere for other activities.

… and some key differences… Ambient music tends to be more experimental and abstract than new‑age music, with a greater emphasis on soundscapes and textures rather than rhythm, melody or harmony. New age music tends to be more melodic, structured and more easily accessible than ambient music.

Overall, both ambient and new age music are genres designed to create a sense of serenity in the listener (the ends). However, they go about achieving this goal in different ways (the means).

New age music has habitually been ridiculed (erroneously) for being part of hippie culture, with acolytes that embraced new age beliefs being called ‘zippies’. From the 1990s. Zippies were in favour of new age principles such as social change, environmentalism, and alternative lifestyles while also being influenced by rave culture, cyberculture, and psychedelic drugs.

New Age Travellers are a loose grouping of people primarily in the United Kingdom generally adopting new age beliefs along with the counter culture movement of the late 1960s. Their nomadic lifestyle often brought them into conflict with static communities and the authorities.

Prominent new age artists include Enigma, Enya, Deep Forest, Clannad, Gregorian, Phil Thornton, Patrick Kelly, Peter Gabriel, Bernward Koch, Paul Winter, Grouper, All About Eve and William Ackerman.

Nature recordings – Ambient nature sounds or, technically, field recordings are a popular sub‑genre of ambient music that feature environmental recordings such as the sounds of water, animals, thunderstorms, wind and even fire. The origins of combining natural sounds with musical compositions can be traced back to the early 20th century. Field recording is regarded by many as a genre in its own right, with or without music.

Field Recording

The use of field recordings in music became more widespread in the 1950s and 1960s with the advent of portable recording equipment and with digital recording from the 1980s. Musicians such as John Cage and Dan Gibson began using natural or built environmental sounds into their compositions.

The use of field recording in ambient music can be traced back to Brian Eno’s ‘Ambient 1: Music for Airports’, which featured recordings of airport terminal announcements and other environmental sounds. Since then, many ambient artists have incorporated field recordings to create captivating soundscapes that blur the line between music and environmental sound.

Some popular ambient nature sound artists include David Dunn, Chris Watson, Dan Gibson, Diane Hope, Lawrence English, Biosphere and Francisco López.

Downtempo and chillout music – Ambient music did not burst onto the scene overnight and, at least initially, it did not attract significant commercial success. With the popularity of EDM and the domination of house and techno in nightclubs, ambient experienced a mini‑revival towards the late 1980s with sub‑genres including ambient house, ambient trance, ambient techno and ambient dub. During the dance‑dominated 1990s, ambient music became trendy as an after‑party ‘comedown’ with the advent of ‘chillout rooms’; spaces within clubs that served as venues for a relaxing alternative to the high‑energy ‘rave rooms’.

Chillout is a form of downtempo music (or vice versa) characterised by relaxed rhythms, mellow beats, laid back grooves and atmospheric soundscapes intended to induce a tranquil mood – fertile ground for ambient music to proliferate. Chillout is heavily derived from EDM, but typically at slower tempos and with sonic palettes often reminiscent of ambient, electronic‑styled new age, progressive electronic and even elements of instrumental hip hop, dub, deep house and breakbeat.

However, neither chillout nor downtempo come under the definition of ambient, due to their prominent use of structure and rhythm. Sunset beach bars, restaurant venues and cult dance clubs in Ibiza in the 1990s jumped onto the ambient/downtempo/chillout bandwagon as an escape from the more intense side of life and a counterpoint to the hectic rave and acid house scenes of the time. In the UK, the Bristol trip hop scene also capitalised on the chillout boom.

The chillout zeitgeist during the late 1990s was partly due to a proliferation of commercial chillout compilation albums from record labels such as Ministry of Sound, Café del Mar, Café Mambo, Beyond Records, Kompakt Records and Mercury Records. Mainstreaming ultimately motivated underground producers to move away from chillout into other more adventurous leftfield ventures. By the early‑mid 2000s, popularity of chillout music faded heavily. However, it would see a revival in the 2010s and 2020s (so far), which aimed to recapture the spirit of earlier forms of the genre.

Ambient and downtempo/chillout and are not interchangeable, although the boundaries between them are often unclear. Downtempo and chillout would go on a different path to influence subsequent genres like psybient, psychedelic trance, chillwave, lounge, post rock, lo‑fi hip hop, hypnagogic pop and nu‑jazz.

Prominent downtempo and chillout artists include The KLF, The Orb, Thievery Corporation, Deep Dive Corp, East India Youth, The Album Leaf, Nightmares on Wax, Falco, Robert Miles, Morcheeba, Bowery Electric, Mr. Scruff, Tosca, Hallucinogen and Ultramarine.

Trip Hop – Trip hop is a genre of electronic music that emerged from downtempo/chillout in the early 1990s. Trip hop is characterized by its use of hip hop beats, samples, and dense atmospheric soundscapes, fusing influences from jazz, soul, funk, reggae, dub and R&B. Like other forms of electronic music, trip hop uses structure, melody and beats, differentiating it from ambient. The term trip hop was first used in an article in Mixmag magazine in 1994 about American artist and producer DJ Shadow. Trip hop music was popularised mainly by artists from Bristol in the UK such as Portishead, Massive Attack and Tricky. Trip hop further influenced genres like instrumental hip hop and UK garage.

Other artists that have made use of trip hop leanings include Sneaker Pimps, Aim, Howie B, The Dining Rooms, FKA Twigs, Glass Animals, Kosheen, Martina Topley‑Bird, Poliça, Smoke City, 9Lazy9, Bomb The Bass, Coldcut, Morcheeba, Pretty Lights, DJ Shadow, DJ Food, DJ Vadim, Funki Porcini, Gorillaz and London Grammar.

Electronica – Electronica is a massively broad term for music that uses electronic instrumentation and sound manipulation technology as the primary means of production. As such, it is a catch‑all for music that doesn’t slot easily into existing sub‑genres. In its widest sense, electronica is pervasive, directly or indirectly, in much of modern contemporary music. There is, therefore no point in defining it or attempting to establish its scope here.

Since the 1960s, electronica artists have both influenced and taken influence from many other music genres. The commercial breakthrough of electronic music occurred with the advent and subsequent domination of synthpop, Europop and Eurodance in the 1970s. This was followed by EDM sub‑genres such as house, techno and electro from the 1980s onward. The burst in electronic creativity was fuelled by a self‑perpetuating feedback loop, pushing things further in the popular mainstream as well as in the margins that continues to this day.

Some prominent artists under the diverse panoply of electronica include (again in no particular order) Clara Rockmore, Kraftwerk, Aphex Twin, Depeche Mode, Daft Punk, Kraftwerk, Röyksopp, Gary Numan, Japan, David Sylvian, Natural Snow Buildings, Global Communication, Moby, The Chemical Brothers, Orbital, Underworld, The Human League, Visage, Thomas Dolby, Howard Jones, Ultravox, Rick Wakeman, Jean‑Michel Jarre, Skrillex, Leftfield, Herbie Hancock, Electronic, Deadmau5, Fred Again.., Sven Väth, Major Lazer, Armin van Buuren, Sasha, Thom Yorke, Emerson Lake & Palmer (ELP), Daft Punk, Four Tet, Floating Points, Flying Lotus, Hot Chip, Pet Shop Boys, Fatboy Slim, The Prodigy, Giorgio Moroder, M83, Goldfrapp, Amon Tobin, Carl Cox, Crystal Castles, Infected Mushroom, Groove Armada, Eat Static, LCD Soundsystem, Faithless, Disclosure, System 7, 777, Erasure, Yazoo, Paul van Dyk, Eric Prydz, Heaven 17, Orchestral Manoeuvres In The Dark (OMD), Tears For Fears, Monaco, Bronski Beat, Vince Clarke, Eurhythmics, Thompson Twins, Yello, Squarepusher, Machinedrum, Pendulum, Romare, Calvin Harris, Apollo 440, Ladytron, MØ, Flume, Public Service Broadcasting, Solar Fields, The Grid, X‑Press 2, Arms And Sleepers, Caribou and ATB.


A brief history of ambient electronica (and related) artists

OK, so we’ve looked at some of the genres that have led up to the current day and the prevailing view of ambient music in context. Now, it’s time to take a brief look at some key artists involved along the way, whether they could strictly be considered proponents of ambient music or not. Here are some of the most prominent.

Tomita – Isao Tomita (1932‑2016) was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analogue synthesizer arrangements. Tomita is known for his electronic versions and adaptations of familiar classical music pieces as well as futuristic science‑fiction themes and trance‑like rhythms. Tomita received four Grammy Award nominations for his studio album based on music by classical composer Claude Debussy, ‘Snowflakes Are Dancing’ (1974). He also famously adapted Gustav Holst’s ‘The Planets’ (1976).

Wendy Carlos – Wendy Carlos (1939‑) is an American musician and composer born as Walter Carlos and transitioning to female gender in 1972. She is known for her pioneering electronic music and film scores. Carlos studied physics and music at Brown University before studying music composition at Columbia University in New York City. She helped in the development of Robert Moog’s first commercially available synthesizer. Carlos’ breakout release was Grammy Award‑winning ‘Switched‑On Bach’ (1968), an album of music by Johann Sebastian Bach performed entirely on synthesizer. Carlos went on to release further synthesized classical music adaptations, as well as experimental and ambient electronic music. She composed film scores for three major studio films, ‘A Clockwork Orange’ (1971), ‘The Shining’ (1980), and ‘Tron’ (1982).

Tangerine Dream – Tangerine Dream is a German band founded in 1967 by Edgar Froese (1944‑2015). The best‑known incarnation of the group was the mid‑1970s trio of Froese, Christopher Franke and Peter Baumann. Tangerine Dream is considered a pioneer in electronic, ambient and space music, a.k.a. kosmische musik (‘cosmic music’). Tangerine Dream were key members of the so‑called Berlin School of electronic music. Despite having released over one hundred albums over the years, they are best known for their use of synthesizers and sequencers, including milestone albums, Phaedra (1974) and Rubycon (1975). Tangerine Dream has also composed over sixty film soundtracks as well as the score for the video game Grand Theft Auto V. However, it is their mid‑1970s material that profoundly influenced the development of electronic music styles such as ambient, new age and EDM.

Klaus Schulze – German electronic music composer and musician Klaus Schulze (1947‑2022) is considered one of the pioneers of electronic music since the late 1960s. Schulze was an early member of the band Tangerine Dream before leaving to pursue a solo career in 1970. Schulze had a prolific career, releasing over sixty studio albums. Schulze’s music is known for its long, repetitive sequences and its use of analogue synthesizers. His early work was influenced by the psychedelic rock of the late 1960s and early 1970s, while his later work was more experimental and ambient. Schulze’s music has been used in films such as ‘The Exorcist’ (1973).

Brian Eno – English musician, composer, producer and artist Brian Eno (1948‑) has become synonymous with contemporary ambient music, pioneering and contributing to the ambient, electronica and minimalist drone genres. He started out in experimental rock, glam rock, art pop and art rock as former keyboard player with Roxy Music. Along with his extensive solo career, Eno has also collaborated on many side projects with other artists including Harold Budd, David Bowie, David Byrne, Fred Again.., Jon Hopkins and Cluster. Many of his collaborations explored beyond the scope of purist ambient music. He has also been prominent behind the studio desk producing many artists including John Cale, David Bowie, Jon Hassell, Laraaji, Talking Heads, Ultravox, Devo, U2, Coldplay, Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, James, Kevin Shields and Damon Albarn. In addition, Eno has composed a number of film scores. If that wasn’t enough, Eno has also worked prolifically in other media, including audio visual installations, art installations, film and as an author. As mentioned above, Eno pioneered the introduction and growth of generative music. A little known fact is that Eno also composed the six‑second music snip that accompanied the start‑up of the Windows 95 computer operating system, known as ‘The Microsoft Sound’. Love him or loathe him, Eno’s legacy is probably as far reaching as it is incalculable.

Brian Eno (courtesy of Cosciansky)

Kratwerk – German electronic band Kraftwerk was founded in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Kraftwerk is widely regarded as an innovator and pioneer of electronic music and was one of the first successful acts to popularise and commercialise the genre. The group began as part of West Germany’s experimental krautrock scene in the early 1970s before adopting electronic instruments for which they are best known, including synthesizers, drum machines, and vocoders. Their massive hit single and album, ‘Autobahn’ (1974) cemented their reputation. Kraftwerk inspired many artists including David Bowie, Joy Division, New Order, Daft Punk and LCD Soundsystem.

Jean‑Michel Jarre – Jean‑Michel Jarre (1948‑) is a French composer, musician and record producer. He is widely regarded as an innovator in electronic, ambient, new age and synthpop music. His breakout studio album, ‘Oxygene’ (1977) has become an electronica classic, selling over 18 million copies worldwide. Jarre’s musical style builds on the work of Tangerine Dream and adds a bit of populist French va‑va‑voom. He is famous for organising extravagant outdoor events involving laser light shows, visual projections and pyrotechnics to accompany his stage music. One of his concerts in Moscow, Russia in 1997 holds the world record for the largest audience for a single outdoor event, estimated at 3.5 million people.

The Orb – The Orb is an English electronic music group founded in 1988 by Alex Paterson and Jimmy Cauty. The duo began as ambient and dub DJs based in London before making the move into music production. The Orb is well known for their psychedelic ambient space sound. Over the years, The Orb has developed a cult following among clubbers ‘coming down’ from drug‑induced highs and, as such, their music became popular in club chillout rooms. Their influential debut studio album ‘The Orb’s Adventures Beyond The Ultraworld’ (1991) established the UK’s underground ambient house trend. The Orb’s second album, ‘U.F.Orb’ (1992) confirmed the band’s popularity and ensured their longevity. The Orb was influenced heavily by predecessors, Brian Eno and Kraftwerk. The Orb has maintained their signature science fiction aesthetic throughout their prolific career.

Amorphous Androgynous – British electronic music duo Amorphous Androgynous and its better known alter ego, The Future Sound of London (FSOL), was founded by Garry Cobain and Brian Dougans in 1988. The duo’s music is characterized by its psychedelic, ambient, and experimental sound. They acted as a bridge between the underground and well‑established electronic artists and has been influential in the development of electronic music genres such as ambient house, ambient dub and trip hop. They have released several albums, including ‘Tales of Ephidrina’ (1993) and ‘Lifeforms’ (1994).

Orbital – Orbital is an English electronic music duo founded by brothers Phil and Paul Hartnoll in 1989. The band has had on‑off periods of activity, breaking up and reforming on more than one occasion through the years. The band’s name is taken from the M25, London’s orbital motorway, which was key to the early (illegal) rave scene and (legal) acid house scene of the late 1980s and early 1990s. Orbital’s involvement with dance music has led to its strong reputation as a live band. They have mixed ambient sounds along with techno, trance, breakbeat and electronic rock styles. They have also been hugely influential in the development of modern electronic sub‑genres such as glitch, wonky and Intelligent Dance Music (IDM), as well as EDM.

The Chemical Brothers ‑ English electronic music duo The Chemical Brothers, originally known as The Dust Brothers, was formed in 1989 by Tom Rowlands and Ed Simons in Manchester, UK. Along with peers, The Prodigy and Fatboy Slim, they were pioneers in bringing the big beat, techno, house and EDM to popularity. Their breakout studio album, ‘Dig Your Own Hole’ (1997) rapidly became a rave classic. Like Orbital, they have become regular headliners on the festival and arena circuits. While their music is far from ambient, the origins are still evident and their enduring influence has also been widespread.


Contemporary music genres related to ambient

Here we are now, well into the 3rd decade of the 21st Century, so what position does ambient occupy now? Has it stagnated, frozen in aspic? Is it languishing in some obscure genre limbo? Or is it still evolving either on its own terms or in other ways? Let’s look at where ambient influences have led us and which may give a clue to where it might be going in the future. Here are eight of the most important modern‑day ambient spin‑offs.

Drone – Drone is a music genre that plays on long, sustained tones or repeated single notes. Unlike other genres that use drones as a component, drone music puts drones at the forefront, removing most melody and rhythm. As such, it bears many similarities to ambient. Drone music explores the changing timbre of individual sounds over time. For electronic drone, this is often achieved by slight fluctuations in the drone’s pitch, tone and amplitude.

The origins of drone, whether electronic or classical, are found in traditional music from across the world and date back to the 1940s with ‘Monotone Silence Symphony’ (1949) by Yves Klein. Drone developed through minimal music and through rock. Drone has seen a resurgence in the 2020s. Drone music has expanded to influence countless other genres, including ambient, EDM, drone metal and post‑rock.

Progressive Electronic – Progressive music in its widest sense generally attempts to expand existing stylistic boundaries associated with a specific genre of music. It also places emphasis on creating a sense of progression or development throughout a piece of music. Layered soundscapes, intricate changes in rhythm, a wide range of sound effects and textures are commonly used. Improvisation is also a key characteristic of progressive electronic music, as many musicians use improvisation to create new and inventive sounds rather than relying on pre‑recorded samples or synthesizer presets. Another important aspect is the use of lengthy, extended compositions, with tracks frequently having multiple sections and mood changes. Basically, progressive electronic covers a large proportion of electronic music from the late 1960s to the current day, including post rock. Is it a genre in itself? Make up your own mind.

Vaporwave – Vaporwave emerged in the early 2010s and is characterised by its use of synthesizers, slowed‑down samples and a great deal of studio manipulation including time shifting and cutting up of sound clips, then applying reverb, echo and other studio effects. The advent of computer‑based digital audio workstations (DAWs), such as Pro Tools, Logic Pro, Abelton and Cubase, greatly aided production and the Internet provided the means of distribution through platforms like YouTube, Bandcamp and SoundCloud.

Vaporwave got its name from ‘vaporware’, a term applied to computer hardware or software which is announced by a developer well in advance of release, but which then fails to emerge.

At first, vaporwave was a nostalgic reflection of the sounds of the 1980s and 1990s, drawing from popular music, contemporary R&B, smooth jazz and muzak, as well as from consumer culture, corporate logos, films, radio broadcasts and television commercials. Vaporwave has been described as a form of ‘post‑Internet’ electronic musical movement that reflects the fragmented and disorienting experience of living in the digital age.

The release of ‘Eccojams Vol. 1’ (2010) by Daniel Lopatin, under one of his aliases Chuck Person, is widely regarded as the foundation of vaporwave as a genre. The debut was followed ‘Floral Shoppe’ by Macintosh Plus and ‘Far Side Virtual’ by James Ferraro (both 2011), bringing greater visibility to vaporwave and its associated aesthetics. Despite this, vaporwave remains niche with tracks not readily available on physical media such as CDs or vinyl.

Like ‘pure’ ambient, vaporwave shuns structure and rhythm. The use of looping, glitching, pitch‑bending, panning, and echoing sound samples came to define the sound of vaporwave, giving the patchwork sound a hazy, surreal, dreamy and atmospheric quality with a focus on hyperreality. The vapor movement alludes to a disconnection or separation from reality presented through its original form.

In addition, vaporwave gave birth to a distinct aesthetic based on subcultures like cyberpunk, seapunk, manga and anime. Artist names, album titles and track listings often used uncommon symbols and Japanese script. In conjunction with the heavily manipulated and often intentionally degraded sound of vaporwave music, much of the genre’s artwork featured low‑grade image distortion or digital artefacts, bringing the limitations and flaws of past technology and positioning it within the broader post‑internet artistic landscape. The integration of the visual and the music elements can be interpreted as a criticism of consumer capitalism and hi‑tech culture.

Dreampunk – Dreampunk is an evolution of Vaporwave, also emerging in the mid‑2010s. Dreampunk artists wanting to experiment with more minimal and atmospheric compositions while, at the same time, distancing themselves from the nostalgic restrictions of the 1980s. The Internet record label, Dream Catalogue, helped popularize dreampunk within the vaporwave community as well as further afield.

The abstract, hypnotic, atmospheric soundscapes and repetitive structure of vaporwave is perhaps closer to ambient music, although the presence of rhythm differentiated it from its predecessor. This contributes to the dreamlike ethereal sound for which the genre is known. Dreampunk artists tend to seek anonymity, with many using several Internet aliases to create a sense of mystique around their music, hiding behind the aesthetic, often utilizing abstracted imagery of cityscapes, neon‑lit night scenes and incorporating futuristic dystopian and cyberpunk themes. Like vaporwave, dreampunk also uses Japanese scripts to further mystify their image. Classic dystopian and cyberpunk films such as ‘Blade Runner’ (1982) and ‘Ghost in the Shell’ (1995) also influenced and inspired the music genre. Both vaporwave and dreampunk continue to thrive in the underground.

Ambient, morphed through the lens of vaporwave and dreampunk, heavily influenced other genres such as hypnagogic pop, chillwave, VHS pop, witch house and slushwave.

Some popular vaporwave and dreampunk artists include Blue In Tokio, Fishmans, T e l e p a t h (テレパシー能力者), 2 8 1 4, Windows96, SkyTwoHigh and Lindsheaven Virtual Plaza.

Chillwave – Chillwave, a.k.a. glo‑fi, is an Internet genre that originated predominantly from the United States circa 2009. Chillwave, like vaporwave, looked back to the aesthetics and musical styles of the 1980s and 1990s, intentionally evoking a sense of nostalgic reflection. Chillwave melded analogue instruments with modern recording technologies and techniques to create a hazy dreamlike atmosphere. Chillwave appropriated elements of synthpop, funk, downtempo, EDM and alternative/indie genres like indie pop, neo‑psychedelia and synthwave.

Chillwave, vaporwave and dreampunk led to a great deal of fusion and crossover material, blurring the differences between them. Chillwave declined in popularity by the start of the 2020s but like many other genres, the end of chillwave may have been greatly exaggerated. Expect it to come back to the fore in due course. Chillwave’s influence would go on to play a part in genres such as cloud rap, alternative R&B, future bass, synthwave, ethereal wave and bedroom pop.

Prominent chillwave artists include Toro y Moi, Neon Indian, Washed Out, Memory Tapes, Flume, Com Truise, Tycho, Panda Bear, Lemon Jelly and Nite Jewel.

Intelligent Dance Music and its spin offs, glitch and wonky – Intelligent Dance Music (IDM) is a genre of electronic music that emerged in the early 1990s as a derivative (and rejection) of EDM. It is characterized by complex rhythms, intricate melodies, and a focus on sound design and experimentation. IDM artists often use unconventional time signatures, polyrhythms, glitches and de‑tuned sounds to create a unique listening experience. The genre is also known for its use of ambient textures and atmospheres, which can create a vague or otherworldly feel. IDM has been influential in the development of other electronic music genres such as ambient techno, and intelligent techno.

Some of the most well‑known IDM (and glitch/wonky) artists include Aphex Twin, Four Tet, Daniel Avery, Actress, Floating Points, Machinedrum, Moderat, Oneohtrix Point Never, Boards Of Canada, Mouse On Mars, Flying Lotus, LFO, Clark, Luke Vibert, Autechre and Squarepusher.

Dream pop – Deriving more from structured alternative and indie rock rather than ambient, dream pop uses reverb‑laden guitars, effects‑rich vocals, and dense studio production, to create a psychedelic, spacious, ethereal and surreal sound, albeit with a de‑emphasized beat accompanied by quiet, breathy harmonised vocals to elevate the music from its origins.

Dream pop is commonly fused with other genres such as shoegaze and noise pop, although dream pop does not solely depend on ‘walls of sound’, heavily distorted guitar layers or feedback. Dream pop relies heavily on modulation effects such as chorus, tremolo, vibrato, delay and reverb, to create mesmerising sonic textures. Dream pop bands often employ synthesizer layers to add atmosphere and lush soundscapes. Influences include slow core, post rock and trip hop.

In a similar way to shoegaze, vocals focus on melody and timbre, rather than lyricism. It is not uncommon for dream pop groups to have multiple vocalists to make good use of harmony and ‘instrumental’ vocals.

Prominent dream pop artists include Warpaint, 2:54, Lanterns of the Lake, Beach House, Cigarettes After Sex, The xx, Bat For Lashes, Low, Chromatics, Spiritualized, Julee Cruise, Broadcast, Zero 7, Phantogram, Yo La Tengo, Cocteau Twins, Dévics, Esben And The Witch, Pure Bathing Culture, School Of Seven Bells, His Name Is Alive, How To Dress Well, Lush, London Grammar and Mazzy Star.

Ambient dub – Ambient dub fuses ambient music with dub electronica. Ambient dub is a chillout fusion of ambient, dub reggae and future dub, featuring the atmosphere of the former and the Jamaican‑style basslines, percussion, and psychedelic production techniques of the latter. The name of the genre was coined by record label Beyond Records with a series of compilation albums of the same name, starting with, ‘Ambient Dub Volume 1: The Big Chill’ (1992). Many of the prominent artists within the genre also perform or mix in elements of dub techno, dubstep or ambient techno, which has led to some confusion over ambient dub’s actual sound. While the lines are indistinct between such electronic genres, ambient dub can genuinely be discerned by its denser atmospheres, a heavier use of reverb and/or delay, and an emphasis on bass akin to traditional dub, as well as reggae rhythms.

Notable ambient dub artists include: The Dub Syndicate, Bill Laswell, Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Transglobal Underground, Jon Hopkins, Jah Wobble, Mad Professor, Burnt Friedman, Deadbeat, The Bug, Solar Quest, Ladytron and Banco de Gaia.

Dark ambient – before we leave, it’s worth a quick mention about dark ambient, a.k.a. ambient industrial. While most ambient music creates a peaceful, welcoming and safe place, dark ambient is intended to disturb. Dark ambient emerged as a post‑industrial counterpoint to the wider ambient landscape. It is characterised by an ominous, brooding, eerie, sinister and overbearingly gloomy atmosphere, often with discordant overtones, dissonant timbres and lengthy drones. Dark ambient often crops up in film scores intended to unsettle the audience and create a sense of disorientation or suspense.

Dark ambient artists include Deathprod, Agalloch, David Lynch, Throbbing Gristle, Angelo Badalamenti, Nine Inch Nails, Trent Reznor, William Basinski, Blut Aus Nord, Mortiis, Cabaret Voltaire, Dolorian, NON, Controlled Bleeding, Earth, Jóhann Jóhannsson, Sunn O))) and Steven Wilson.

STOP! Enough already! I hear you cry. We are beginning to go down a bit of a proverbial rabbit hole here, so the short list that follows suggests other sub‑genres heavily influenced by ambient and its derivatives. These sub‑genres include black ambient, ritual ambient, space ambient, space music, ambient Americana, ambient house, ambient techno, ambient trance, psybient, psydub, minimalism, modern classical, ambient industrial, tribal ambient, pop ambient, dubstep and turntable music. Phew!


Key ambient+ albums:

As with my previous article on dub reggae, it would be remiss not to mention some of the key albums that have impressed over the years. Here are some predictable and some very unpredictable selections to showcase the vast expanse of electronic ambient music as it is today. As this article has hopefully shown, ambient isn’t a clearly defined pigeon hole with unbreakable rules but rather a constantly changing complex and diverse approach to experimental soundscapes. Hence this ‘top 20’ collection is more like ‘ambient+’ (as I call it; remember, you read it here first!), intended to demonstrate the ecosystem’s multiplicity. Another ‘desert island disc’ compendium to daydream about. Again, it was a difficult decision‑making process with many excellent works that didn’t make this particular cut. These albums are all classified as contemporary, i.e. 1975 to the current day.

  1. Aphex Twin – Selected Ambient Works 85‑92 (1993) and Vol. II (1994). Two seminal albums in the ambient genre that feature a mix of electronic and acoustic sounds. It is known for its dreamy, otherworldly soundscapes and has been described as ‘a journey through a strange and beautiful world’.
  2. Brian Eno – Ambient 1: Music For Airports (1978). Basically, the one that started it all. Essential listening for devotees of the ambient music genre. A starting point for the many great ambient works that followed and an entrée into Eno’s many other ambient works.
  3. Tangerine Dream – Rubycon (1975). Along with its predecessor, ‘Phaedra’ (1974), the pair stand out from the band’s extensive canon. The band had stopped using traditional instruments in its compositions and focused on analogue synthesizers and sequencers. Truly remarkable.
  4. Max Richter – Sleep (2015). Almost 8½ hours of sweet lilting lullaby, a transcendent, cinematic, post‑minimalist ambient album of gentle music intended to be experienced as much as it is to be listened to, awake or asleep (or, interestingly, in between – a phenomenon known as ‘eyelid movies’; what the mind conjures up when one is in the transitional state of near sleep).
  5. GAS – Pop (2000). A comforting, immersive experience and a lesson in how to make electronica sound organic and engrossing. Transcendent and transformative. A lysergic trip for your ears.
  6. Fripp & Eno – Evening Star (1975). Combining the talents of Brian Eno and Crimson King guitarist Robert Fripp. Good to see guitar making a contribution to ambient music.
  7. Four Tet – Rounds (2003). Not really ambient, more IDM and glitch. However, a disarmingly elegant stripped back intimate album. Perhaps, Kieran Hebdan’s landmark album.
  8. Boards Of Canada – Music Has The Right To Children (1998). Focusing on concepts of childhood nostalgia, created by the use of obscure samples and masterly manipulated layers of sound. The album has become rather essential listening along with ‘The Campfire Headphase’ (2005) and ‘Geogaddi (2002).
  9. Bonobo – Black Sands (2010). Lush, sumptuous and beguiling. Not ambient in a true sense but a great example of downtempo electronica from Simon Green. Also worth a listen is, ‘The North Borders’ (2013). Both also have excellent remix albums.
  10. The KLF – Chill Out (1990). A classic ambient album that features a mix of samples and original music. It’s known for its dreamy, atmospheric soundscapes and has been described as ‘a road movie in music form’.
  11. Stars Of The Lid – Tired Sounds Of Stars Of The Lid (2001). An album that features long, slow‑moving pieces that are built around drones and other ambient textures.
  12. Chromatics – Night Drive (2001) – More ambient pop, dream pop and synthwave than pure ambient. Chromatics’ ethereal style was featured by David Lynch in his surreal TV series, ‘Twin Peaks’.
  13. Burial – Untrue (2007). Enigmatic London‑based dubstep artist burst onto the scene with an album that is stark, blurred, eerie, tender and hauntingly evocative. A breath taking and inimitable event.
  14. William Basinski – The Disintegration Loops I‑IV (2002‑2003). Four albums that feature loops of decaying tape recordings. The music is haunting and melancholic, and has been described as ‘a meditation on loss and decay’. Dedicated to the victims of 9/11. Tape music entropy as it happens, captured for posterity.
  15. Tim Hecker – Radio Amor (2003). An album that features a mix of electronic and acoustic sounds, including guitar and piano. It’s known for its dense, layered soundscapes and has been described as ‘a beautiful, immersive experience’.
  16. Banco de Gaia – Last Train To Lhasa (1995). Along with its predecessor, ‘Maya’ (1994), it shows the approach of Toby Marks to progressive ambient electronica. Again, not really ambient but hugely influenced by it.
  17. Thievery Corporation – The Richest Man In Babylon (2000). Along with its remix EP, ‘Babylon Rewound’ (2004) it takes other influences including reggae and dub and brought it into the downtempo chillout world.
  18. The Higher Intelligence Agency – Freefloater (1995). British artist Bobby Bird started off running experimental electronic music nights in Birmingham. Ambient techno meets ambient dub meets ambient. Also worth a listen is, ‘Colourform’ (2010).
  19. Lindsheaven Virtual Plaza & SkyTwoHigh – Imaginary Pathways (2021). The final Internet album by Brazilian musician and producer, Cesar Alexandre before his untimely death due to covid. More dreampunk, ambient techno and downtempo with a hint of vaporwave rather than ambient. Blissful.
  20. The Gentleman Losers – The Gentleman Losers (2006). Finnish brothers that take a mix of ambient, post rock, lo‑fi, dreamlike slowcore and even a hint of Americana and blend it into a strange place where one isn’t certain of what is light and what is dark.
20 Ambient+ Studio Albums

In addition, referring back to ubiquitous compilation albums of the 1990s, one of the most significant events was ‘Ambient Dub Volumes 1‑4’ by various artists (1992‑1995) – A series of ambient dub compilation albums from Beyond Records that announced ambient dub to the world. The last of the four isn’t quite up to the first three but best seen as a whole. Another name check is for the annual ‘Pop Ambient’ compilations (2001‑) curated by Wolfgang Voigt, the man behind Kompakt Records and his nom de guerre GAS (see #5 above).


The future of ambient and ambient‑related music

The legacy of ambient music in all its facets has had a major impact on pretty much everything we listen to, even if we aren’t always aware of it. The question is, where is it going?

Ambient has exhibited somewhat of a resurgence in the early 2020s. Part of this renewed interest may be because of what is called multi‑sensory branding, where media events attempt to evoke memories through stimulation of all the senses. Another reason may be the rediscovery of obscure Japanese ambient music, as well as an interest in previously experimental, niche or underground music now garnering mainstream recognition. Streaming services make accessing unconventional music much easier. In addition, the growth of interest in mindfulness and mental health & wellbeing as a ‘cure’ for stress and anxiety caused by an increasingly frenetic and unpredictable world has reinforced the search for aids to relaxation, introspection and contemplation.

One thing we’ve learnt from this escapade is that ambient and ambient+ (or whatever else you want to call it) has been pushing the boundaries ever since the start of the 20th Century. If nothing else, it will continue to explore the outer limits while influencing the mainstream.

Probably the most significant tool in the future of ambient electronica won’t even involve human beings or actual instruments! AI will make significant inroads into generative music. Ultimately, though, this is likely to be a bit of a creative dead end. The drawback of AI is that it can only learn from what has come before it, it lacks the imagination and inventiveness of the human mind. At some point, AI generated ambient will become stale and derivative and human creativity will, once again be needed to bring spontaneity and unpredictability back to front and centre of music. Go People!

Given the inherent limitations of traditional musical instruments, electronic music may, arguably, have the greatest potential for innovation and creativity. One can only imagine the possibilities yet to be explored.

While many critics view electronica as soulless, cold and inert, it is sure to develop the ability to elicit more organic, fluid emotional responses. Many artists are looking backwards to analogue instruments and production techniques to add warmth and to create beauty out of its inherent imperfections.

Genre developments can only surprise once before they become part of the historical mosaic. One possible future is that ambient reaches a point where it becomes sterile and disposable. One might envisage it derided in the way that elevator muzak has become. Arguably, a proportion of current‑day throwaway popular music is already demonstrating that bleak possibility with anything new ultimately being short‑lived around the periphery before being subsumed into universal, amorphous homogeneity.

How we will be listening to music is another factor. If music becomes more clichéd, contrived and derivative, it will become more and more dismissible, fading into the background environment. However, isn’t that exactly what Erik Satie intentionally started with back in 1917?

For some, like the author, ambient resonates with the psyche on both a subconscious and conscious level. Others, meanwhile, may find the genre melancholic or even highly irritating. Ultimately, like all music preferences, it is partly a deliberate decision and partly predetermined in some obscure way.

Personally, I have confidence that people who appreciate ‘real’ music and have a passion for creating and performing it that will perpetuate this idiosyncratic form of music into a healthy future. Once again, discuss…


Tailpiece

So… there you have it. Another lengthy (apologies) delve into a relatively narrow niche of the wondrous world of music. Back to the real world, sadly. I cannot write about things that I don’t have some sort of fascination with. Having said that, these ambient+ genres are not exclusive listening. However, they can be just the ticket when one feels like some chillaxing, escaping from reality or as an antidote to insomnia.

Why do I dig ambient and electronic ambient+ music? It just resonates with me, It creates a welcoming oasis of contemplative calm away from a crazily intense ‘real’ world and it is somewhere to go that isn’t, well, here. Nothing profound, transcendent or conceited. See you in The Matrix soon.

I have no idea what’s up next, so it will come as much of a surprise to me as it will to you. Thoughts on a postcard please.

Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If you could literally have the world, what, exactly, would you do with it?”

© 2023 CRAVE Guitars – Love Vintage Guitars.

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January 2020 – The Story of Modern Music in 1,500+ Facts – Part X

Introduction

Well, here we are once again. Welcome to 2020 one and all – a new year and a new decade, well, sort of. After the temporary intermission last month for the obligatory 2019 end‑of‑year roundup, we’re back on the trail ‘History of Modern Music…’ Cast your mind back for a moment. In more than one way, 1650 and the end of the Renaissance, where this story began seems a long, long time ago now. It struck me during the brief interlude just what a conceivably Sisyphean labour it has become, and there is still quite a bit of fun and games to be played out. Getting straight back into the proverbial saddle, Part X of the story is now rounding up the stragglers from the 20th Century and riding into the dawn of the new millennium with all its first world promises and disappointments.

If you would like to (re)visit the first 9 parts (and 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):

Right, now the prelude is over, let’s get into the groove of the shiny new millennium, starting at 2000 and finishing this month at the end of 2009…

The Story of Modern Music Part X 2000-2009

Without the benefit of lengthy hindsight, the question is, how best to describe early 21st Century music? Arguably, the most notable trend of the noughties was the rise in popularity of indie music standing proud and in stark contrast to the seemingly indomitable, yet strangely bland, soulless and non‑descript merchandise of the commercial pop music industry.

Sadly, time and circumstances resulted in many prominent departures during the decade, adding a touch of pathos among the many achievements. While lost to us, at least we still have their music to appreciate.

In the absence of any particularly significant defining characteristics, perhaps it is best to let the facts speak for themselves. Before we get there, though, it is important to set the turbulent global context within which the musical styles of the new age progressed. Although shorter in content than previous decades, the ‘noughties’, and consequently, the ‘teenies’, will still get their own discrete article.

Historical Context 2000-2009

The opening decade of the 2000s has many popular names, one of which is simply, ‘the noughties’. The widely recognised formal name for the first decade of a new century is the less common, ‘the aughts’. Despite the unbridled optimism for the new millennium, the ‘00s heralded a fractious decade during which terrorism and the rise of dangerous radical Islamic ideologies would dominate international relations and drive brutal armed conflict in many territories. An unsustainable rise in living standards and avaricious materialism during the first half of the decade precipitated another inevitable major ‘boom and bust’ event fuelled by rabid financial mismanagement and, ultimately, greed. The result was the most devastating global recession to hit ordinary people since the 1930s in terms of both impact and longevity. Depression drove increasingly profound social, health and wealth divisions between the richest few percent and the vast majority. The digital revolution boomed and the unbridled growth of the Internet facilitated the promise of global democratisation of knowledge and information, while also enabling massive levels of ‘social’ drivel and inanity. There was a continued expansion in environmental lobbying and ‘green’ industries aiming to tackle the impending and still controversial threat of the ‘greenhouse effect’ on the planet’s fragile ecosystem.

Year

Global Events

2000

An Air France Concorde airliner crashed shortly after take‑off in France, killing 113 people, leading to the suspension of the fleet and effectively ending the era of supersonic passenger flights.

 

The first stage of the world’s largest collaborative biological project, the Human Genome Project was completed, documenting an initial rough draft of the base pairs that make up human DNA.

2001

Republican politician George W. Bush became the 43rd president of the U.S.A. Bush Junior was the son of George H.W. Bush who was the 41st president.

 

Members of the Islamic terrorist group al-Qaeda hijacked and crashed two airliners into the World Trade Center in Manhattan, New York City. A third plane was crashed into the U.S. Department of Defense HQ, the Pentagon in Virginia. A fourth aircraft crashed in Shanksville, Pennsylvania after passengers overpowered the hijackers. The co‑ordinated attacks of 9/11 killed almost 3,000 people.

 

America, supported by its allies, invaded Afghanistan following the unprecedented 9/11 terrorist attacks on the U.S.A. with the intention of dismantling the threat of Islamic terrorist organisation al‑Qaeda at its source.

2002

The Euro was officially introduced in the Eurozone countries, after which the former currencies of those countries ceased to be legal tender.

 

Queen Elizabeth, The Queen Mother of the UK monarchy and the wife of King George VI, died. Her funeral took place at Westminster Abbey in London.

 

The Severe Acute Respiratory Syndrome coronavirus (SARS CoV) outbreak emanated in southern China and the subsequent epidemic caused a global public health crisis.

2003

America and Britain, supported by allies, invaded Iraq to remove the threat of alleged weapons of mass destruction (WMD) and to depose the country’s dictator and head of state, Saddam Hussain.

 

The first successful global social networking website, Myspace was founded by Americans Chris DeWolfe and Tom Anderson, based in Beverly Hills, California. Myspace was overtaken in popularity by rival Facebook in 2008 and, while still in existence, usage has declined significantly.

 

American Space Shuttle Columbia disintegrated during re‑entry to the Earth’s atmosphere, killing all seven astronauts aboard.

2004

The global Internet‑based social media networking web site Facebook was created by American entrepreneur Mark Zuckerberg, based in Menlo Park, California. Facebook has approximately 2.5billion active users.

 

The European Union (EU) expanded by 10 new member states – Poland, Lithuania, Latvia, Estonia, the Czech Republic, Slovakia, Slovenia, Hungary, Malta and Cyprus.

 

A massive 9.3 magnitude earthquake and tsunami in the Indian Ocean near Sumatra killed over 200,000 people.

 

The tallest skyscraper in the world, Taipei 101, at a height of 1,670 feet (510m) opened in Taipei, Taiwan. It was overtaken by the completion of the Burj Khalifa in Dubai in 2010.

2005

The video sharing web site, YouTube was launched. The platform was created by Chad Hurley, Steve Chen, and Jawed Karim, based in San Bruno, California. YouTube is currently owned by technology giant, Google.

 

Polish head of the Catholic Church and sovereign of the Vatican City, Pope John Paul II died. He was succeeded by German national, Pope Benedict XVI.

 

Category 5 Hurricane Katrina devastated the city of New Orleans, Louisiana, U.S.A., killing over 1,800 people and causing billions of dollars’ worth of damage.

2006

Indian Islamic terrorists detonated seven bombs on trains in the city of Mumbai, India, killing more than 200 people.

 

Discovered in 1930, Pluto was demoted from planet status and was re‑designated the largest known dwarf planet in the Kuiper belt. Caltech researcher Mike Brown led the team that led to the declassification.

 

Former president of Iraq, Saddam Hussein was tried and convicted by an Iraqi Special Tribunal and was executed by hanging for crimes against humanity.

2007

Three-year old English girl Madeleine McCann disappeared from the holiday resort of Praia da Luz in the Algarve region of Portugal. She remains missing despite massive media coverage.

 

Technology giant Apple Inc. launched the game‑changing touch screen mobile telephone, the iPhone.

 

The Global Financial Crisis began, caused by poor regulation resulted in the failure of a number of large financial and banking institutions. The severe worldwide economic downturn, known as the Great Recession, was the worst since the Great Depression of the 1930s. The economic impact of the slump lasted for more than a decade.

2008

In physics, the Large Hadron Collider particle accelerator used to detect the presence of sub‑atomic particles was completed by CERN near Geneva in Switzerland. The pioneering science project became fully operational in 2010.

 

Pakistani Islamic terrorists carried out a series of 12 attacks over 4 days in Mumbai, India, killing almost 175 people.

2009

The decentralised digital cryptocurrency Bitcoin was established by pseudonymous Japanese creator Satoshi Nakamoto.

 

Democrat politician Barack Obama became the 44th president of the U.S.A. and was the first African‑American to be elected to the presidency.

Musical Genre Development 2000-2009

The pop music machine sustained commercial success well into the 21st Century. Large record companies continued to focus resources on the lucrative tween and teen audiences with artists such as Avril Lavigne, Miley Cyrus, Justin Bieber, Rihanna, Chris Brown, Usher, P!nk, Beyoncé, Lady Gaga and Katy Perry. Also popular were manufactured groups such as Destiny’s Child, Sugababes, Pussycat Dolls, One Direction, 5 Seconds Of Summer and Little Mix. Country music saw another revival with artists like Shania Twain, Taylor Swift, Faith Hill, Keith Urban and Carrie Underwood achieving notable success. Soul (nu‑soul) also saw a resurgence of interest, including performers like Joss Stone, Natasha Bedingfield, Corinne Bailey Rae, Estelle, Amy Winehouse, Adele and Duffy. Hip‑hop broadened out into contemporary R&B and claimed the resurgent urban music territory with artists such as Jay‑Z, Kanye West, Ludacris and 50 Cent building on the popularity of Dr Dre, Eminem and N.W.A.

Indie (rock) music had its origins in the 1970s as a ‘catch‑all’ umbrella term for artists who produced music through independent record labels rather than the large record companies and their subsidiaries. A new breed of bands began to emerge, aided by Internet exposure, coalescing into the indie rock movement on both sides of the Atlantic Ocean. Emerging rock bands came into their own and reasserted their independence through a rejection of (and by) the structured studio system. One constant characteristic of indie music is the rejuvenated dominance of the electric guitar within a band format. Indie music originated from the punk, alternative and grunge genres of previous decades and represents a very diverse range of musical approaches including dream pop, shoegaze, indie pop, indie dance, garage rock, indietronica, chillwave, hypnagogic pop, lo‑fi, etc. To reflect this diversity, there is a long list of indie artists from varying sub‑genres to give an indication of its broad appeal, including (in no particular order); My Bloody Valentine, Arctic Monkeys, The Jesus & Mary Chain, Eels, Low, The Zutons, Interpol, Charlatans, Slowdive, Ride, Primal Scream, PJ Harvey, The Strokes, The White Stripes, The Hives, The Vines, Snow Patrol, Keane, Pavement, Spiritualized, Blood Red Shoes, The Cribs, Sleater‑Kinney, The Libertines, Franz Ferdinand, Razorlight, Editors, Kasabian, Kings Of Leon, LCD Soundsystem, Crystal Castles, Arcade Fire, Yeah Yeah Yeahs, Paramore, Belle & Sebastian, The Shins, The Kooks, The Killers, The Fratellis, Vampire Weekend, Bombay Bicycle Club, The Black Keys, Black Rebel Motorcycle Club, Modest Mouse, Ariel Pink, My Chemical Romance, Weezer, Death Cab for Cutie, White Lies, Two Door Cinema Club and War On Drugs amongst many others. The sheer volume of artists and material led to the term ‘indie landfill’ used to describe generic and derivative music exploiting indie music credentials.

Musical Facts 2000-2009

Day

Month

Year

Music Fact

6

March

2000

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2000’ including Eric Clapton, Earth Wind & Fire, The Lovin’ Spoonful, Bonnie Raitt, James Taylor, Nat ‘King’ Cole, Billie Holiday and Scotty Moore.

27

March

2000

English punk singer, songwriter and poet, Ian Dury died from cancer in London at the age of 57.

23

May

2000

American hip hop artist Eminem released his classic 3nd studio album, ‘The Marshall Mathers LP’.

20

June

2000

American blues/rock duo The White Stripes released their 2nd studio album, ‘De Stijl’.

2

October

2000

English alternative rock band Radiohead changed stylistic direction when they released their 4th studio album, ‘Kid A’.

9

October

2000

English alternative rock band Placebo released their 3rd studio album, ‘Black Market Music’.

5

December

2000

American political rap rock band, Rage Against The Machine released their 4th and, to‑date, final studio album, ‘Renegades’.

8

December

2000

English bass guitarist, singer, songwriter and former member of rock band The Police, Sting received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.

18

December

2000

English singer and songwriter Kirsty MacColl was killed tragically in a boating incident while on holiday in Cozumel, Quintana Roo, Mexico at the age of 41.

20

December

2000

Long-running UK music magazine ‘Melody Maker’ published its final issue. It had run for over 74 years since January 1926. Melody Maker was merged with rival music paper, New Musical Express (NME).

6

March

2001

Jamaican reggae legend Bob Marley received a posthumous Star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.

19

March

2001

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2001’ including Aerosmith, Solomon Burke, the Flamingos, Michael Jackson, Queen, Paul Simon, Steely Dan, Ritchie Valens and James Burton.

20

March

2001

Renowned Northern Irish blues/rock guitarist, Gary Moore released his classic 15th studio album, ‘Back To The Blues’ in the UK.

2

April

2001

German industrial heavy metal rock band Rammstein released their top-selling 3rd studio album, ‘Mutter’ (translated as Mother).

3

April

2001

American indie rock band Black Rebel Motorcycle Club released their debut studio album, ‘B.R.M.C.’.

10

April

2001

Indie rock giants, Nick Cave & The Bad Seeds released their 11th studio album, ‘No More Shall We Part’.

4

June

2001

English alternative rock band Radiohead released their classic 5th studio album, ‘Amnesiac’ in the UK.

18

June

2001

English alternative rock band Muse released their breakout 2nd studio album, ‘Origin of Symmetry’.

30

June

2001

American guitarist, nicknamed the ‘Country Gentleman’, Chet Atkins died from cancer at his home in Nashville, Tennessee at the age of 77.

3

July

2001

American blues/rock duo The White Stripes released their 3rd studio album, ‘White Blood Cells’.

18

July

2001

American hard rock band KISS introduced a unique, if somewhat sinister, item of brand merchandise, a burial coffin humorously known as the ‘KISS Kasket’.

27

July

2001

American bass guitarist with southern rock band Lynyrd Skynyrd, Leon Wilkeson died of chronic liver and lung disease in Ponte Vedra Beach, Florida at the age of 49.

30

July

2001

Emerging American indie rock band The Strokes released their classic debut album, ‘Is This It’.

18

September

2001

American alternative/indie rock band Wilco released their classic 4th studio album, ‘Yankee Hotel Foxtrot’.

23

October

2001

American technology giant Apple Inc. introduced the first iPod solid state portable media player, linked to the iTunes media storage library.

29

November

2001

English former member of The Beatles, George Harrison died of cancer in Los Angeles, California at the age of 58.

16

December

2001

Scottish guitarist and singer with punk rock band Skids and then Big Country, Stuart Adamson committed suicide in Honolulu, Hawaii at the age of 43.

5

March

2002

MTV broadcast the first episode of their reality TV show ‘The Osbournes’, featuring a portrayal of the Black Sabbath singer Ozzy Osbourne’s family life.

18

March

2002

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2002’ including Isaac Hayes, Brenda Lee, Tom Petty and the Heartbreakers, Gene Pitney, Ramones, Talking Heads and Chet Atkins.

26

March

2002

British heavy metal rock band, Iron Maiden released their massive live concert album, ‘Rock In Rio’.

12

April

2002

English heavy metal singer with Black Sabbath and TV reality show celebrity, Ozzy Osbourne received a star on the Hollywood Walk of Fame at 6780 Hollywood Boulevard.

14

May

2002

Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his commercially successful 6th studio album, ‘18’.

5

June

2002

American bass guitarist Dee Dee Ramone of punk rock band Ramones died from a heroin drug overdose at his home in Hollywood, California at the age of 50.

27

June

2002

English bass guitarist with rock band The Who, John Entwistle, nicknamed ‘The Ox’, died of a cocaine‑related heart attack in a Hard Rock hotel room in Paradise, Nevada at the age of 57.

27

August

2002

American rock band Queens Of The Stone Age released their classic 3rd studio album, ‘Songs For The Deaf’.

24

September

2002

American alternative rock artist, Beck released his introspective and highly underrated 8th studio album, ‘Sea Change’.

14

October

2002

English indie rock band The Libertines released their successful debut studio album, ‘Up The Bracket’.

18

October

2002

English pop/rock band Queen received a star on the Hollywood Walk of Fame at 6356 Hollywood Boulevard.

27

October

2002

Highly renowned American record producer who worked for Atlantic Records, Tom Dowd died of emphysema in Aventura, Florida at the age of 77.

3

November

2002

Scottish singer and guitarist, crowned the ‘King of Skiffle’, Lonnie Donegan died of a heart attack in Market Deeping, Lincolnshire at the age of 71.

22

December

2002

English singer, songwriter and guitarist, Joe Strummer of punk rock band The Clash died from a congenital heart defect at his home in Somerset, UK at the age of 50.

30

December

2002

The funeral of English guitarist, singer and songwriter with punk rock band The Clash, Joe Strummer took place in London, UK.

3

February

2003

Famous American ‘wall of sound’ record producer, Phil Spector murdered actress Lana Clarkson in his California Alhambra mansion.

10

February

2003

English trip-hop group, Massive Attack released their underrated 4th studio album, ‘100th Window’ in the UK.

10

March

2003

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2003’ including AC/DC, The Clash, Elvis Costello & The Attractions, The Police, The Righteous Brothers and Floyd Cramer.

1

April

2003

American blues/rock duo The White Stripes released their highly regarded 4th studio album, ‘Elephant’.

1

April

2003

English alternative rock band Placebo released their 4th studio album, ‘Sleeping With Ghosts’.

18

April

2003

Legendary American blues/R&B, soul and jazz singer Etta James received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.

11

May

2003

English bass guitarist with The Jimi Hendrix Experience, Noel Redding died of liver disease in Clonakilty, County Cork, Ireland at the age of 57.

15

May

2003

American country music singer and wife of Johnny Cash, June Carter Cash died following heart surgery in Nashville, Tennessee at the age of 73.

30

May

2003

Successful English record producer behind many massive chart hits, Mickie Most died from abdominal cancer at his home in London at the age of 64.

9

June

2003

Acclaimed English alternative rock band Radiohead released their 6th studio album, ‘Hail To The Thief’.

13

June

2003

English guitarist, singer, songwriter and former member of progressive rock band Pink Floyd, David Gilmour was awarded a CBE by Her Majesty the Queen.

30

July

2003

Legendary American record producer Sam Phillips, founder of Sun Records and the man responsible for signing Elvis Presley, Jerry Lee Lewis, Roy Orbison and Johnny Cash, died of respiratory failure in Memphis Tennessee at the age of 80.

25

August

2003

American indie rock band Black Rebel Motorcycle Club released their 2nd studio album, ‘Take Them On, On Your Own’.

12

September

2003

Less than 4 months after his wife passed away, American country legend Johnny Cash died of complications caused by diabetes in Nashville at the age of 71.

26

September

2003

English singer, songwriter, musician, solo artist and former member of the pop rock band Power Station, Robert Palmer died of a heart attack in a hotel room in Paris, France at the age of 54.

29

September

2003

English alternative rock band Muse released their successful 3nd studio album, ‘Absolution’.

12

December

2003

English singer and songwriter with The Rolling Stones, Mick Jagger received a knighthood from HRH Prince Charles at Buckingham Palace.

9

February

2004

English indie rock band Franz Ferdinand released their successful debut studio album, the self-titled ‘Franz Ferdinand’.

15

March

2004

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2004’ including Jackson Browne, George Harrison, Prince, Bob Seger, Traffic and ZZ Top.

6

May

2004

American virtuoso jazz guitarist and session musician with The Wrecking Crew, Barney Kessel died from a brain tumour at his home in San Diego, California at the age of 80.

10

June

2004

American singer, songwriter, musician, and composer Ray Charles died from complications as a result of acute liver disease at his home in Beverly Hills, California at the age of 73.

15

June

2004

Emerging American rock band The Killers released their hugely successful debut studio album, ‘Hot Fuss’.

23

June

2004

American folk/rock singer, songwriter and guitarist, Bob Dylan was made ‘Doctor of Music’ at St. Andrews University in Scotland, UK.

24

June

2004

Exactly 5 years after his first sale, English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. Together, the two auctions raised $11 million for the Crossroads Centre he founded in Antigua, a residential treatment centre for alcohol and chemical dependencies.

21

July

2004

American music composer, Jerry Goldsmith, famous for his many TV and film scores, died from cancer in Beverley Hills, California at the age of 75.

30

August

2004

English indie rock band The Libertines released their successful eponymous 2nd studio album, ‘The Libertines’.

6

September

2004

English indie rock band Kasabian released their classic self-titled debut studio album, ‘Kasabian’.

9

September

2004

Successful American guitar and musical equipment entrepreneur and businessman, Ernie Ball died in San Luis Obispo, California at the age of 74.

15

September

2004

American guitarist and songwriter with punk rock band Ramones, Johnny Ramone died of prostate cancer at his home in Los Angeles, California at the age of 56.

20

September

2004

Indie/alternative rock giants, Nick Cave & The Bad Seeds released their epic 13th double studio album, ‘Abattoir Blues / The Lyre of Orpheus’.

21

September

2004

American post-punk rock band Green Day released their top-selling 7th studio album, ‘American Idiot’ in the U.S.

27

September

2004

German industrial heavy metal band Rammstein released their 4th studio album, ‘Reise, Reise’ (roughly translated as ‘Arise, Arise’).

25

October

2004

Highly acclaimed English DJ and BBC radio presenter, John Peel died from a heart attack while working on holiday in Cusco, Peru at the age of 65.

1

November

2004

American rock band Kings of Leon released their commercially successful 4th studio album, ‘Only By The Night’ in the UK (22 February 2005 in the US).

3

November

2004

English blues/rock guitarist, singer and songwriter, Eric Clapton received a CBE from the Princess Royal at Buckingham Palace in London for his services to music.

8

December

2004

American guitarist, ‘Dimebag’ Darrell Abbott, co-founder of heavy metal bands Pantera and Damageplan was murdered while performing on stage in Columbus, Ohio at the age of 38.

14

December

2004

The funeral of American guitarist with heavy rock bands Pantera and Damageplan, ‘Dimebag’ Darrell Abbott, took place in Arlington, Texas.

10

February

2005

English singer with The Who, Roger Daltrey was awarded a CBE by HM The Queen at Buckingham Palace.

14

March

2005

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2005’ including Buddy Guy, The O’Jays, The Pretenders, Percy Sledge and U2.

22

March

2005

American alternative rock band Queens Of The Stone Age released their 4th studio album ‘Lullabies to Paralyze’.

11

June

2005

Two English rock guitarists were rewarded for their contributions to music in the Queen’s Birthday Honours. Jimmy Page of Led Zeppelin was awarded an OBE and Brian May of Queen a CBE.

22

August

2005

American indie rock band Black Rebel Motorcycle Club released their 3rd studio album, ‘Howl’.

30

August

2005

American indie rock band Death Cab For Cutie released their 5th studio album, ‘Plans’.

1

September

2005

American blues singer, songwriter and guitarist R.L. Burnside died of heart disease in a hospital in Memphis, Tennessee at the age of 78.

4

September

2005

The major feature film chronicling the life of country legend Johnny Cash, ‘Walk The Line’, starring Joaquin Phoenix and Reese Witherspoon, directed by James Mangold, was released in the USA.

10

September

2005

American guitarist and Blues Hall of Famer, Clarence ‘Gatemouth’ Brown died from cancer in Orange, Texas at the age of 81.

5

November

2005

Influential American rock ‘n’ roll guitarist Link Wray died of heart failure at his home in Copenhagen, Denmark at the age of 76.

23

January

2006

English indie rock sensation, Arctic Monkeys released their debut studio album, ‘Whatever People Say I Am, That’s What I’m Not’.

13

March

2006

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2006’ including Black Sabbath, Blondie, Miles Davis, Lynyrd Skynyrd, Sex Pistols and Herb Alpert.

7

July

2006

English guitarist, songwriter and founder of progressive rock band Pink Floyd, Syd Barrett died of pancreatic cancer at his home in Cambridge at the age of 60.

25

July

2005

British indie rock band Editors released their debut studio album, ‘The Back Room’ in the UK.

30

July

2006

Popular weekly UK music chart TV programme ‘Top Of The Pops’ (TOTP) was broadcast by the BBC for the final time, after running for 42 years.

28

August

2006

English indie rock band Kasabian released their classic 2nd studio album, ‘Empire’.

15

October

2006

After American singer Patti Smith finished her live set at New York City’s famous punk rock music venue CBGB & OMFUG, the club finally closed its doors for good, following a rent dispute and thereby ending an era.

25

December

2006

Legendary American singer and the ‘Godfather of Soul’, James Brown died of pneumonia in Atlanta, Georgia at the age of 73.

28

February

2007

American rock band The Doors received a star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.

12

March

2007

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2007’ including Grandmaster Flash & The Furious Five, R.E.M., The Ronettes, Patti Smith and Van Halen.

23

April

2007

English indie rock band, Arctic Monkeys released their sophomore studio album, ‘Favourite Worst Nightmare’.

25

June

2007

British indie rock band Editors released their sophomore studio album, ‘An End Has a Start’.

5

November

2007

English downtempo artist William Emmanuel Bevan (a.k.a. Burial) released his melancholic genre breaking 2nd studio album, ‘Untrue’.

12

December

2007

Controversial American rock ‘n’ roll and R&B pioneer, Ike Turner died from a cocaine overdose at his home in San Marcos, California at the age of 76.

2

March

2008

Extraordinary blind Canadian blues/rock guitarist Jeff Healey died from lung cancer in Toronto at the age of 41.

10

March

2008

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2008’ including Leonard Cohen, The Dave Clark Five, Madonna, John Mellencamp, The Ventures and Little Walter.

1

April

2008

American blues/rock duo The Black Keys released their classic 5th studio album, ‘Attack & Release’.

3

April

2008

American media and technology giant Apple Inc. became the top seller of recorded music in the USA.

19

April

2008

The annual global campaign to promote the importance of independent music stores ‘Record Store Day’ began in California, USA.

28

April

2008

English trip-hop band, Portishead released their 3rd studio album, the originally titled, ‘Third’.

12

May

2008

American indie rock band Death Cab For Cutie released their 6th studio album, ‘Narrow Stairs’.

26

May

2008

English indie rock band Spiritualized released their 6th studio album, ‘Songs In A&E’.

2

June

2008

Legendary American blues and rock ‘n’ roll guitarist Bo Diddley died from heart failure at his home in Archer, Florida at the age of 79.

7

June

2008

The ‘homecoming’ funeral of American blues guitarist and singer Bo Diddley took place in Gainseville Florida.

19

June

2008

American indie rock band The War On Drugs released their debut studio album, ‘Wagonwheel Blues’.

10

August

2008

Acclaimed American soul singer, songwriter, producer and actor, Isaac Hayes died of a stroke at his home in Memphis, Tennessee at the age of 65.

19

September

2008

American rock band Kings of Leon released their commercially successful 4th studio album, ‘Only By The Night’.

10

October

2008

English alternative rock band Radiohead released their 7th studio album, ‘In Rainbows’ in the UK.

24

November

2008

Experimental virtuoso English rock guitarist, Jeff Beck released his highly acclaimed live concert album, ‘Performing This Week… Live At Ronnie Scott’s’.

15

December

2008

Hugely influential English folk acoustic guitarist Davey Graham died of lung cancer at the age of 68.

6

January

2009

American guitarist and songwriter with The Stooges and Iggy Pop, Ron Asheton died of a heart attack at his home in Ann Arbor, Michigan at the age of 60.

29

January

2009

Influential British singer, songwriter and guitarist, John Martyn died from pneumonia in Kilkenny, Ireland at the age of 60.

23

February

2009

English rave band The Prodigy released their resurgent 5th studio album, ‘Invaders Must Die’.

4

April

2009

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2009’ including Jeff Beck, Metallica, Run‑D.M.C., Bobby Womack, Bill Black and D.J. Fontana.

13

April

2009

Controversial American record producer Phil Spector was convicted of murdering actress Lana Clarkson at his Alhambra mansion in California in February 2003.

14

April

2009

English former member of The Beatles, George Harrison received a posthumous star on the Hollywood Walk of Fame at 1750 Vine Street.

29

May

2009

Notorious American record producer, Phil Spector was sentenced to 19 years to life in prison for murdering actress Lana Clarkson at his California mansion in 2003.

5

June

2009

English indie rock band Kasabian released their classic 3rd studio album, ‘West Ryder Pauper Lunatic Asylum’.

25

June

2009

American superstar singer Michael Jackson died of a drug overdose in Los Angeles, California at the age of 50.

12

August

2009

Legendary American jazz guitarist, singer, inventor and recording innovator, Les Paul, died from pneumonia in White Plains, New York at the age of 94.

19

August

2009

English indie rock band, Arctic Monkeys released their 3rd studio album, ‘Humbug’.

12

October

2009

British indie rock band Editors released their 3rd studio album, ‘In This Light And On This Evening’.

Tailpiece

Help! We are running out of decades from which to poach pertinent and poignant particulars (pardon the flowery alliteration). Just one more decade and a few hundred facts to be revealed before the chronological timeline has to remain as‑yet‑unwritten for another epoch. The next instalment looking at the 2010s will, by definition, bring us pretty much up‑to‑date. I hope you feel inclined to re-join me in the next enthralling part of the journey.

In the meantime, warmer days and longer evenings of spring beckon. There are plenty of guitars to be played and much music to be listened to. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “It really doesn’t matter what music you play, as long as you play”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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