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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February 2020 – The Story of Modern Music in 1,500+ Facts – Part XI

Introduction

Welcome back once again dear musical masochists. Well… here we are – finally – almost at the end of the very long linear tunnel. The ordeal is nearly over! Along the way, I hope our factual passage through time has been an enlightening and entertaining experience. Chronologically (bar the first 2 months of 2020), the long ‘Story of Modern Music’ has caught up‑to‑date. By the end of this article the facts and events covering more than three‑and‑a‑half centuries will have been laid bar for all to see. It isn’t, however, the culmination of this series of articles, as there will be a fair bit of dilly‑dallying to do to give justice to the material and to complete a coherent narrative.

If you would like to (re)visit the first 10 parts (and over 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):

The Story of Modern Music Part XI 2010-2019

As the ‘teenies’ are fresh in our collective memories, one has to think hard about what might be regarded as standout ‘classic albums’ that will stand the test of time. Simply the act of interrogating recent history and coming up with nada is a concern. Yes there were some big selling albums from popular commercial artists but they don’t really stand up to scrutiny when compared with watershed releases of the past. Perhaps we haven’t yet had sufficient time to reflect but one would have thought that something important would stick out from the random melange.

It is hard to believe that it was the early 1990s when game changing albums like Nirvana’s ‘Never Mind’ and Pearl Jam’s ‘Ten’, both landed in 1991 and Rage Against The Machine’s eponymous debut struck home in 1992. Since that time? With hindsight, perhaps controversially, not a great deal. Readers will no doubt have their favourite albums from the noughties and teenies but there were no multi‑platinum multi‑million sellers outside the pop mainstream that came out of the blue. and certainly no ground‑breaking important epics such as ‘Tubular Bells’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’, to mention just four more classic albums that went on to sell in colossal quantities and helped to define the zeitgeist. It isn’t just about numbers and money, it’s about the value of artistic creativity. Where were the musical milestones to have significant global social and cultural impact? To-date, this levelling (lowering?) of the playing field seems to have resulted from benign prosperity and social disengagement. It seems as though, whereas the youthful tortured angst of previous decades has been quelled, to be replaced with pseudo entitled vacuous celebrity‑induced cupidity and malaise. Discuss…

One sad observation of the 2010s is the number of legendary musical artists who passed on during the decade. Many had featured in previous articles for other reasons and had their last entries in this one. Their valuable legacy has helped to shape the musical landscape that we enjoy and their influential music will endure well into the future, even though they are no longer with us. At the time of writing, we can only speculate about who might have been born in the teenies that will become future legends. Watch this space.

Historical Context 2010-2019

After the economic meltdown that started in the latter part of the 2000s, the ‘teenies’ were characterised by enduring global economic recession, which adversely affected most countries. Depression exposed the ugly and inhumane economic inequality that was exacerbated by extreme avarice, arrogance and hubris further polarising the wealth gap between richest and poorest. A resurgence of east/west Cold War political tensions was intensified by the errant behaviour of maverick states such as communist North Korea and Islamic Iran, as well as a bitter trade war between America and China. Misplaced ideological posturing drove extremist terrorism, which disregarded national borders and reached unprecedented levels through devastating atrocities in many countries. Escalating regional conflict in the Middle East continued to affect international relations, trade and mobility. Unparalleled economic and humanitarian migration reached new levels and became a major refugee problem for developed‑world countries. Technologically, an insatiable appetite for Internet use led to an equally huge increase in the uptake of social media and online commerce. Driverless and electric vehicles became the focus of major tech corporations. Global concerns increased over action required to reduce CO2 emissions and extreme weather events. The equalities of LGBTQ+ communities gained widespread international recognition and forced irreversible social and cultural change in many societies.

Year

Global Events

2010

Many anti‑government protests rose up across the Middle East, widely known as the Arab Spring.

 

A massive magnitude 7.0 earthquake hit Haiti in the Caribbean Sea, killing somewhere between 100,000 and 316,000 people.

 

The Deepwater Horizon oil drilling rig run by BP exploded, causing an environmental catastrophe in the Gulf of Mexico. It is, to date, the largest marine oil spill in the history of the oil industry with over 210 million gallons discharged into the Gulf.

 

The world’s tallest building to‑date, the Burj Khalifa opened in Dubai, standing at 829.8m (2,722ft).

 

Controversial non-profit political organisation Wikileaks, under the control of editor‑in‑chief Julian Assange, began releasing substantial amounts of American classified information from whistle‑blowers into the public domain, thereby compromising national and international security.

 

The culturally popular American post-apocalyptic AMC television series, ‘The Walking Dead’, based on the zombie comic book series by Robert Kirkman, Tony Moore, and Charlie Adlard was first broadcast.

2011

The leader of the Islamic terrorist group al‑Qaeda, Osama Bin Laden was shot and killed by American Special Forces in Abbottabad, Pakistan.

 

The Syrian Civil War started following Arab Spring protests against the Syrian government. Conflict escalated after protests calling for President Bashar al-Assad’s removal were brutally suppressed. The ensuing political and military vacuum led to territorial gains by the so‑called Islamic State in the Middle East and particularly in Syria.

 

Japan was devastated by a massive 9.0 magnitude earthquake and tsunami that killed over 15,000 people. The Great East Japan Earthquake was the 4th strongest on historical record. The tsunami caused a major nuclear accident at the Fukushima Daiichi Nuclear Power Plant. The estimated economic cost was in the region of $235bn USD.

 

NASA’s aging Space Shuttle fleet was retired from service after 30 years, 5 operational vehicles, 135 missions and 2 fatal accidents costing 14 lives.

 

The world’s human population exceeded 7 billion for the first time, highlighting serious concerns about the sustainability of uncontrolled population growth.

2012

The largest ever Atlantic storm, Category 3 Hurricane Sandy, devastated the north eastern United States, killing over 230 people and causing nearly $70bn of damage.

 

The existence of the elusive so‑called ‘god particle’, the Higgs Boson sub‑atomic unit was finally confirmed by experiments conducted at the CERN Large Hadron Collider in Switzerland.

 

Queen Elizabeth II celebrated the 60th Anniversary of her accession to the British throne.

2013

Two Islamic terrorists from Chechnya detonated 2 bombs during the Boston Marathon in Massachusetts, USA, killing 3 and injuring 264.

 

The largest outbreak of the Ebola virus in history reached epidemic proportions in Western Africa and lasted until 2016, resulting in a conservative estimate of more than 11,000 deaths.

2014

The so‑called Islamic State (ISIS) took military control of the city of Mosul in northern Iraq.

 

The new World Trade Center, the Freedom Tower, was completed in New York, becoming the tallest building in the U.S. at 1,776 feet (541m), 13 years after the original World Trade Center twin towers were destroyed in the 9/11 terrorist attacks.

2016

The United Kingdom held a one‑off national referendum to determine whether to remain part of or to leave the European Union (EU). The UK had become a member of the European Economic Community (EEC) in 1973. The referendum result was a majority desire to leave the EU. The UK was the first country to leave the union since the EEC was formed in 1957. The process of leaving, often referred to as ‘Brexit’, was completed in 2020.

 

HM Queen Elizabeth II became the longest reigning monarch in British history, surpassing Queen Victoria (1819‑1901), who had reigned for 63 years and 7 months.

2017

Businessman and Republican politician Donald Trump became the 45th president of the U.S.A.

 

The UK triggered Article 50 of the Lisbon Treaty, initiating the Brexit process that led to the UK leaving the EU after 47 years of membership.

 

American president Donald Trump announced the U.S. government’s intention to withdraw unilaterally from the Paris Climate Agreement.

2018

The longest total lunar eclipse of the 21st Century took place, lasting approximately 1 hour and 43 minutes.

 

Canada legalised the sale and use of cannabis, only the 2nd country to do so, Uruguay being the first.

2019

A catastrophic fire broke out in the roof of medieval Roman Catholic Notre Dame de Paris cathedral in France, destroying much of the building’s roof, spire and upper walls.

 

The final stronghold of the so‑called Islamic State in Al-Baghuz Fawqani, Syria, was liberated.

 

Violent protests and civil unrest occurred in Hong Kong, ignited by controversial Chinese legislation that allegedly undermined the region’s autonomy and civil liberties.

 

Activists belonging to Extinction Rebellion, a global movement created to use direct non‑violent civil disobedience to force governments to react positively towards the threat of climate change, biodiversity loss and ecological collapse, caused widespread disruption in major cities worldwide.

Musical Genre Development 2010-2019

Sadly, during the 2010s there were no recent new genres or emergent significant sub‑genres, and little sign of any on the horizon. It is a struggle to identify any hugely influential genre developments during the ‘teenies’. Yes, there were ventures, projects, collaborations, experiments and side lines including, for instance dubstep and grime but, let’s be honest, these aren’t really new; they are simply variations on past themes that were re‑established for wider audiences. However, modern music has shown an incredible tenacity to rejuvenate and reinvent itself, especially when it appears to be entering the doldrums. One can only watch and wait to see what happens from here on in. Let’s start with some of the nuances during the 2010s.

Female pop mega‑artists such as Adele, Taylor Swift, Miley Cyrus, Lady Gaga and even Lana Del Rey have become very powerful, successful multi‑millionaires predominantly focusing their considerable resources on commercially lucrative target audiences. These industry pillars have become renowned as much for their business acumen as their musical prowess. New artist, Billie Eilish looks set to continue this trend into the 2020s. The token male artist in this bracket is probably Ed Sheeran.

The indie movement continued to grow from strength to strength into the 2010s broadening the diversity of indie and keeping it fresh by fusing with other styles such as folk, blues, rock, punk, roots, garage and Americana. Notable indie artists of the teenies include (in no particular order); Courtney Barnett, Arcade Fire, Vampire Weekend, The War On Drugs, Band Of Skulls, The National, Sharon Van Etten, St. Vincent, Fleet Foxes, Real Estate, Feist, Tame Impala, Parquet Courts, Kurt Vile, Girls, Courteeners, Daughter, Angel Olsen, Fleet Foxes, Haim, Father John Misty, Ariel Pink, Sheerwater, Foals, Two Door Cinema Club, Villagers, EMA, The Horrors, The Kills, The Low Anthem, Royal Blood, Rival Sons, The Vaccines, Alt‑J, The XX, Wolf Alice, The Dead Weather, The Twilight Sad, Cage The Elephant, London Grammar, Savages, Band Of Skulls, Warpaint, Slaves, Wolf Alice, Bat For Lashes, K.T. Tunstall, Cigarettes After Sex, Blood Red Shoes, Real Estate and Dry the River among a multitude of others.

While clearly a niche subgenre of the fading mainstream Electronic Dance Music (EDM) and related genres and closely related to ambient, downtempo, progressive electronic, darkwave, glitch and chillwave, Intelligent Dance Music (IDM) flourished, building on the shoulders of pioneers such as The Orb, Future Sound of London, Orbital and Aphex Twin. IDM and related artists pushed the boundaries of esoteric syncopated, and stripped down electronica to new, often indulgent extremes. Under the broadest definition, some IDM artists include; Four Tet, Boards of Canada, Caribou, Crystal Castles, Neon Indian, Jon Hopkins, Bonobo, Burial, Flying Lotus, Memory Tapes, Apparat, Toro y Moi, James Blake, Oneohtrix Point Never, Com Truise, Autechre, Mouse On Mars and Squarepusher.

In the late 20th Century, modern jazz had newfound credibility in the fusion years of the 1970s, with artists like John McLaughlin, Stanley Clarke, Herbie Hancock, Al Di Meola, Utopia and Weather Report, followed by other virtuoso instrumentalists like Larry Coryell, Larry Carlton and Lee Ritenour during the 1980s. Move forward in time to the 21st Century and jazz experienced a stunning rejuvenation, often referred to as nu‑jazz or jazztronica, eschewing old-style constraints and fusing jazz elements with electronic music ranging from the traditional to the experimental. While growing on the popularity in the 2000s of artists like St. Germain, Mr. Scruff, Joss Stone and Jamie Cullum, nu‑jazz really came into its own in the 2010s. Nu‑jazz artists embraced hip‑hop, electronica, dance, reggae, electro‑swing and many other forms to create something vital and engaging, including artists such as Snarky Puppy, The Cinematic Orchestra, Floating Points, GoGo Penguin, Thundercat, Unknown Mortal Orchestra, The Comet Is Coming, The Correspondents and Mammal Hands.

Musical Facts 2010-2019

Day

Month

Year

Music Fact

11

January

2010

American indie rock band Vampire Weekend released their 2nd studio album, ‘Contra’.

8

February

2010

English trip-hop group, Massive Attack released their 5th studio album, ‘Heligoland’ in the UK.

17

February

2010

Northern Irish indie rock band Two Door Cinema Club released their debut studio album, ‘Tourist History’.

10

March

2010

Welsh guitarist and member of progressive rock band Man, Micky Jones died of cancer in Swansea at the age of 63.

15

March

2010

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2010’, including ABBA, Genesis, The Hollies, Jimmy Cliff, The Stooges and David Geffen.

28

March

2010

Highly influential American jazz guitarist Herb Ellis died of Alzheimer’s disease in Los Angeles, California at the age of 88.

13

April

2010

Experimental virtuoso English rock guitarist, Jeff Beck released his 10th solo album, ‘Emotion And Commotion’ in the UK.

18

May

2010

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

25

June

2010

Canadian rock band, Rush, received a star on the Hollywood Walk Of Fame at 6752 Hollywood Boulevard.

9

July

2010

English indie rock group Bombay Bicycle Club released their understated acoustic 2nd studio album, ‘Flaws’.

25

October

2010

American singer and songwriter Taylor Swift released her commercially successful 3rd studio album, ‘Speak Now’.

16

November

2010

After many years of negotiation, The Beatles’ back catalogue was finally made available on Apple’s iTunes music platform.

17

December

2010

American rock singer, songwriter and musician, Captain Beefheart (real name Don Van Vliet) died from complications resulting from multiple sclerosis in a hospital in Arcata, California at the age of 69.

22

December

2010

The famous zebra crossing at Abbey Road, London, just outside Abbey Road Studios and featured on The Beatles’ classic titular 1969 album cover, was Grade II Listed by English Heritage.

24

January

2011

English pop singer, Adele released her massive commercial 2nd studio album, ‘21’.

30

January

2011

Legendary English composer of classic film and television scores, John Barry died of a heart attack in New York at the age of 77.

6

February

2011

Irish blues/rock guitarist and singer, Gary Moore died from a heart attack in Malaga, Spain at the age of 58.

14

February

2011

English alternative/indie rock singer, songwriter and multi-instrumentalist, P.J. Harvey released her award‑winning 8th studio album, ‘Let England Shake’.

14

March

2011

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2011’, including Alice Cooper, Neil Diamond, Dr. John, Tom Waits and Leon Russell.

2

June

2011

Canadian country singer Shania Twain received a star on the Hollywood Walk of Fame at 6270 Hollywood Boulevard.

6

June

2011

English indie rock band, Arctic Monkeys released their 4th studio album, ‘Suck It and See’.

23

July

2011

English singer and songwriter, Amy Winehouse died from an alcohol overdose in Camden, London at the age of 27.

7

August

2011

American bass player and key member of Johnny Cash’s backing band, the Tennessee Two, Marshall Grant died in Jonesboro, Arkansas at the age of 83.

16

August

2011

American indie rock band The War On Drugs released their breakout 2nd studio album, ‘Slave Ambient’.

7

September

2011

On what would have been his 75th birthday, American rock ‘n’ roll singer Buddy Holly received a posthumous star on the Hollywood Walk of Fame at 1750 North Vine Street.

5

October

2011

Accomplished Scottish acoustic folk guitarist Bert Jansch died after a long battle with lung cancer in London at the age of 67.

4

December

2011

American blues guitarist, singer and member of Howlin’ Wolf’s band, Hubert Sumlin died from heart failure in Wayne, New Jersey at the age of 80.

16

December

2011

American blues/rock duo The Black Keys released their classic 7th studio album, ‘El Camino’.

20

January

2012

Legendary American multi-genre singer, Etta James died of leukaemia in hospital in Riverside, California at the age of 73.

31

January

2012

American singer and songwriter, Lana Del Rey released her breakout 2nd studio album, ‘Born To Die’.

9

February

2012

English bass guitarist and former member of The Beatles, Paul McCartney received a solo star on the Hollywood Walk of Fame at 1750 North Vine Street.

6

February

2012

Scottish indie rock band The Twilight Sad released their underrated 3rd studio album, ‘No One Can Ever Know’.

11

February

2012

American soul/pop singer, producer and actress, Whitney Houston died from drug misuse and accidental drowning at the Hilton hotel in Beverley Hills, California at the age of 48.

29

February

2012

English singer and member of media pop band The Monkees, Davy Jones died from a heart attack in Florida at the age of 66.

5

April

2012

English innovator, entrepreneur, businessman and founder of iconic Marshall amplifiers, ‘The Father of Loud’, Jim Marshall OBE, died from cancer in Milton Keynes, Buckinghamshire at the age of 88.

14

April

2012

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2012’, including The Beastie Boys, Donovan, Guns N’ Roses, The Red Hot Chili Peppers, The Small Faces/The Faces, Freddie King and Tom Dowd.

16

April

2012

English indie rock band Spiritualized released their 7th studio album, ‘Sweet Heart Sweet Light’.

10

July

2012

English-American guitarist Slash (a.k.a. Saul Hudson) received a solo star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.

31

August

2012

Northern Irish indie rock band Two Door Cinema Club released their 2nd studio album, ‘Beacon’.

2

October

2012

Highly acclaimed English session guitarist ‘Big Jim’ Sullivan died of complications from heart disease and diabetes in Billingshurst, West Sussex at the age of 71.

10

January

2013

Swiss founder and manager of the famous Montreux Jazz Festival since 1967, Claude Nobs, died in Lausanne at the age of 76.

18

February

2013

Alternative rock band, Nick Cave & The Bad Seeds released their outstanding reflective 15th studio album, ‘Push the Sky Away’.

6

March

2013

English blues/rock guitarist and singer, Alvin Lee died of complications following surgery in Estepona, Spain at the age of 68.

18

April

2013

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2013’, including Heart, Albert King, Randy Newman, Public Enemy, Rush and Donna Summer.

20

May

2013

American keyboard player with, and co-founder of, The Doors, Ray Manzarek died from bile duct cancer in Rosenheim, Germany at the age of 74.

3

June

2013

American rock band Queens Of The Stone Age released their 6th studio album ‘…Like Clockwork’.

26

July

2013

Reclusive and influential American blues/rock guitarist, singer and songwriter, J.J. Cale died from a heart attack in La Jolla, California at the age of 74.

9

September

2013

English indie rock band, Arctic Monkeys released their 5th studio album, ‘AM’.

27

October

2013

Legendary American singer, songwriter, guitarist, member of the Velvet Underground and successful solo artist, Lou Reed died of liver disease at his home in New York at the age of 71.

4

November

2013

American singer and cultural icon, Janis Joplin received a posthumous star on the Hollywood Walk of Fame at 6752 Hollywood Boulevard.

3

January

2014

American singer and guitarist, Phil Everly, half of the vocal harmony duo The Everly Brothers, died of lung disease in Burbank, California at the age of 74.

25

February

2014

Spanish virtuoso flamenco guitarist and composer, Paco de Lucía died from a heart attack while on holiday in Playa del Carmen, Mexico at the age of 66.

18

March

2014

American indie rock band The War On Drugs released their 3rd studio album, ‘Lost In The Dream’.

10

April

2014

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2014’, including KISS, Nirvana, Cat Stevens, Peter Gabriel, Linda Rondstadt and Hall & Oates.

17

June

2014

American singer and songwriter, Lana Del Rey released her 3rd studio album, ‘Ultraviolence’.

16

July

2014

Renowned American blues/rock guitarist, Johnny Winter died from emphysema and pneumonia near Zurich, Switzerland, at the age of 70.

25

October

2014

Scottish bass guitarist with blues/rock super group Cream, Jack Bruce died of liver disease in Suffolk, England at the age of 71.

27

October

2014

American singer and songwriter Taylor Swift released her commercially successful 5th studio album, ‘1989’.

13

March

2015

Australian guitarist, singer, songwriter, poet and co‑founder of psychedelic rock bands Soft Machine and Gong, Daevid Allen died from cancer in Australia at the age of 77.

30

March

2015

English dance/rock band The Prodigy released their 6th studio album, ‘The Day Is My Enemy’.

14

May

2015

Legendary blues guitarist, singer, songwriter and producer, B.B. King died from a stroke caused by type 2 diabetes in Las Vegas, Nevada at the age of 89.

21

May

2015

American bass guitarist Louis Johnson of funk band Brothers Johnson died from internal bleeding in Las Vegas, Nevada at the age of 60.

30

May

2015

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2015’, including Green Day, Joan Jett & The Blackhearts, Lou Reed, Ringo Starr, Stevie Ray Vaughan & Double Trouble and Bill Withers.

27

June

2015

English bass guitarist with progressive band Yes, Chris Squire died from leukaemia in Phoenix, Arizona at the age of 67.

11

September

2015

English indie rock band The Libertines released their highly anticipated 3rd studio album, ‘Anthems for Doomed Youth’.

10

November

2015

American musician, songwriter, arranger and record producer Allen Toussaint died of a heart attack while on tour in Madrid, Spain at the age of 77.

13

November

2015

Islamic terrorists attacked a concert where American rock band Eagles of Death Metal were performing at the Bataclan Theatre in Paris, France. A total of 89 innocent people lost their lives.

4

December

2015

A commemorative statue of The Beatles was unveiled in their home city of Liverpool, 50 years after their last gig there.

28

December

2015

English singer, songwriter, bass guitarist, founder and front man of rock band Motörhead, Ian ‘Lemmy’ Kilmister, died of cancer in Los Angeles, California at the age of 70.

8

January

2016

Iconic English singer, David Bowie released his final studio album, ‘Blackstar’, on his 69th birthday, just 2 days before his untimely death.

10

January

2016

Chameleonic English singer, rock legend, actor and cultural icon, David Bowie died from liver cancer at his apartment in New York City at the age of 69.

18

January

2016

Highly regarded American singer, songwriter and guitarist with country rock band Eagles, Glenn Frey died from complications of rheumatoid arthritis in New York City at age of 67.

4

February

2016

Northern Irish singer Sir Van Morrison OBE was knighted by Prince Charles at Buckingham Palace, London, UK for services to the music industry and tourism.

13

February

2016

Four members of English indie band Viola Beach and their manager were tragically killed in a car accident in Södertälje, Sweden.

8

March

2016

Legendary English record producer, Sir George Martin CBE, known by many as the ‘Fifth Beatle’, died at his home in Wiltshire at the age of 90.

11

March

2016

English keyboard player with progressive rock group Nice and a founding member of super group Emerson, Lake & Palmer (ELP), Keith Emerson died from a self-inflicted gunshot wound in Santa Monica California at the age of 71.

6

April

2016

American country singer and guitarist Merle Haggard died on his birthday as a result of complications from pneumonia at his home in Palo Cedro, California at the age of 79.

8

April

2016

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2016’, including Cheap Trick, Chicago, Deep Purple, Steve Miller and NWA.

21

April

2016

American singer, guitarist, producer and actor, Prince died from an accidental drug overdose of the pain killer fentanyl at his home in Chanhassen, Minnesota at the age of 57.

21

April

2016

Influential American blues/rock guitarist Lonnie Mack died of natural causes in hospital near his home in Smithville Tennessee at the age of 74.

10

June

2016

British pop/rock singer and songwriter Sir Rod Stewart CBE was knighted in the Queen’s Birthday Honours list for services to music and charity.

28

June

2016

American singer Elvis Presley’s main guitarist in the early rock ‘n’ roll years, Scotty Moore died in Nashville, Tennessee at the age of 84.

15

July

2016

English virtuoso rock guitarist Jeff Beck released his fascinating change-of-direction 11th studio album, ‘Loud Hailer’.

9

September

2016

Alternative rock band, Nick Cave & The Bad Seeds released their desperately melancholic 16th studio album, ‘Skeleton Tree’.

13

October

2016

Legendary American singer, songwriter and guitarist Bob Dylan was awarded the prestigious Nobel Prize for Literature in Stockholm, Sweden. He skipped the official awards ceremony and delivered his acceptance lecture in April 2017.

21

October

2016

Canadian singer, songwriter and guitarist, Leonard Cohen released his elegiac final studio album, ‘You Want It Darker’.

7

November

2016

Canadian singer, songwriter, poet and guitarist, Leonard Cohen died after a fall at his home in Los Angeles, California at the age of 82.

13

November

2016

Legendary American musician and songwriter, Leon Russell died in his sleep at his home in Mount Juliet, Tennessee at the age of 74.

2

December

2016

English rock band Rolling Stones released their great back-to-basics blues/rock studio album, ‘Blue & Lonesome’ in the UK.

7

December

2016

English bass guitarist, singer, songwriter and founding member of progressive rock bands King Crimson and ELP, as well as a solo artist, Greg Lake died from cancer in London at the age of 69.

24

December

2016

English guitarist with pop/rock band Status Quo, Rick Parfitt died from sepsis caused by a shoulder infection in hospital in Marbella, Spain at the age of 68.

25

December

2016

English singer, songwriter and member of pop band Wham!, George Michael died of heart failure at his home in Goring-on-Thames, Oxfordshire at the age of 53.

31

January

2017

Welsh guitarist and regular on-off member of the progressive jam rock bands Man and Iceberg, as well as a solo artist, Deke Leonard died at the age of 72.

4

February

2017

English heavy metal pioneers, Black Sabbath performed their final live concert of their ‘The End’ tour at the NEC Arena in their home city of Birmingham, UK.

19

February

2017

Influential American virtuoso jazz fusion guitarist, Larry Coryell died of heart failure in New York City at the age of 73.

16

March

2017

English singer and member of pop/rock band The Kinks, Sir Ray Davies CBE received a knighthood from Prince Charles at Buckingham Palace, London, UK for his service to the arts.

18

March

2017

Legendary American rock ‘n’ roll singer, songwriter and guitarist Chuck Berry died of a reported cardiac arrest at his home in Wentzville, Missouri at the age of 90.

7

April

2017

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2017’, including ELO, Joan Baez, Journey, Pearl Jam, Tupac Shakur and Yes.

15

April

2017

Influential virtuoso English jazz/rock fusion guitarist Allan Holdsworth died from heart disease at his home in Vista, California at the age of 70.

18

May

2017

American singer, songwriter and front man of hard rock bands Soundgarden and Audioslave, Chris Cornell committed suicide in his hotel room in Detroit, Michigan at the age of 52.

27

May

2017

American musician and co-founder of The Allman Brothers Band, Gregg Allman died from a heart attack in Richmond Hall, Georgia at the age of 69.

8

August

2017

American country singer and guitarist, Glen Campbell died of Alzheimer’s disease in Nashville, Tennessee at the age of 81.

25

August

2017

American indie rock band The War On Drugs released their 4th studio album, ‘A Deeper Understanding’.

3

September

2017

American guitarist and bass guitarist, songwriter and co‑founder of rock band Steely Dan, Walter Becker died from oesophageal cancer at his home in Manhattan, New York at the age of 67.

2

October

2017

American singer, songwriter and guitarist Tom Petty died of an accidental overdose of prescription painkillers at his home in Santa Monica, California at the age of 66.

18

November

2017

Scottish-born guitarist and co-founder of Australian rock band AC/DC, Malcom Young died following a long battle with dementia in Elizabeth Bay, New South Wales at the age of 64.

10

January

2018

English guitarist and one-time member of the rock band Motörhead, ‘Fast’ Eddie Clarke died from pneumonia in hospital in London at the age of 67.

9

March

2018

After 66 years, the UK weekly music magazine The New Musical Express (a.k.a. NME) published its final printed copy, signalling the end of an era in British music press.

9

March

2018

British indie rock band Editors released their 6th studio album, ‘Violence’.

20

March

2018

English drummer and former member of The Beatles, Sir Richard Starkey (a.k.a. Ringo Starr) MBE was knighted by HRH Prince William at Buckingham Palace, London, UK.

14

April

2018

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2018’, including Bon Jovi, The Cars, Dire Straits, Moody Blues, Nina Simone and Sister Rosetta Tharpe.

8

June

2018

English guitarist, singer, songwriter and member of Anglo-American rock group Fleetwood Mac from 1968 to 1972, Danny Kirwan died from pneumonia in London at the age of 68.

2

July

2018

Scottish bass guitarist and founding member of 1970s pop group The Bay City Rollers, Alan Longmuir died in Larbert, Scotland, following an illness while on holiday in Mexico at the age of 70.

16

August

2018

Legendary American singer, songwriter and the ‘Queen of Soul’, Aretha Franklin died of pancreatic cancer at her home in Detroit, Michigan at the age of 76.

22

August

2018

American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King died following a battle with cancer at his home in Nashville, Tennessee at the age of 68.

22

September

2018

English guitarist and singer, best known as half of London duo Chas & Dave and as a session musician, Chas Hodges died from organ failure following treatment for cancer at the age of 74.

29

September

2018

Great American blues guitarist, singer and songwriter, Otis Rush died from complications resulting from a stroke in Chicago, Illinois at the age of 83.

16

March

2019

Influential American guitarist, ‘the king of surf guitar’, Dick Dale died of heart failure in hospital in Loma Linda, California at the age of 81.

17

March

2019

Irish guitarist and member of heavy rock bands Gillan and Ozzy Osbourne, Bernie Tormé died of pneumonia in London, England at the age of 66.

29

March

2019

The American Rock & Roll Hall Of Fame inducted its ‘Class of 2019’, including The Cure, Def Leppard, Janet Jackson, Stevie Nicks, Radiohead, Roxy Music and The Zombies.

29

March

2019

Emerging American indie/pop singer and songwriter Billie Eilish released her phenomenally successful debut album, ‘When We All Fall Asleep, Where Do We Go?’.

30

April

2019

English guitarist and co-founder of jazz/funk band Level 42, Boon Gould died at his home in Dorset at the age of 64.

13

May

2019

American singer and Hollywood actress Doris Day died of pneumonia in Carmel Valley Village, California at the age of 97.

30

May

2019

Cypriot/Canadian jazz/blues singer, songwriter, guitarist and actor Leon Redbone died following complications from dementia in hospice care in Bucks County, Pennsylvania, USA at the age of 69.

31

May

2019

Pioneering American guitarist, singer and songwriter with psychedelic rock band 13th Floor Elevators Roky Erickson died in Austin Texas at the age of 71.

6

June

2019

Great American singer, songwriter, pianist and occasional guitarist Dr John died of a heart attack in New Orleans, Louisiana at the age of 77.

20

June

2019

English guitarist and former member of Pink Floyd, David Gilmour auctioned 120 of his guitars in New York, raising nearly £17m to help fight climate change. His famous Black Strat sold for £3.1m.

30

August

2019

American singer and songwriter, Lana Del Rey released her standout 6th studio album, ‘Norman Fucking Rockwell!’ (a.k.a. ‘NFR!’).

6

October

2019

Legendary English drummer and co-founder of the rock bands Cream, Blind Faith and Baker Gurvitz Army, as well as solo artist, Ginger Baker died in hospital after a long illness in Canterbury, Kent at the age of 80.

Tailpiece

So, finally, that’s the major part of the extensive adventure now covered. Along the way, way more than 100 additional facts have been squeezed into the timeline, so somewhere around 1,700 music‑related facts. That doesn’t include the hundreds of ‘Historical Context’ facts that I think brought some of the more obscure musical events to life.

Undoubtedly, over time, more ideas and data will expand the long list of factoids further. Fortunately, these supplemental incidences won’t be lost, as they will appear on CRAVE Guitars’ quotidian ‘Musical Facts Of The Day’, which are posted daily on Twitter and Facebook.

The next article… or two… or three… will be wrapping up the voluminous subject matter in a way that I hope provides adequate closure to the lengthy journey. As there are no more decades to cover, the next episode will take a different look at what has already been covered. Intrigued by what the next slice of exposition might comprise? I hope so. Come back and find out.

In the meantime, I will be continuing my personal quest to bring you ‘Cool & Rare American Vintage Electric’ Guitar heritage for your entertainment (?!?!). This chore inevitably means the routine business of accumulating and appreciating some hopefully interesting old guitar gear. Hey, it’s a tough job but someone’s got to do it and, quite frankly, I ain’t complainin’. Much. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “The purpose of art, to stimulate an emotional reaction, regardless of what that reaction is.”

© 2020 CRAVE Guitars – Love Vintage Guitars.

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December 2019 – Out With the Old, In With the Old

posted in: News, Observations, Opinion | 0

Welcome to the very end of December 2019 one and all. Due to the time of year, there is a short break in the ‘Story of Modern Music…’. After 9 straight months of factoid overload, I have taken the executive decision to take a rest and reflect on the here and now. There are other advantages of a temporary hiatus in that this article is MUCH shorter than the recent monthly detailed dissection of music history. Abnormal service will be resumed as soon as impossible.

So, that was 2019, the year that was. Not only do we end the year with this article, we also see the culmination of the ‘teenies’. Before anyone corrects me, yes, I know that technically the decades don’t change here but pretty much everyone accepts it that way, so just for once – shock, horror – I’m going with the flow. I don’t know about you but the last decade, and indeed the last 12 months, seems to have passed in a blur.

I am sure you’re fed up with the traditional lazy television programming that seems to dwell on retrospectives and lists as is usual for this time of year. You may be displeased that I’m about to do the same, although I doubt that this tangential view of existence will ever get broadcast nationally.

Personally, it’s been a really, really bad year again, with far too much pain, misery and torment, and little sign of light at the end of a (collapsed and blocked) tunnel. I genuinely cannot remember what joy or pleasure feels like. For self‑preservation, I must look to the future with some hope and positivity for a bit of much‑needed karma, justice, salvation and redemption. There, I’ve got it off my chest and I won’t bang on about it again (or maybe just a little!).

Departures in 2019

As ever, we have to say au revoir to some great guitarists who have climbed aboard that spiritual transit van to the infinite jam session with the angels (and possibly the occasional demon). In contrast to recent years, this year’s list is thankfully short, although I expect those who are on it would prefer not to be. They and their music will be missed…

  • Dick Dale, 16 March, aged 81
  • Bernie Tormé (Gillan, Ozzy Osbourne), 17 March, aged 66
  • Boon Gould (Level 42), 30 April, aged 64
  • Leon Redbone, 30 May, aged 69
  • Roky Erickson (13th Floor Elevators), 31 May, aged 71

Non-guitarist departures included:

  • Ross Lowell (the inventor of gaffer tape), 10 January, aged 92
  • Jim Dunlop Sr. (Dunlop Manufacturing), 6 February, aged 82
  • Keith Flint (The Prodigy), 4 March, aged 49
  • Scott Walker (The Walker Brothers), 22 March, aged 76
  • Dr John, 6 June, aged 77 (NB. he did play guitar regularly)
  • Ginger Baker (Cream, Blind Faith, Baker Gurvitz Army), 6 October, aged 80

Old in at CRAVE Guitars – vintage gear acquisitions in 2019

It seems to have been a better year for guitar‑related accumulation than I’d anticipated a mere 12 months ago. This is partly because of delayed house works (ggrrr!).

The trend of the last couple of years seems to be continuing, with a greater focus on the 1970s and 1980s. This is predominantly because 1960s artefacts are rapidly becoming well beyond my modest price range. Rather than pay nonsensical ‘silly money’ for older guitars just because they are old and expensive, I’m looking at what is currently a bit more reasonably priced from later decades, while also being selective about notable and interesting instruments. As you might expect, the purchases had to fit the CRAVE Guitars’ criteria (cool, rare, American, vintage electric) – the only exceptions being effect pedals from Japan and Europe. At least for the time being, some of this year’s purchases are just about ‘affordable’, while others were almost regrettably extravagantly decadent given my borderline financial disposition. Anyhoo, without further ado, time for some introductions…

CRAVE Guitars (9)

Before listing new ‘old’ arrivals, let’s just backtrack for a moment…

Example #1 – In 2016, I looked ahead and mentioned a couple of guitars on the ‘most wanted’ list. One was a 1970s Fender Starcaster and the other was a 1950s Gibson ES‑150. Perhaps not surprisingly, I failed dismally in 2017… and again in 2018.

Example #2 – In 2017 and again in 2018, I speculated about the possibility of getting a 1965 Gibson Melody Maker and… yup, failed again.

Example #3 – In 2018, I thought about finding a 1970s Fender Stratocaster and… guess what? Fail.

Remarkably, that has now changed and I managed to lay my grubby mitts on all four of the above during the last 12 months. I also went overboard just a little bit with some other spontaneous impulse buys.

So, 2019 actually saw 9 vintage guitars, covering 42 years from the 1940s to the 1980s, with at least one from each decade joining the CRAVE Guitars family. Herewith, the profligate plethora of pulchritude (apologies for the pompous alliteration)…

  • 1982 Fender Bullet H2
  • 1976 Fender Starcaster
  • 1979 Fender Stratocaster Anniversary
  • 1983 Fender Stratocaster Elite
  • 1983 Fender Telecaster Elite
  • 1947 Gibson ES-150
  • 1965 Gibson Melody Maker
  • 1989 PRS Classic Electric
  • 1959 Silvertone 1304
CRAVE New Guitar Arrivals 2019

CRAVE Amps (0)

Despite intensive but unsuccessful searches, there were no amplifiers that joined the family during 2019. Like with guitars, in both 2017 and 2018, I set out to find a 1970s ‘silverface’ Fender Princeton. To‑date, that lustful ambition remains unrequited… for now, the search goes on.

CRAVE Effects (5)

As it turned out, 2019 was a funny year for effect purchases. It was a case of quality over quantity and I did manage to lay my hands on two highly sought after iconic (and therefore exorbitantly expensive) pedals. These weren’t just gap‑filling, they have been on the ‘to do’ list for some time but considered them to be way out of my price range. Consequently, fewer budget purchases made them just about possible. They were…

  • 1987 BOSS RV-2 Digital Reverb
  • 1969 Dallas Arbiter Fuzz Face
  • 1982 Ibanez PT9 Phaser
  • 1981 Ibanez TS-808 Tube Screamer Overdrive Pro
  • 1980 MXR Micro Amp
CRAVE New Effect Arrivals 2019

Once the full ‘Story of Modern Music…’ has been published, I may well return to 2019’s purchases and explain the rationale behind what is a relatively diverse range of acquisitions.

Repatriation update

In addition to the newcomers, it was way back in January 2019 that I was pleased to welcome home 42 guitars, 40 of them vintage, from an extended period of enforced storage (long story!). I set out on an ambitious mission to re‑home them with respect and to lavish upon them some much‑needed overdue TLC. The aim is that they can once again be used for their intended purpose, which is to be played regularly. I wasn’t going to rush the exercise, so it has been a bit of a long haul. I wanted to ensure that each one was given the sensitive treatment it deserved. For some, it was just a clean‑up and a tweak here and there to set them up before they were re‑strung – job done. For others, some more intensive care was necessary and I have worked on them as far as I can take them, due to my lack of ability in the practical side of things. There are a few, however, that need more expert skills than I have to sort them out properly. Thankfully, I know my limits and don’t pretend to be a proficient technician.

So far, 32 of the 42 returnees have been tended to, which means that there are still 10 repatriated guitars still to work on. Six of these are vintage guitars and are next on the to‑do list. Another two are vintage bass guitars which I suspect both need some neck work, so they will be near the back of the queue. The privilege (?) of going last will go to the only two non‑vintage guitars which I own. In theory, being the newest, they won’t need as much remedial work done on them. Fortunately, none so far have been ruined. Some have degraded a bit more than I would have liked but there is nothing serious to be concerned about. Phew!

Once the ‘conservation’ work has been completed and they are once again in good playing condition, they have been/will be photographed and documented. Feature articles have also been drafted on each one. The intention is to update the web site to exhibit them at their best. Then, it will be just a case of playing and enjoying them.

Building works

I cannot let the dastardly year dissolve into history without making a comment about the long overdue building works to convert the house’s dark, dank cellar into a safe, secure accommodation for the guitar members of the family. Due to egregious actions of spiteful and vindictive neighbours, it had to be deferred yet again. Basically, this means that no progress whatsoever was made during 2019.

Music albums released in 2019 (40-ish)

Surprisingly, after a (very) slow start it actually seems to have been a pretty good year for new music. I was quite sceptical up to about two thirds of the way through the year, despairing that the musical landscape was becoming ever more moribund. Then, out of nowhere, there seemed to be a veritable flood of interesting music to close the year out. I bought a shed load of old and new music in 2019 and the following are the diverse highlights of this year’s releases for me. One can hope that there may be some future ‘classics’ among them.

  • !!! – Wallop
  • Amon Amarth – Beserker
  • Beck – Hyperspace
  • Jade Bird – Jade Bird
  • The Black Keys – ‘Let’s Rock’
  • Blood Red Shoes – Get Tragic
  • Cage The Elephant – Social Cues
  • J.J. Cale – Stay Around
  • Nick Cave & The Bad Seeds – Ghosteen
  • The Chemical Brothers – No Geography
  • The Comet Is Coming – Trust In The Lifeforce Of The Deep Mystery
  • Cigarettes After Sex – Cry
  • The Cinematic Orchestra – To Believe
  • Crumb – Jinx
  • The Cure – CURÆTION-25: From There To Here | From Here To There / Anniversary: 1978-2018 Live in Hyde Park
  • Dream Theater – Distance Over Time
  • Billie Eilish – When We All Fall Asleep, Where Do We Go?
  • Foals – Everything Not Saved Will Be Lost Part 1
  • Foals – Everything Not Saved Will Be Lost Part 2
  • Rory Gallagher – Blues
  • Hawkwind – All Aboard The Skylark/Acoustic Daze
  • Hot Chip – A Bath Full Of Ecstasy
  • Khruangbin – Hasta El Cielo
  • Trini Lopez – The Very Best Of Trini Lopez (compilation)
  • Membranes – What Nature Gives… Nature Takes Away
  • The Murder Capital – When I Have Fears
  • New Model Army – From Here
  • Rammstein – Rammstein
  • Lana Del Rey – Norman Fucking Rockwell!
  • Joanne Shaw Taylor – Reckless Heart
  • Sleaford Mods – Eton Alive
  • Sleater‑Kinney – The Center Won’t Hold
  • Slipknot – We Are Not Your Kind
  • Bruce Springsteen – Western Stars
  • Toro y Moi – Outer Peace
  • Robin Trower – Coming Closer To The Day
  • The Twilight Sad – It Won/t Be Like This All The Time
  • Underworld – Drift Series 1: Sampler Edition
  • Thom Yorke – ANIMA
  • Neil Young – Colorado

Plus (album-like) EP:

  • Black Stone Cherry – Black To Blues 2

Major concerts in 2019 (1):

Due to personal circumstances, there was just one major live music event in 2019:

  • Hyde Park – Bob Dylan, Neil Young, Laura Marling, Cat Power, Sam Fender

Unfortunately, even Cornwall’s local Looe Live music festival wasn’t attended, despite it being right on the doorstep.

Social Media Quotes from 2019:

Over the year, I’ve been posting thousands of snippets on Twitter and Facebook. The following are actual comments from some very nice people about CRAVE Guitars that came this way during 2019. I don’t usually get much in the way of acclaim, and neither do I seek external validation for what I do, so these kind words of feedback felt extra special to me. They are truly appreciated and, frankly, I am humbled and overwhelmed by them.

“I love the variety of artistry you tweet about. Keep it up!”

“Thanks for the history lessons every day from @CRAVE_Guitars”

“Hey you bring it every day, man! You’ve turned me on to things I’d likely not see otherwise! Keep on rocking it!”

“Great people, knowledge, posts and positive vibes to all! 5 star”

“Thank you for expanding my guitar horizons!”

“Once again, I have been enlightened by CRAVE Guitars. They don’t teach this history in college.”

“I finally went to your website and understand you so much better now… Nice collection!!! Very eclectic and impressive! Great website, Crave!”

“You post such cool guitars. Ones that I’ve never seen before. Some truly unique ones too. Keep up the great work friend, you run a great account”

“Thank you! Hats off to crave guitars!”

“Love your photos! Thank you so much!!”

“Thank you for all your fabulous postings”

“…like always Awesome posts and great follow ups I really appreciate it, Respectfully from the USA!!!”

“Crave Guitars is one classy company”

“Thx Crave this is most excellent.”

“… thank you for sharing the great guitars and posts of Rock N Roll truly enjoy checking out your page daily.”

“Love guitars. Love music. Love Crave. <3”

“… I have to give you a separate kudos for the photography. What a picture…”

“I really enjoy these trivia posts as much as the guitar pictures. Thank you”

“That’s wonderful and thank you. Awesome page”

“You should have “A Potted History of the Guitar” as a pinned tweet. I know that you’re modest, but that thing is epic.”

“You have a great Twitter page my friend and always something to learn about with your topics.”

“Congratulations with Continued Success Great Crave Guitars!!!”

“Great stuff on your Twitter page! Love it! Keep it coming!”

“Great Twitter page! Love it. Keep it up. Always great informative and interesting.”

“You have a great Twitter Page. Love it. Great stuff. Keep it up.”

“I really like your collection. it’s very impressive and interesting.

Have a great day, Crave.”

“I totally dig your archives guitars & their players! So great! 100% fan”

Also, during November 2019, Twitter followers exceeded 6,000 for the first time. A huge “thank you” is extended to everyone who has shown interest and support.

CRAVE 6,000 Twitter Followers

So… looking forward… here is what might be coming up in 2020:

There, that’s the obligatory retrospective done, so it is now time to look forward to the coming year and the start of a brand new decade.

Vintage gear for 2020

I have been very cautious over the past few years about ‘most wanted’ gear, believing that circumstances would be very different. So, this year, I’m going to be a touch more ambitious in stating what I’m searching for in 2020, although I guarantee that not everything on the list will be procured. If the building works go ahead, the list will have to be shortened. It won’t be easy but I am back on the quest for some ‘forgotten’ models, which are more difficult to source, especially in good condition in the UK. However, apart from one wild expensive aspiration, the rest should (?!?!) be a bit more ‘affordable’ than some of this year’s purchases. I am not greedy and I don’t expect to achieve the full list, so it is purely indicative and should be considered more of a direction of travel.

Guitars

  • 1960s Danelectro (no specific model)
  • 1970s Fender Bass VI
  • Any one (or more) of the ‘forgotten’ Gibsons from the 1970s or 1980s, e.g.:
    • Gibson Challenger
    • Gibson Firebrand
    • Gibson Marauder
    • Gibson S-1
    • Gibson US-1
    • Gibson Victory MVX
    • Gibson Les Paul DC XPL 400
  • 1970s Guild (S-100 and/or S-300)
  • 1970s Peavey T-60

Amps

  • 1970s ‘silverface’ Fender Princeton Reverb
  • 1970s ‘silverface’ Fender Deluxe Reverb

Effects

  • 1980s BOSS DD-2 Digital Delay
  • 1970s Colorsound/Sola Sound Tonebender (fuzz)
  • 1970s Electro‑Harmonix Bad Stone (phaser)
  • 1970s Electro‑Harmonix Small Clone (chorus)
  • 1970s MXR Micro Chorus

Help needed (x3)

I know my limitations on several fronts. It therefore makes sense to seek outside assistance with a number of up‑and‑coming key tasks. These are NOT New Year resolutions but they are effectively my self‑imposed targets for 2020. All three, however, rely on other people’s expertise.

Task #1 – I would dearly like to make progress with the long‑deferred cellar works. The first step is to understand what may be involved. If that looks promising, I may well finally proceed. I need someone who knows how to ‘tank’ a 90‑year old cellar effectively and to ensure it stays dry, warm and well‑ventilated enough for safe and secure guitar storage.

Task #2 – Routine completion of the repatriation programme should be reasonably straightforward and achievable. In terms of more involved remedial work on a number of instruments, I am looking for a competent luthier/guitar tech, experienced in working on vintage electric guitars, based local to me in south east Cornwall UK, and who would like to work with me on this extra degree of ‘restoration’.

Task #3 – In addition, I would really like to improve my guitar playing. I’m not starting from scratch but I have limited competence and confidence. I am sure I also have a number of bad habits. This means taking up guitar lessons on a one‑to‑one basis, principally for the interaction, as I’ve never got on well with self‑learning books or videos. I have never been formally trained and feel that I could do much better. I would benefit from an additional level of inspiration, technique and knowledge that a tutor could bring.

If there is anyone out there who could either help or knows someone who could help with one, two or all three of the above, please contact me. I shall report back on degree of achievement, if any, during and at the end of 2020.

Major gigs

There will be very few opportunities to see live music in 2020. However, one major concert has been lined up, which I’m really looking forward to:

  • Rammstein (Cardiff in June 2020)

Hopefully, I might get to participate in the local Looe Live festival in September.

Web Site

Another thing that I really, really must get to grips with is a long overdue major overhaul of the CRAVE Guitars’ web site. The material is there, so it will be a case of expunging the procrastination and get on with it.

Proceed to check out

I really don’t think that there is much more that I can add at this juncture, so it is time to wrap things up for 2019 and the ‘teenies’. Roll on the New Year and hope that the (roaring or whimpering) twenties are an improvement on the last 2 challenging decades.

On a broader front, one has to remain optimistic that humankind will come to its senses and live in sustainable peace, equitable prosperity and cordial harmony. One can dream.

On a practical level, ceteris paribus, I will hopefully get back to the ‘Story of Modern Music…’ next month. In the meantime, it’s back to refurbishing and playing some vintage guitars. Result!

Happy New Year/Decade everyone. Until next time…

CRAVE Guitars ‘Quote of the Month’: “The idea of peace, love and music may not have the power to change the world in the way we might hope but just think about what the world would be like without it.”

© 2019 CRAVE Guitars – Love Vintage Guitars.

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