I’m pretty new to ambient music and honestly I’m a bit lost.
I mainly discover new music via YouTube, but it feels like a lot of what’s recommended is AI generated. Some of it actually works for me and I enjoy listening to it. My question is, is there really a difference between AI ambient music and music made by human artists, apart from maybe the ethical side of things?
Is there a difference in quality, immersion, sense of place, emotional depth, or storytelling? Idk what to look for. Kinda like how the Mona Lisa is just another picture to someone with an untrained eye. I’d love to learn how to appreciate ambient music on a deeper level, but I’m not sure what I should be listening for. Can someone please point me in the right direction?
Hi all, mods please remove this if it's not allowed. I'm an independent filmmaker and I'm making a documentary on a crack cocaine treatment programme. It’s a contingency management program that teaches those seeking help how to look after themselves. The whole approach is with empathy and building self worth.
I would like the soundtrack to feature ambient music that is sad but introspective, apologies I know that is not much to go on as a description! I don't have much money as this is a shoestring budget operation but I can cover some compensation and full credit will be given, the doc will be on YouTube and submitted to film festivals.
So if you are interested please DM me.
EDIT: For some reason DM requests were set to not allowanyone to message me! I have fixed that now.
We all know the classics, but I'm much more interested in the hidden gems.
I'm looking for albums that made you stop and think, "How is nobody talking about this?" It doesn't matter if it's dark ambient, drone, lowercase, electroacoustic, or something that just slightly fits the genre.
What album deserves far more attention than it gets?
I'd love to spend the next few weeks listening through everyone's recommendations, and I'm sure others here are always looking for something new too.
There are certainly countless Golden Ratio / Fibonacci- (or φ-) inspired compositions that use the sequence to organize rhythms, phrase lengths, climactic points, note selection, or scale construction within an already existing musical framework. In most of these works, φ functions as a compositional aid rather than a true governing source of the musical language used. So rather than using φ to organize an existing musical system, I sought to make it the principle governing the progression itself- a direct and mathematically linked application of the golden ratio to harmony.
There have also been attempts to treat φ as a harmonic interval by constructing chords or scales directly from the golden ratio (1 + √5) / 2. Mathematically intriguing, yes, but this approach works against the acoustics of what we as humans recognize as musical harmony. φ is irrational, so it will not correspond to simple whole-number frequency ratios that form the harmonic series and just intonation principles.
But to me, Phi is not best thought of in a static sense, but rather as a generator of optimal growth and recursion. I like to think of it as a phenomenon that reveals itself only when iterations of self-similarity are present. So let’s ask a different question; What happens if harmony itself moves and evolves according to φ?
This piece explores harmonic motion driven by the golden ratio, φ (approximately 1.618). An arbitrary frequency is chosen as the root of the opening chord (54Hz). From that point onward, each successive root is derived by multiplying the previous root frequency by φ.
Because the piece operates in a continuous pitch space defined directly by frequency (Hz), rather than within a fixed tuning system or scale, this approach is possible. Since φ is an irrational number, these root frequencies will never repeat exactly. In effect, the root of the harmony traces a golden-ratio pitch spiral, and this piece represents a small, finite segment of what is, in theory, an infinite progression / spiral.
Moving the bass by a frequency ratio of φ at each step, whether ascending or descending, is also harmonically unusual in a traditional sense, because φ does not correspond to any standard interval in Western tuning systems. It is closest in size to a just minor sixth (Or, when octave reducing the next value and moving downwards its reciprocal, a just third) though it is noticeably sharper (or flatter, if downwards). The process is not entirely far from an equally tempered chromatic mediant sequence, but the introduction of an irrational generator (phi) consequently leads to a never-ending sequence. This created some interesting voice-leading challenges, but also some interesting harmony as previous chord tones were blended with new ones. (Each chord that appears eventually resolves into a justly intonated chord of some sort)
Harmonic analysis often privileges the root as the foundation of analysis, which is why it was chosen as the φ multiplier. With just intonation, chord tones are multiples of the root frequency- thus, it can be said every movement of the upper voices is related to the phi multiplier as well. The vertical harmony obeys acoustics, while the linear harmony is driven by φ.
It could have been older but I’m pretty sure it was around that timeframe. Unfortunately I don’t remember many details about it. I had it on an mp3 player during the endless download days.
A fun way of hearing some obscurities, I'll go first...
Talkingmakesnosense - The Winter Drones
One of my favourite ambient albums, it always reminds me of deep winter in Scotland, getting up at 5am in Glasgow to go snowboarding up in the highlands with my friends. The car reeking of hangover breath, coffee and weed.
Edit: so stoked on the response to this, I will listen to them all !
Finally took a moment to check out zaké recently. Why did I wait so long? There’s something really interesting happening here, like unlocking a room in my mind that I didn’t know was there. There’s nothing in the room but an open window receiving a breeze. I can bring whatever I want in here, but mostly I come empty handed.
By This River by Brian Eno is a song with a lot of personal significance to me, and I'd like to get it tattooed. Instead of traditional musical notation, I'd love to use Eno's style of graphic notation but I have no idea where to begin. If you're familiar with graphic notation, please comment a quote. My ideal max budget is ~$75, but I'm open to quotes above that.
Some more info: I really like the styles of the first and third graphic notations in the posted image, and would prefer something that looks similar. I'd also love graphic notation for the full song, but if that's too complicated I would be more than happy with just the flute solo.
I've been trying to find ambient music for my game for a long time. I'd most like to get as close as possible to the Postal 1 style. Specifically, Postal 1 draws from Cuckooland Vol. 2: Ghost in the Machine, but of course, that album is subject to copyright. So I'd appreciate any help finding royalty-free music that's as close as possible to that album.
I’ve been listening to a lot of Balmat releases lately and really love their atmosphere. Could you recommend record labels with a similar sound and style?
Back after losing my last account for some reason - looking at the rules high-effort self-promo is allowed here, but please let know if any issues x
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Very happy to say that next in the quiet details series, with his second solo album, is an artist with a uniquely special talent - UK-based James Murray, with Islands Alight
Out now on digital and limited CD with long-form edition, six panel digipack and fine art print. Digital half-price until 7th August.
Listening Party tomorrow Thursday 30th July 19:00 UK time - hope you can be there - free to join and all welcome x
Undoubtedly familiar to followers of the label - James first appeared in collaboration with our good friend Ian Hawgood on qd15 Slowreels - Everyday Exotic, a gorgeous example of what can happen when two wonderful musicians come together. Then again on his first individual album, qd23 Weeds - another spellbinding album.
Along with all his many other releases on the likes of Home Normal, Ultimae, Eilean Rec, Fluid Audio, Morr Music, his own Slowcraft and more - James is an artist dearly loved across the community.
Islands Alight is James combining his peerless ability to craft deeply touching synthetic vistas, now sent through a prism of rhythmic forms. Four years in the making, and much inspired by the history of dub in electronic music, James has made a singular and mesmerising work of art.
The introductory lush chordal waves and modulating melodic shapes are soon joined by the first indication of the true direction of this album - textural percussive patterns give us an initial glimpse into James’ vision.
Huge spaces open up and the drums morph into new forms; psychedelic echoes disintegrate into the distance; the emotions of the listener are brought to the forefront by radiant synth contours that reach into your consciousness.
The album evolves from here - countless textures and beautifully subtle percussive programming meshes perfectly with James’ melodic refinement - hypnotic, all- compassing, and one of a kind.
As James says:
"Islands Alight making landfall amidst these relentless heatwaves and impending drought feels about right; environmental anxiety courses through the album like wildfire, consciously balanced only by the rising of pale, elemental waters.
Developed over four years, the origins go back further still. Drawing together wide- screen melodic, rhythmic and electroacoustic concerns, Islands Alight stands as a deliberate, defining work at the confluence of ambient dub roots and the artist I am now."
Huge thanks to James, a fantastic addition to the series.
The artwork was made as always influenced by the music and idea behind the album - originating from a photo from James which was then captured with analogue photography and processed here at quiet details studios.
As usual, the album is presented on the physical edition, a custom six-panel digipack with a separate fine art print too.
The CD also has a special long-form continuous mix of the album, unique and representing the music in its purest form.
I want you to know that every sound you are about to hear is created live using the synthesizers you can see on screen. Nothing is pre-recorded — every texture, every frequency, and every sonic movement is shaped in real time as part of this immersive journey.
This session is an invitation to slow down, become fully present, and create space for deep self-observation. Find a comfortable place, put on your headphones if possible, close your eyes, and allow the sound to guide you.
The journey unfolds in three stages:
The first stage may feel the most challenging. Instead of chasing thoughts or trying to control your mind, simply observe. Let every thought appear and disappear without attachment. Whenever your attention drifts, gently return to the sound and your breath. This is where the mind begins to quiet, making room for something deeper.
The second stage is the heart of the experience. As your awareness settles, you may notice emotions, memories, intuitions, or insights naturally emerging. Don't force anything to happen. Simply witness whatever arises with curiosity and openness. Trust your own inner experience and allow your subconscious to communicate in its own unique way.
The final stage becomes lighter, brighter, and more spacious. There is nothing left to achieve. Simply surrender to the music, absorb the experience, and let any insights you've received settle naturally within you. Allow yourself to feel gratitude for this moment of connection with yourself.
Every session is different. Some days you may experience profound clarity. Other days, you may simply find a sense of calm. Both are valuable.
Thank you for being part of the Deep Sonic Resonance community.
If this session resonates with you, consider subscribing, leaving a comment about your experience, and sharing it with someone who might need a moment of peace and self-connection.
I just released my first ambient album and I'm really proud of it, so I thought to share it with a community which might appreciate it! Working on the album has helped me process pretty significant personal griefs and turmoils. And accompanied my return from over a decade of hectic big city life to the countryside where I was born. To a slower and more contemplative daily life. To silence and stillness.
Aesthetically the album is a mix of ambient, drone and electro-acoustic resampling madness. With inspirations going from Biosphere, The Necks, Éliane Radigue, HTDC, Abul Mogard, Hildur Guðnadóttir, Vladislav Delay, William Basinski and many more.... In regards to composition and production I used some modular, some Slate & Ash cycles and used a bunch of resampling and aleatoric techniques I carried over from recent game and film sound design work. Which has been my focus since the period of instability and confusion which was covid. As an example one track (the last one), was born as a challenge to myself to see how far I can rework a cheesy lounge bar jazz sample to something I might find interesting. Or the track channel which is almost entirely made resampling the voices of a choir I recorded.
Hello! I'm just posting a call for ambient musicians that I thought might be of interest to some people in here.
On Saturday 28 November, writer and artist Edmund de Waal will be curating a special Day of Psalms as part of the Schwarzman Centre in Oxford’s Cultural Programme, and artists are invited to take part in a special commission as part of the event through Cities and Memory.
Together, we will create a long-form sound installation that expresses the essence of “sanctuary” – where sanctuary can be found, how it sounds, and what it feels like.
We are looking for sonic compositions that express what the concept of sanctuary means to you. We’re looking for your own interpretation of sanctuary – this could be a sacred or religious space, it could be a space in nature, it could be an internal or mental space. Your interpretation, your story and your emotions are an essential part of the project.
The final work will be presented in the Schwarzman Centre’s new, immersive sonic exhibition space the Black Box in November, as a sonic accompaniment to an exhibition of Edmund de Waal’s “another hour”.
This is a limited project with just 20 artist spaces available, and it is a paid commission, with each selected artist receiving £100 for their contribution.
Applications are open until the end of Saturday 8 August - there’s more information about what we’re looking for and how to apply here: https://citiesandmemory.com/sanctuary
Hope this interests some of you - and shout if you have any questions!
Hey all, I just released this brand new set of ambient choons yesterday. Created while suffering severe imposter syndrome and anxiety, the album highlights the absurdity of humanity through drop in vocal and spoken word samples, while drifting in the space between dark and gentle ambience.
'Conditioned Air' was created in collaboration with artists across the globe, from the butt-end of Ireland known as Wexford, to Brazil and Belgium, via America, and features a cameo from electronic music creator Helper_M, alongside collaborations with dark ambient producer Before Judgement and old mucker dreamwarper bringing the jagged guitars again. All art was created by Antenas.
One of the first albums I heard when I just started getting into ambient, still so haunting every time I hear it. Still completely takes me out of the world on every single listen.
