The pioneering ambient music artist discusses the computer programs, musicians, and spaces that shape his soundscapes.
The pioneering photographer releases an album of synth and piano works.
A daydream by a night owl.
“It’s like bouncing ideas back and forth with a friend, but the friend is you.”
“I was doing some plumbing work for a living and picked up a piece of pipe, blew into it, and it created a very good sound. So, I began building instruments.”
A deadly serious joke: bedroom minimalism, play, and the potentials of transgression.
Blues Control curates an odyssey through avant-garde landscapes of film and classical composition—with a brief digression into street performance.
Combining art, ’80s music clichés, advertising strategies and analog synthesizers, Oneohtrix Point Never, aka Daniel Lopatin, creates experimental ambient music.
If you want to get acquainted with the paradox of ambient music, you could do worse than setting a Buddha Machine on your desk, flipping the switch, and going about your business.
Stephen Vitiello’s Buffalo Bass Delay sounds like an audio-guided tour through a vast, vacant human body—an echoing, cavernous space full of familiar sounds, now in ruins and feeling desolate and alien.
It would be easy to believe the ethereal electronic lullabies on So’s lovely self-titled debut album originated aboard a starship on the farthest reaches of the astral plane rather than on a PowerBook at a 21-year-old Japanese woman’s parents’ house in Mito, Japan.