For his latest self-imposed challenge, he decided to collaborate with pianist Jean-Michel Blais whose staccato tones feel like a glorious cross between Steve Reich and John Adams - aka, the perfect fit for Silver’s looping, evolving mood structures. When the big book of the greatest ambient records of all time finally gets written, Michael Silver’s CFCF moniker will have no less than two surefire entries in there: 2012’s collection of quiet experiments Exercises and his layered, slow-burn of a reveal of an album that is 2015’s Radiance and Submission.
CFCF and Jean-Michel Blais – Cascades (Arts & Crafts) It’s a fascinating album that appears custom-made for these equally confusing, fascinating times.Ħ.
The intrigue of this record comes not from its 4/4 structures but instead how the compositions react to your expectations, beguiling and intriguing you regardless of intended mood. “Heart of Lights” lurks in dark corners like any good Jon Hopkins song, but if it ever found its way into the hands of a remixer, those tongue-on-teeth snare sounds could turn into weapons that fire out nothing but grooves.
Songs like “Cascades” pop like Bonobo’s modern-day masterpieces and the sampled voices in “Some Stripes” recall the careful soundwave manipulations of Four Tet’s Kieran Hebden, but Iannuzzi is unafraid to go dark and sometimes go straight-up dancey. Indian Wells – Where the World Ends (Friends of Friends)įor Italian producer Pietro Iannuzzi’s third release under the name Indian Wells, he proved unafraid to bring the momentum of his work front and center, adding beats and rising actions to a sound that previously got taken as “relaxing music”. It’s an irresistible little package and one that hopefully points to a long and fruitful stream of hi-fi sonic detours to come.Ĩ. Opening with the gorgeous, piano-led “Shed”, the boys offer four new five-minute-plus compositions which show a depth and maturity even greater than their 2014 full-length and goosed with the gorgeous addition of remixes by Bonobo and Stimming.
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Although some may know him more for his lush, haunting scores to TV shows like Broadchurch, his collaboration with Janus Rasmussen has yielded a propulsive, lush brand of mid-tempo electronic music that knows the importance of riding out a grove without overstaying its welcome. Of course, we can’t have an ambient/instrumental list without Ólafur Arnalds on it, as his constant stream of glorious instrumental works has rarely dipped in quality. It’s a pivotal, inspirational time for those active in the ambient/instrumental scene, and we’re pleased to count down the best albums the genre had to offer this year. For many, though, the difference is negligible, as the forests of calm that Mark McGuire paints with just his acoustic guitar could easily be appreciated by those who also enjoyed Bibio’s latest effort Phantom Brickworks, just as how a new Com Truise release can exist on a playlist that also features Clams Casino and Hauschka without anyone even batting an eye. Yet Tycho are certainly not a group that could be considered ambient - just instrumental.
Ambient music broke ground just like any other genre, and nowadays there’s entire websites like and A Closer Listen constantly championing new voices in the ambient scene, while Joe Muggs absolutely comprehensive overview of the ambient albums available on Bandcamp went viral earlier this year because it exposed so many to the sheer depths and details of a genre that wasn’t only finding its cultural foothold but also its commercial one as well. Thus, with heightened interest in the genre, it’s no wonder that touchstones like Aphex Twin’s Selected Ambient Works 85-92 and Oval’s 94 Diskont have been gradually appearing on more and more all-genre “greatest album of all time” lists, and for good reason. Outside of opener Beacon performing one vocal take with the group, the rest of the show featured Tycho building up their elaborate sonic structures from scratch to an absolutely rapturous reception, no vocals needed. When attending a spring Chicago date for Grammy-nominated soundscapers Tycho, the venue was at capacity with people overflowing from the tightly contained pit. In a time of truly fiery political rhetoric, people have been diving ears-first into the expansive realms of ambient/instrumental music in droves, putting on drawn-out and deliberate mood pieces to chill out to or do work to or meditate to, and while the eternal question of whether using ambient music for those purposes belies the artistry that went into it, make no mistake: the art is appreciated. It’s pretty astounding how casual and raucous the ambient/instrumental crowd is these days.
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