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1997 was a good yr for ambient.

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  • 1997 was a good yr for ambient.

    "Undark - Stone's Eggs"



    The full album if you like.
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    "TUU - Migration"




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    "Coalescence - Jim Cole & Spectral Voices"



    Last edited by annode; 01-10-2019, 05:03 PM.
    "The dumbest of people are the first to tell you."annode My Music
    Check out my ambient radio show list @ recommended listening

  • #2
    Biosphere's Substrata and Stars of the Lid Ballasted Orchestra came out that year too. Tremendous year for the genre, I agree!
    The motto is "Well, it can't hurt"...

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    • #3
      My favorite from 1997 was from a video game. I think Aubrey Hodges did a good job considering he was really limited on the memory of the sound samples he could use with MIDI.
       
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      • #4
        storyinsoil Speaking of 'Biosphere', the Chinese moon lander has a mini-biosphere on board.
        I used to record off-air Star's End radio shows in the 90s. (mostly on hi-fi 6hr VHS) Yesterday popped a cassette in and heard 90mins of the part2 of Star's End's 'Best of 1997'. This gave me the idea for the thread. I realized just how good the ambient was in `97. My fave ambient composition/performance ever is also on the tape...Thom Brennan - 'Beneath Clouds' .
        Here are the playlists: part 1 part 2
        Question...was ambient music better quality before the DAW became popular with the non-musician?

        Immorpher not being a gamer myself, but it did remind me, if Eno and Stephen King had a music collaboration, it might sound like that. haha
        Last edited by annode; 01-11-2019, 03:42 PM.
        "The dumbest of people are the first to tell you."annode My Music
        Check out my ambient radio show list @ recommended listening

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        • #5
          annode Nice! I'm currently checking out Beneath the Clouds, really really liking it so far.

          I wouldn't necessarily say it was better quality, perhaps people were willing to experiment a little more with technique in sound building beforehand. I do think that some of the sounds I hear in the age of widely accepted DAW use is pretty incredible. 95% of everything (that isn't percussion) I record is with actual instruments, but some of the features a DAW has to offer help me personally push the sound just a little further than I would with my effects board. Of course there are just more people experimenting with the genre, which does bring some not so favorable additions to the genre, but has also allowed some people who normally wouldn't have had the resources to make some really great sounding records. It's a good question you ask, and something I'll probably ponder on a few times this weekend if I get a chance to sit down and work on music.
          Last edited by storyinsoil; 01-11-2019, 04:59 PM.
          The motto is "Well, it can't hurt"...

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          • #6
            Just checked and Paul Schutzes 'Second Site...' was '97 too (maybe not 'Ambient' with a capital A).

            Mouse on Mars Autoditacker was 1997 (definitely not ambient... ) I think that period (mid/late 90s) was when I felt most connected to electronic/whatever music, so much good stuff happening (aphex twin, usiq, MoM, Biosphere, Oval etc).

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            • #7
              Originally posted by GaryG View Post
              I think that period (mid/late 90s) was when I felt most connected to electronic/whatever music, so much good stuff happening (aphex twin, usiq, MoM, Biosphere, Oval etc).
              I'm trying to think back to that time... I think I had fell out with how "electronic music" was progressing back then. Never could get into the likes of Aphex Twin and some of the other Warp stuff.

              I seem to remember discovering FSOL back then and I happened across their Dead Cities album first only because of the fact that one of their tracks, We Have Explosive (probably get shot for saying that nowadays...) was the title track for the Playstation game Wipeout 2097.

              Not Ambient...

              But then I dug deeper into FSOL and purchased Lifeforms.

              I honestly didn't know what "Ambient" was back then, even though I had been a TD fan since around 1974, but I reckon that there are certainly ambient elements to parts of Lifeforms. I really liked that album.

              And as I am typing I remind myself that during this period I was subscribing to the Future Music magazine and each month it came with a CD which included, amongst other things, music by unknown artists, plus every now and then known artists.

              It was on one of those CDs that I discovered John Foxx and his album Cathedral Oceans. Can't get more ambient than that, I reckon, but, hilariously, now that I think of it, I still wasn't thinking in terms of "ambient" as a genre. I was a bit dumb back then... (not sure if the situation has improved over time...)

              Oh, and another band that I happened across back then, not ambient, but in the so called "dance" genre, was Massive Attack. I think they we on a live session on TV back then, can't remember which, and they played a track off their Mezzanine album. I bought that back then and still enjoy it from time to time now. That said, I can't say that I liked their other albums though.


              By the way, much googling was required to help jog my fading memory there.....
              I may not post anything useful, but at least I do it often

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              • #8
                synkrotron Aw yeah, 'we have explosive', forgot all about that track but played it to death at the time... I know I'll get my ambient credentials revoked but that was the only FSOL I really liked, I never got into their ambient albums for some reason... maybe I just like things a little more abstract.

                Re: Massive Attack, still one of my faves. Mezzanine is a monster of an album but great stuff on all of them imo. Protection especially, title track is just perfect. Last one was a little... routine but worth it for the Hope Sandoval track. Sigh...
                Last edited by GaryG; 01-12-2019, 07:07 AM.
                Latest release: never to be repeated

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