“Ambient” Reviews

Mark Nelson is determined to minimize his albums’ accessibility as deliberately as he minimizes his sound.

For the most part, the album maintains a consistent mood best suited for contemplative moments.

Perception’s strength lies in the fact that it takes seemingly unrelated sound sources and combines them into glorious music.

It’s an intense experience, and not one you’ll soon forget.

These compositions move and flow like giant pools of color, shifting at the same graceful pace as the landscape’s colors when the moon slowly moves over it.

Aida will gently settle around you like nice, thick blanket, coaxing you to bed but never boring you to sleep.

Haunting soundscapes that conjure up misty beaches, abandoned lighthouses, and hulking shipwrecks.

You get the feeling that, in order to truly appreciate this music, you need to see the movie.

Probably as a good a place as any to start if you want to start delving into the history of electronic music.

Charity Empressa’s “drone” music makes for a beautiful and consistently rewarding listen.

Despite the album’s fairly minimal nature, there’s something vast and alien about these songs.

The liner says that all of this music was improvisational, and that almost always sets off an alarm in my head.

Listening to Third Site has been an education on the meaning of “ambience.”

The music on this CD seems very fitting for a film about Divine messages.

Haunting female-fronted atmospheric music in the vein of Flying Saucer Attack and Low.

Rich’s music is often dark and forboding, but it also sounds completely natural and familiar.

Like so many things, brevity is the soul of this album. The amazing thing is just how vast that brevity sounds.

This disk will fit nicely next to that E.A.R. record you own (or should).

After the Flood takes the eerie otherworldliness of Lucid’s music and makes it more musical and listenable.

Mathias Anderson displays considerable talent in creating “experimental” music that’s surprisingly easy to listen to.