dummkopf lol crazy dnb hasen maier mayer meyer christian soad down systen of pervears gevögelt bescheuert shit

History
Main article: History of drum and bass
See also: Oldschool jungle

In the late 1980s and early 1990s, a growing nightclub and overnight outdoor event culture gave birth to a new electronic music style called Rave music, which, much like hip-hop, combined sampled syncopated beats or breakbeats, other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. But rave music tended to feature stronger bass sounds and a faster tempo than that of most hip-hop or house music, recorded from 127 to over 140 beats per minute (BPM). This subgenre was known as "hardcore" rave but from as early as 1992, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno" and later just "jungle", which became recognised as a separate musical genre popular at raves and on pirate radio in Britain. An interview with London DJ/Producer C.K. 1990-2006, revealed the following paragraph,

"One thing to note as a DJ is that the music was increasing in tempo (beats per minute), imagination and sophistication on a weekly/monthly basis and that the beats prior to Jungle often resembled Ultramagnetic Mc's "Chorus Line" (HipHop) sped up on a Technics turntable (record player) from 33rpm to 45rpm (e.g The Scientist's "The Bee" (1990))." He continues, "Lenny D Ice's record "We Are I.E" in 1991, however, did not sound like music that had gone before it. It is considered by many to have given birth to what would later be called Jungle. However, Rave and Hardcore continued to progress. A track which sampled the words "We Are I.E", for example, replaced "I.E." (In Effect) for "Hardcore" and was called "We Are Hardcore" by Housecrew (1992) and was pressed at an approximate speed of 140 bpm. This is a perfect example of how the general tempo had changed within a year from approximately 128 bpm (Lenny D Ice "We Are I.E.", Shades Of Rhythm "The Sound Of Eden", Shut Up & Dance "Raving I'm Raving", "Slaves", "Genesis" etc in 1991) to approximately 140 bpm in 1992. The beats of early Jungle (1992-1993) would eventually sound like Lenny D Ice "We Are I.E" being sped up on a Technics turntable from 33rpm (revolutions per minute) to 45rpm. Many fans of Rave and Hardcore were to initially resent this sound and boycott the new sound of sped up Rave (Jungle). Some specialist London Record stores refused to stock Jungle but continued to stock Rave and Hardcore (1992- early 1993). To many Rave and Hardcore fans Baby D's "Let Me Be Your Fantasy" (1992, approximately 135bpm) remains a notable classic of the hardcore/rave scene which was coming to an end. Shut Up And Dance's "Raving I'm Raving" may be remembered for controversial reasons. A track called "Konfusion" (140 bpm), artist unknown, sampling Ultramagnetic Mc's "Chorus Line", "LFO" by LFO and a vocal snippet of "Total Confusion" repeatedly screaming "CONFUSION!" was a crowd-pleaser and is certainly worthy of a mention. Numerous artists, DJs and radio stations that contributed to the Rave and Hardcore scene (Shut Up & Dance (Ragga Twins), Ratpack, Shades Of Rhythm, Aek ("Sudden Death"), Reel 2 Reel ("LSD" and other E.Ps), Hackney Hardcore ("Dancehall Dangerous"), Baby D "Day Dreaming", Bug Khan & The Plastic Jam, One Tribe, Moby "Go", Urban Shakedown & Mickey Finn, DJ Hype, Epitome Of Hype, 4-Hero, Congress, G Double E etc are also worth mentioning and some were to continue their careers into the next generation of music. Nonetheless, a new younger generation of music fans would emerge for a much faster (150-170 and quicker), more sophisticated and more imaginative music genre. The Junglist and Drum n Bass generation.",

By 1994 jungle had begun to gain mainstream popularity and fans of the music (often referred to as junglists) became a more recognisable part of British youth subculture. After being further developed by MC Jonny Waines of the Leeds Massive, the genre started incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dancehall-based Jamaican music culture prevalent in London. Whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.

As the genre became generally more polished and sophisticated technically, it began to expand its reach from pirate radio to commercial stations and gain widespread acceptance (circa 1995-1997). It also began to split into recognizable subgenres such as jump-up and Hardstep. As a lighter and often jazz-influenced style of drum and bass gained mainstream appeal, additional subgenres emerged including techstep (circa 1996-1997) which drew greater influence from techno music and the soundscapes of science fiction and anime films.

The popularity of drum and bass at its commercial peak ran parallel to several other homegrown dance styles in the UK including big beat and hard house. But towards the turn of the millennium its popularity was deemed to have dwindled as the UK garage style known as speed garage yielded several hit singles. Speed garage shared high tempos and heavy basslines with drum and bass but otherwise followed the established conventions of "house music", with this and its freshness giving it an advantage commercially. London DJ/Producer C.K. says, "It is often forgotten by my students that a type of music called "Garage House" existed in the late 1980s alongside Hip House, Acid House and other forms of House music." He continues, "This new Garage of the mid 90s was not a form of House or a progression of Garage House. The beats and tempo that define House are entirely different. This did cause further confusion in the presence of new House music of the mid 1990s being played alongside what was now being called Garage." Despite this, the emergence of further subgenres and related styles such as liquid funk brought a wave of new artists incorporating new ideas and techniques, supporting continual evolution of the genre. To this day drum and bass makes frequent appearances in mainstream media and popular culture including in television, as well as being a major reference point for subsequent genres such as grime and dubstep and successful artists including Tinie Tempah and Australia's Pendulum.[1]
[edit]
Musicology of drum and bass

Goldie, one of the most recognizable Drum and Bass artists.[2]

Opinions vary on what constitutes "real" drum and bass as it incorporates a number of scenes and styles, from the highly electronic, industrial sounds of techstep through to the use of conventional, acoustic instrumentation that characterise the more jazz-influenced end of the spectrum. The sounds of drum and bass are extremely varied due to the range of influences behind the music. One of the more common and traditional elements is a prominent snare drum falling on the second and fourth beats.[citation needed]

Drum and bass could at one time be defined as a strictly electronic musical genre with the only 'live' element being the DJ's selection and mixing of records during a set. 'Live' drum and bass using electric, electronic and acoustic instruments played by musicians on stage would emerge in the ensuing years of the genre's development.[3][4][5]

For the already mentioned reasons, the musicology of drum and bass is difficult to precisely define; however, the following key characteristics may be observed:
[edit]
Importance of drum and bassline elements

The genre places great importance on the "bass line", a deep sub-bass musical pattern which can be felt physically through powerful sound systems due to the low-range frequencies favoured. There has been considerable exploration of different timbres in the bass line region, particularly within techstep. The bass lines most notably originate from sampled sources or synthesizers. Bass lines performed with a bass instrument, whether it is electric, acoustic or a double bass, are less common but examples can be found in the work of bands such as Shapeshifter, Squarepusher, Roni Size and STS9. Sampled basslines are often taken from double bass recordings or from publicly available loops.[citation needed]

In drum and bass productions, the bass lines are often subjected to many and varied sound effects, including standard techniques such as dynamic compression, flanger, chorus, over-drive, equalization, etc. and drum and bass specific techniques such as timestretched beats and the "Reese Bass", a distinctive synthesized bass sound comprising layered 'clashing' sawtooth waves. The term is a result of producer's Kevin Saunderson's notable use of it in his work under the Reese/Master Reese alias.

Of equal importance is the "808" kick drum, an artificially pitch-downed or elongated bass drum sound sampled from Roland's classic TR-808 drum machine, and a sound which has been subject to an enormous amount of experimentation over the years.[6]

The complex syncopation of the drum tracks' breakbeat, is another facet of production on which producers can spend a very large amount of time. The Amen break is generally acknowledged to have been the most-used (and often considered the most powerful) break in drum and bass.[7]

The Amen break was synonymous with early drum and bass productions but other samples have had a significant impact, including the Apache, Funky Drummer, "Soul Pride" and "Scorpio" breaks.[8][9]

Many drum and bass tracks have featured more than one sampled breakbeat in them and a technique of switching between two breaks after each bar developed. Examples of this can be heard on mid-90s releases including J Majik's "Your Sound" and Doc Scott's "Machines". A more recent commonly used break is the Tramen, which combines the Amen break, a James Brown funk breakbeat ("Tighten Up" or "Samurai" break) and an Alex Reece drum and bass breakbeat.[10]

The relatively fast drum beat forms a canvas on which a producer can create tracks to appeal to almost any taste and often will form only a background to the other elements of the music. Syncopated breakbeats remain the most distinctive element as without these a high-tempo 4/4 dance track could be classified as techno or gabber.[11]
[edit]
Tempo

Drum and bass is usually between 160-190 BPM, in contrast to other breakbeat-based dance styles such as nu skool breaks which maintain a slower pace at around 130-140 BPM. A general upward trend in tempo has been observed during the evolution of drum and bass. The earliest forms of drum and bass clocked in at around 130 bpm in 1990/1991, speeding up to around 155-165 BPM by 1993. Since around 1996, drum and bass tempos have predominantly stayed in the 170-180 range. Recently some producers have started to once again produce tracks with slower tempos (i.e. in the 150s and 160s), but the mid-170 tempo is still the hallmark of the drum and bass sound.[12][13]

A track combining the same elements (broken beat, bass, production techniques) as a drum and bass track, but with a slower tempo (say 140 BPM), might not be drum and bass but a drum and bass-influenced breakbeat track.[14]

The speed of drum and bass is not however only characterised by that of the broken beat.

Live performances of drum and bass music on electric and acoustic instruments will often entail a drop in relative BPM (though not necessarily), unsurprising in light of the complexity of drum patterns and the high exertion required of a drummer.[citation needed] The "drop" in a drum and bass song.

An example of the "drop" in a drum and bass song. Kubrak - Ambush. The drop is usually the part of the song where the main breakbeat comes in and the tempo speeds up to it's full speed.
Problems listening to this file? See media help.

[edit]
Context

Pendulum playing the Valve Sound System with MC IC3 at the Tuesday Club, Sheffield 05/03/06

For the most part, drum and bass is a form of dance music designed to be heard in clubs.[citation needed] It exhibits a full frequency response which can only be appreciated on sound systems which can handle very low frequencies. As befits its name, the bass element of the music is particularly pronounced, with the comparatively sparse arrangements of drum and bass tracks allowing room for basslines that are deeper than most other forms of dance music. Consequently, drum and bass parties are often advertised as featuring uncommonly loud and bass-heavy sound systems.

There are however many albums specifically designed for personal listening. The mix CD is a particularly popular form of release, with a big name DJ/producer mixing live, or on a computer, a variety of tracks for personal listening. Additionally, there are many albums containing unmixed tracks, suited for home or car listening.[15]

Goldie with Mc LowQui

Many mixing points begin or end with the "drop". The drop is the point in a track where a switch of rhythm or bassline occurs and usually follows a recognizable build section and "breakdown". Sometimes the drop is used to switch between tracks, layering components of different tracks, though as the two records may be simply ambient breakdowns at this point, though some DJs prefer to combine breakbeats, a more difficult exercise. Some drops are so popular that the DJ will "rewind" or "reload" or "lift up" by spinning the record back and restarting it at the build. "The drop" is often a key point from the point of view of the dancefloor, since the drumbreaks often fade out to leave an ambient intro playing. When the beats re-commence they are often more complex and accompanied by a heavier bassline, encouraging the crowd to dance. The name of a subgenre of drum and bass, "jump up" initially referred to the urge for those seated to dance at this point.[citation needed]

DJ support (that is playing a track) in a club atmosphere or on radio is critical in track success, even if the track producer is well known.[16] To this end, DJs will receive dubplates a long time before a general release of a track, sometimes many months before, in order to spark interest in it as well as benefit the DJ (exclusive and early access to tracks is a hallmark of DJ success, e.g. the case of Andy C). Sometimes a DJ will receive versions of tracks that are not planned for general release, these are so-called VIP (Variation In Production) mixes.[citation needed]

DJs are often accompanied by one or more MCs, drawing on the genre's roots in hip hop and reggae/ragga.[17]

MCs do not generally receive the same level of recognition as producer/DJs and some events are specifically marketed as being MC free. There are relatively few well-known drum and bass MCs, MC Infinity, MC GQ, Dynamite MC, MC Fats, MC Conrad, Shabba D, Skibadee, Eksman, Bassman, MC Stamina, MC Fun, Evil B, Trigga, Harry Shotta and Stevie Hyper D (deceased) as examples.[18]
[edit]
Subgenres

Recently, smaller scenes within the drum and bass community have developed and the scene as a whole has become much more fractured into specific sub-genres. The generally accepted and major sub-genres of drum and bass include:
Darkstep (or "Darkside" or "Dark", the return of the old school sound of Drum and bass made with new technology - Equinox, Breakage, Counterstrike, etc.)
Drumstep (or a dark-toned, half-time version of drum and bass. Nowadays, it is mostly dubstep influenced.)
Drumfunk (or "Choppage", "Edits" - atmospheric drum and bass with heavy emphasis on break-styled drum loops, occasionally broken up by drumless atmospheric passages)
Hardstep (A harder style of d&b which uses hard basslines and heavy yet simple electronic melodies e.g.: The Panacea)
Intelligent (or "Atmospheric" or "Ambient")
Jazzstep (or "Jazz and Bass")
Jump-Up
Liquid funk (or simply "Liquid")
Sambass (or "Brazilian Drum and Bass")
Techstep (or "Tech")
Techno-DNB (or "Techno Drum and Bass")
Neurofunk (or "Neuro" is the progression from Techstep)

The following are to a lesser and great degree, arguable subgenres, they would generally be described as separate genres by their proponents:
Breakcore (arguably a different genre, not a subgenre, with many differences)
Darkcore (both a precursor and a descendant of drum and bass since modern darkcore productions share much with darkstep)
Raggacore (arguably a different genre, not a subgenre, with many differences)
Ragga jungle (arguably a different genre, not a subgenre - a modern sound which shares most if not all characteristics with early jungle music - difficult to differentiate - perhaps through frequent mention of H.I.M. Haile Selassie and other Rastafarian themes)[12]

As with all attempts to classify and categorize music, the above should not be treated as definitive. Many producers release albums and tracks which touch into many of the above styles and there are significant arguments as to the classification of tracks as well as the basic defining characteristics of subgenres. The list of arguable subgenres in particular should not be treated as definitive.

The modern distinctive ragga jungle style (arguably subgenre or even separate genre) is a direct throwback to the 1994-1995 style of drum and bass production. However, many modern drum and bass mainstream productions contain ragga, dancehall and reggae elements, they are just not as dominant as previously.[citation needed]

Clownstep is not as it commonly misconceived to be, a derisory term for varieties of drum and bass not appreciated by certain listeners. "Clownstep" - is a term which was popularised by Dylan to jokingly describe how "Swing-beat" tunes like Bodyrock by Andy C made him think of clowns. DJ Clipz often produces songs adhering to the clownstep sound.[19]
[edit]
Jungle vs. Drum and Bass
Main article: History of drum and bass
See also: Oldschool jungle 4 track illustration of the evolution and continuity of the Drum and Bass sound

2 minute sample. This clip contains 4 tracks ranging from proto-jungle "Tribal Bass" (1991) to a jungle "Here I Come" (1995) to an ominous early drum and bass remix (1995) to an Aphrodite modern Drum and Bass remix in the jump up style (2005), "Tribal Natty". All contain the same Barrington Levy vocals (originally contained in the title song of the album Here I Come). Listen and compare the sound. Barrington Levy's vocals illustrate the wide degree of cross over with dancehall/ragga.
Problems listening to this file? See media help.


Presently the difference between jungle (or oldschool jungle) and Drum and Bass is a common debate within the "junglist" community. There is no universally accepted semantic distinction between the terms "jungle" and "Drum and Bass". Some associate "jungle" with older black sounding material from the first half of the 1990s (sometimes referred to as "jungle techno"), and see Drum and Bass as essentially succeeding Jungle. Others use Jungle as a shorthand for ragga jungle, a specific sub-genre within the broader realm of Drum and Bass. In the U.S., the combined term "jungle drum and bass" (JDB or JDNB) has some popularity, but is not widespread elsewhere.[citation needed]

Proponents of a distinction between jungle and drum and bass usually argue that:
Drum and Bass has an integrated percussion and bass structure while jungle has a distinct bass line separated from the percussion.
The relatively simple drum break beats of modern Drum and Bass (generally a two-step beat) are less complex than the 'chopped' 'Amen' breakbeats of jungle[20]
The usage of ragga and reggae vocals differentiates Drum and Bass from Jungle, but then again not all jungle has ragga/reggae vocals, some have other samples and some have no vocals.

The truth is more complicated than this, however. An often mistaken view of the difference between jungle and drum and bass, is that of making a distinction between two-step beat drum and bass and amen breakbeat drum and bass. This is really a distinction between tech-step drum and bass and the new style of drum & bass which occurred especially late-1994 and 1995. Drum and Bass really first referred to the increased attention to breakbeat editing. Perhaps the first track to explicitly use the term "drum and bass" to refer to itself as a different style was released in 1993.[21] The producer The Invisible Man described it:
"A well edited Amen Break alongside an 808 sub kick and some simple atmospherics just sounded so amazing all on its own, thus the speech sample "strictly drum and bass". A whole new world of possibilities was opening up for the drum programming... It wasn't long before the amen break was being used by practically every producer within the scene, and as time progressed the Belgian style techno stabs and noises disappeared (thankfully!) and the edits and studio trickery got more and more complex. People were at last beginning to call the music Drum and Bass instead of hardcore. This Amen formula certainly helped cement the sound for many of the tracks I went on to produce for Gwange, Q-Project and Spinback on Legend Records. After a while, tracks using the Amen break virtually had a genre all of their own. Foul Play, Peshay, Bukem and DJ Crystal among others were all solid amen addicts back then too." [22]

Since the term jungle was so closely related to the reggae influenced sound, DJs and producers who did not incorporate reggae elements began to adopt the term "drum and bass" to differentiate themselves and their musical styles. This reflected a change in the musical style which incorporated increased drum break editing. Sometimes this was referred to as "intelligence", though this later came to refer to the more relaxed style of drum and bass associated with producers such as LTJ Bukem.

Towards late 1994 and especially in 1995 there was a definite distinction between the reggae and ragga sounding jungle and the tracks with heavily edited breaks, such as the artists Remarc and The Dream Team on Suburban Bass Records. Ironically, one compilation which brought the term to the wider awareness of those outside the scene, 'Drum & Bass Selection vol 1' (1994), featured a large amount of ragga influenced tracks, and the first big track to use the term in its title (Remarc's 'Drum & Bass Wize', 1994) was also ragga-influenced.[23]

The Dream Team consisted of Bizzy B and Pugwash; Bizzy B did however have a history of complex breakbeat tracks released before any real notion of a change in genre name. The genre change coincided with an increase of the use of the Reese bassline (Reese Project, Kevin Saunderson), as first featured on "Just Want Another Chance" by Kevin Saunderson (also famous for the group Inner City) released in 1988. Mid-1995 saw the coincidentally named Alex Reece's "Pulp Fiction" which featured a distorted Reese bassline with a two-step break, slightly slower in tempo, which has been credited as an influence in the new tech-step style which would emerge from Emotif and No U-Turn Records.

"Pulp Fiction was (and still is) a seriously badass tune, it was highly original at the time, and of course it will remain in the classic oldskool bag for many years to come. It was also the track that spawned hundreds of immitators of its "2-Step" style which unfortunately also lasted for many years to come.... hmmm... oh, and because the 2-step groove generally sounds slower, DnB then began to speed up way beyond 160bpm... say no more."[22]

This has also led to the confusion of equating the "tech-step" sub-genre with drum and bass, as distinct from jungle, but "drum and bass" as a style and as a name for the whole genre already existed in 1995 before the release of Dj Trace's remix of T-Power's "Mutant Jazz" which appeared on S.O.U.R. Recordings in 1995 (co-produced by Ed Rush and Nico). Also note that Trace (artist), Ed Rush and Nico already had a history of producing jungle/drum & bass and hardcore in a variety of styles.[24] [25] [26]

Another explanation for the name change is that the scene was running into problems because of violence blamed on the ragga part of the music, the media was full of stories condemning jungle and the violence it brought, so it was this bad media hype that resulted in the name change, which coincided with, and was made possible by the progression of the genre's sound.

Confusion is increased by the term "jump up" which initially referred to tracks with a had a change in style at the drop, encouraging people to dance. Initially these new drum and bass style tracks had breakbeat-heavy drops, but producers of around the same time were creating tracks with hip-hop style basslines at the drop. This would become a new sub-genre Jump-Up, though many of the early jump-up tracks incorporated edited amens at the drop. Influential artists include DJ Zinc, DJ Hype, Dillinja and Aphrodite (artist) amongst many others. The Dream Team would also produce jump-up tracks, usually under the name Dynamic Duo on Joker Records, in a style with similarities and differences to their Suburban Bass releases. Notice also the early use of the term "jump up jungle" rather than "jump up drum and bass". The pigeon-holes for genres changed so quickly that jump-up was quickly also called drum and bass even as a sub-genre.

Opponents of a distinction would argue that there are many modern drum & bass productions with separated basslines, complex breakbeats and ragga vocals.[citation needed] This comes, however, from a mistaken distinction between tech step and drum and bass as outlined above, probably from interest in the music after mid-1995 when there was the creation of a variety of new styles or sub-genres, including Roni Size's more jazz-influenced drum and bass, tech step and jump-up.

"At the end of the day I am an ambassador for Drum and Bass the world over and have been playing for 16 years under the name Hype... To most of you out there Drum and Bass will be an important part of your lives, but for me Drum and Bass/Jungle is my life and always has been... We all have a part to play and believe me when I say I am no fucking bandwagon jumper, just a hard working Hackney man doing this thing called Drum and Bass/Jungle." DJ Hype[27]
[edit]
Promotion

Drum and Bass is widely promoted throughout the world using different methods such as: video sharing services (YouTube, Dailymotion), blogs, radio and television, the latter being the most uncommon method. More recently the importance of the internet in promotion is increasing. Music networking websites such as SoundCloud and MixCloud have become powerful tools for artist recognition, providing a vast platform that enables quick responses to new tracks. The more market savvy record labels have adopted the use of Podcasts, these are an efficient way for the labels to keep their fan-base up to date with news on events and products. Audience participation in Podcasts can also develop a sense of community around the label itself, strengthening it's following. Examples of Record Labels that have successfully adopted the Podcast include: Hospital Records, Lifted Music, Metalheadz , viper recordings, shogun audio, Amongst others.
[edit]
Influences on drum and bass

Drum and bass music, born in samplers, has been and is heavily influenced by other music genres, though this influence has perhaps been lessened in the shift from jungle to drum and bass and the intelligent drum and bass and techstep revolution.[28][29][30][31][32] It still remains a fusion music style.[33]

Miles Davis has been named as one the most important influences,[34] and blues artists like Leadbelly, Robert Johnson, Charlie Patton, Muddy Waters & B.B King have also been cited by producers as inspirations.

As a musical style built around a funk or syncopated rock & roll beat, Al Green, Marvin Gaye, Ella Fitzgerald, Gladys Knight & the Pips, Temptations, Jackson 5, Billie Holiday, Aretha Franklin, Otis Redding, Smokey Robinson, Diana Ross, the Supremes, the Commodores, George Clinton, Ray Charles, Jerry Lee Lewis, Herbie Hancock, James Brown and even Michael Jackson, are funky influences on the music.[12][35][36][37][38][39]

A very obvious and strong influence on jungle and drum and bass is the original dub and reggae sound out of Jamaica, with pioneers like King Tubby, Peter Tosh, Sly & Robbie, Bill Laswell, Lee Perry, Mad Professor, Roots Radics, Bob Marley and Buju Banton heavily influencing the music.[40][41] This influence has lessened with time but is still evident with many tracks containing ragga vocals.

Early hip-hop is an extremely important influence on drum and bass,[42][43] with the genres sharing the same broken beat. Drum and bass shares many musical characteristics with hip-hop, though it is nowadays mostly stripped of lyrics. Grandmaster Flash, Afrika Bambaata, De La Soul, 2 Live Crew, Jungle Brothers, Kool Keith, Run DMC, Public Enemy, Schooly D, N.W.A, Kid Frost, Wu-Tang Clan, Dr Dre, Mos Def, Beastie Boys and the Pharcyde are very often directly sampled, regardless of their general influence.[13]

Even modern avant-garde composers such as Henryk Gorecki have influenced drum and bass.[44]

Many tracks belonging to other genres are 'remixed' into drum and bass versions. The quality of these remixes varies from the simple and primitive adding of broken beats to a vocal track or to complete reworkings that may exceed the original in quality and effort put into them. Original artists will often ask for drum and bass remixes of their tracks to be made in order to spark further interest in their tracks (e.g. Aphrodite's remix of Jungle Brothers' "Jungle Brother").

On the other hand, some tracks are illegally remixed and released on white label (technically bootleg), often to acclaim. For example, DJ Zinc's remix of The Fugees' "Ready or Not", also known as "Fugee Or Not", was eventually released with the Fugees' permission after talk of legal action, though coincidentally the Fugees' version infringed Enya's copyright to an earlier song.[13][45] White labels along with dubplates play an important part in drum and bass musical culture.

One of the most influential tracks in drum and bass history was Amen Brother by The Winstons, containing a drum solo which went on to be known as the "Amen break", which after being extensively used in early hip hop music, went on to become the basis for the rhythms used in drum and bass.
[edit]
Direct influence

In mentioning drum and bass influences, special mention needs to be given to a few scenes and individuals.

The first is the US rank scene which emerged in the 1980s, the most famous artist being NYC's Frankie Bones whose infamous 'Bones Breaks' series from the late '80s onwards helped push the house-tempoed breakbeat sound (especially in the UK) and can be said to be a direct precursor to the UK breakbeat/hardcore scene.[citation needed]

The second is Kevin Saunderson, who released a series of bass-heavy, minimal techno cuts as Reese/The Reese Project in the late '80s which were hugely influential in drum and bass terms. One of his more infamous basslines was indeed sampled on Renegade's Terrorist and countless others since, being known simply as the 'Reese' bassline. He followed these up with equally influential (and bassline-heavy) tracks in the UK hardcore style as Tronik House in 1991/1992. Another Detroit artist who was important for the scene is Carl Craig. The sampled-up jazz break on Carl Craig's Bug in the Bassbin was also influential on the newly emerging sound, DJs at the Rage club used to play it pitched up (increased speed) as far as their Technics record decks would go.[12]

The third precursor worth mentioning here is the Miami, USA Booty Bass/Miami Bass scene, first popularised by 2 Live Crew in the mid to late '80s. There are clear sonic parallels with drum and bass here in the use of uptempo synths and drum machines in producing bass-heavy party music.[citation needed]

Both the New York breakbeat and the Miami Bass scenes were strongly influenced by the 'freestyle' sound of New York, Chicago and Miami in the 1980s which incorporated electro, disco and Latin flavours, and which was in turn a key influence on the UK's acid house/hardcore/rave scene.[46][47][48]
[edit]
Samples Lists of miscellaneous information should be avoided. Please relocate any relevant information into appropriate sections or articles. (August 2010)
2 track illustration of sampling and mixing of drum and bass tracks

30 second sample. This clip contains 2 tracks, "Bad Ass" by Aphrodite & Mickey Finn (1996) sampling the film "South Central" and Sound of the Future's "Lighter" (1995) which samples the piano theme from the film "Love Story". The clip also illustrates mixing techniques from Dj Hype on the cd compilation "Jungle Massive". Both tracks are treated as classic drum and bass tracks.
Problems listening to this file? See media help.


Drum and bass tracks often contain many direct samples from other tracks, some examples are listed below:[49]
Afrika Bambaataa's eponymous "Planet Rock" - the beat is sampled in Hypnotist's "Pioneers Of The Warped Groove" (Rising High)
Beastie Boys's highly influential "The New Style" - the word "drop" is sampled in Lemon D's "Break It Up" (Reinforced)
Cypress Hill's searing "I Wanna Get High" - the horn loop beat is sampled in Shy FX Feat. UK Apache's "Original Nuttah" (Sound Of Underground Recordings)
De La Soul's "The Game Show" - the vocal "now, here's what we'll do" is sampled in DJ Krust's "Guess" (V)
Rankin Joe's "Step it Pon da Rastaman Scene" (taken from the Easy Star All-Stars' Dub Side of the Moon) - the vocal line is sampled in the DJ Fresh and Pendulum collaboration "Babylon Rising" (Breakbeat Kaos)
Stevie Nicks' "Edge of Seventeen" is heavily sampled in High Contrast's "Days Go By" (The Contrast)
Michael Jackson's "I Can't Help It" is sampled in Shy FX's "Plastic Soul" (BINGO)
Guns N' Roses' "Welcome to the Jungle" is sampled in Chase & Status' "Smash TV"

Drum and bass also samples other media, including film and television:
Apocalypse Now - The phrase "And for my sins they gave me one" is sampled in Hyper On Experience's "Ouiji Awakening" (Moving Shadow)
Blade Runner - The phrase "The angels fell" is sampled in Dillinja's "The Angels Fell" (Metalheadz), and "I've seen things you wouldn't believe" is found in London Elektricity's "Attack Ships on Fire" (Hospital Records).
Willy Wonka & the Chocolate Factory - The song sung by Willy Wonka during the boat scene is sampled in Pendulum's "Through The Loop"
Jeff Wayne's Musical Version of The War of the Worlds - "And I wandered through the weird and lurid landscape of another planet" Is used by Pendulum in "Another Planet" and "What's that flare? See it? A green flare, coming from Mars, kind of a green mist behind it. It's getting closer. You see it, Bermuda?" is sampled by Logistics in "Thunderchild" (NHS96)
Spider-Man 2 - The phrase spoken by Alfred Molina's character as he turned into Doctor Octopus "Ladies and Gentlemen... fasten your seat-belts!" is used in Pendulum & The Freestylers' song "Fasten Your Seatbelt"
Goodfellas - The introduction narration "One day the kids from the neighborhood carried my mother's groceries all the way home. You know why? It was outta respect. ." is sampled in Shy Fx Feat. UK Apachi's "Original Nuttah" (Sound Of Underground Recordings)
RoboCop - The phrase "You're gonna be a bad muthafucker" in A Guy Called Gerald's "Cyber Jazz"
The Krays (film) - The phrase by the twins in the violent snooker hall scene "and you go back and tell um no one fucks with us" is sampled by R33CE.COM featuring Buju Banton the murderer smash hit released by Jet Star.
Scarface - The phrase "All I have in this world are my balls and my word... and I don't break 'em for no-one" in DJ Hype's "True Playaz Anthem" (Parousia)
Anchorman - Noisia - Cannonball - Intro to the song is directly copied from the film, with the 'cannonball' shout being the first drop.
[edit]
Influenced by drum and bass

Jungle/drum and bass has and continues to influence many other musical genres, thanks to its variety, experimentation and producer (borderline obsessive) professionalism.[citation needed]

Speed garage and 2step in the UK were born at the height of the popularity of jungle, copying the bass-lines, fast tempo (though much slowed down), ragga vocals (with frequent MC accompaniment) and production techniques. They may be referred to as descendants of drum and bass and at one time drove drum and bass into relative obscurity.[12][13][50][51] Grime and dubstep, their descendants, have driven these genres underground whilst drum and bass has survived and evolved. Dubstep combines sounds of 2step with the deep basslines and the reggae vibe of early jungle.

Born at the end of the millennium, breakcore shares many of the elements of drum and bass and to the uninitiated, tracks from the extreme end of drum and bass, may sound identical to breakcore thanks to speed, complexity, impact and maximum sonic density combined with musical experimentation. Raggacore resembles a faster version of the ragga influenced jungle music of the 1990s, similar to breakcore but with more friendly dancehall beats (dancehall itself being a very important influence on drum and bass).[52] Darkcore a direct influence on drum and bass, is itself heavily influenced by drum and bass, especially darkstep. There is considerable crossover from the extreme edges of drum and bass, breakcore, darkcore and raggacore with fluid boundaries.

Despite never gaining the mainstream popularity of speed garage and 2step, drum and bass' impact in musical terms has been very significant and the genre has influenced many other genres like jazz, metal, hiphop, big beat, house music, trip hop, ambient music, techno, hardcore and pop, with artists such as Bill Laswell, Slipknot, Incubus, Pitchshifter, Refused, Linkin Park, The Roots, Tabla Beat Science, Talvin Singh, Nitin Sawhney, MIDIval Punditz, Jedi Mind Tricks, Timbaland, Missy Elliott, Pharell, Fat Boy Slim, Lamb, Underworld, The Streets, The Freestylers, Nine Inch Nails and David Bowie (the last two both using elements of Goldie's "Timeless") and others quoting drum and bass and using drum and bass techniques and elements. This is only the tip of the iceberg in terms of impact and influence. The USA has adopted the sound with a genre called Ghettotech which have synth and basslines similar to drum & bass.[12][53][54][55][56]
[edit]
Drum and bass globally

Despite its roots in the UK, which can still be treated as the "home" of drum and bass, the style has firmly established itself around the world. There are strong scenes in other English-speaking countries including Australia, Canada, New Zealand, South Africa and the United States.[57] It is popular throughout continental Europe, and in South America. São Paulo is sometimes called the drum and bass Ibiza. Brazilian drum and bass is sometimes referred to as "sambass", with its specific style and sound. In Venezuela and Mexico, artists have created their own forms of drum and bass combining it with experimental musical forms. Asia also has a drum and bass scene in countries and cities like Indonesia, Hong Kong, Japan, Malaysia, Shanghai and Singapore.[citation needed] Established international drum and bass producers and DJ's include names such as, Roni Size (England), Freaky Flow (Canada/United States), B-Complex (Slovakia), DJ Marky (Brazil), D.Kay (Austria), Noisia (Netherlands), Netsky (Belgium), Hive (United States), Dieselboy (United States), Krazy Josifer (United States) Shapeshifter (New Zealand), Black Sun Empire (Netherlands), Counterstrike (South Africa), XRS (Brazil), Teebee (Norway), Evol Intent (United States), Makoto (Japan), Mutated Forms (Estonia), Concord Dawn (New Zealand), Camo & Krooked (Austria), DJ Oder (Portugal) and Muffler and Physics (Finland).[citation needed]
[edit]
Appearances in the mainstream Pendulum's "Tarantula" (2005)

30 second sample. One of the few drum and bass tracks regularly played on commercial popular radio. Notice the vocal element and the track's similarity to the first sample on this page, Rebel Mc's "Wickedest Sound". The tracks share a vocalist, Tenor Fly.
Problems listening to this file? See media help.


"I'll keep you in safety, forever protect you. I'll hide you away from, the world you rejected. I'll hide you, I’ll hide you." - Kosheen "Hide U" (Moksha) 1999

Certain drum and bass releases have found mainstream popularity in their own right, almost always material prominently featuring vocals.

Perhaps the earliest example was Goldie's Timeless album of 1995, along with Reprazent's Mercury Music Prize-winning New Forms in 1997, 4hero's Mercury nominated Two Pages in 1998, and Pendulum's Hold Your Colour in 2005 (the biggest selling Drum And Bass album of all time.) Tracks such as Shy FX and T-Power's "Shake UR Body" gained a UK Top 40 Chart placing in 2005.[58]

Video games such as Rockstar Games' Grand Theft Auto series have contained drum and bass tracks. The MSX/MSX 98 radio station by DJ Timecode in Grand Theft Auto III and Grand Theft Auto: Liberty City Stories, played drum and bass exclusively.

The genre has some popularity in soundtracks, for instance Hive's "Ultrasonic Sound" was used in the Matrix's soundtrack and the E-Z Rollers' song "Walk This Land" appeared in the film "Lock, Stock and Two Smoking Barrels". Ganja Kru's "Super Sharp Shooter" is heard in the 2006 film Johnny Was.

The Channel 4 show Skins uses the genre in some episodes. Notably in Series 1 - Episode 3 (Jal) Shy-Fx and UK Apachi - Original Nutta is played in Fazers club.

Drum and bass often makes an appearance as background music, especially in Top Gear and television commercials thanks to its aggressive and energetic beats. Cartoon Network's Toonami programming block also employs it for television spots and show intros,like the relaunch of SCI FI Channel (1997) segue music by Jungle Sky label. However, due to the relative obscurity of the genre, most listeners would not recognize the music as drum and bass.[citation needed]
[edit]
Record labels
See also: :Category:Drum and bass record labels

Drum and Bass as a whole is dominated by a small group of "hardcore" record labels. These are run mainly by some of the scene's most prominent DJ–producers, such as Roni Size's Full Cycle Records, London Elektricity's Hospital Records, Andy C's Ram, Goldie's Metalheadz , Dj Fresh's Breakbeat Kaos and DJ Hype, Pascal and DJ Zinc's True Playaz.

The major international music labels such as Sony Music, Universal have shown very little interest in the drum and bass scene though there has been a few signings, most recently Pendulum's In Silico LP to Warner. Roni Size's Full Cycle Records, which played a big, if not the biggest, part in the creation of Drum and Bass, with their dark, baseline sounds. V.Recordings was also a massive part of the development of Drum and Bass. With Roni Size, Krust and Dj Die producing tracks which were considered to be the first mainstream Drum and Bass tracks. In recent times, Andy C's label Ram Records (UK) is pushing the boundaries of drum and bass further into the mainstream.[citation needed] Artists like Chase & Status as well as Pendulum are already hovering in the mainstream and singles like "DJ Marky and XRS - LK" have in the past topped the UK charts.
[edit]
Accessing drum and bass
[edit]
Purchasing

Drum and bass is mostly sold in 12-inch vinyl single format. With the emergence of drum and bass into mainstream music markets, more albums, compilations and DJ mixes are sold on CDs. Still, purchasing drum and bass music can involve searching for new releases in specialized record shops or using one of the many online vinyl, CD and MP3 retailers.[citation needed]

Drum and bass used to be purchased in the form of "tape packs", which are a collection of recordings recorded at a selected rave or party. Each tape contains the set by one DJ at that particular rave/party including the MCs.[citation needed]

Most tape packs contained 8 tapes with sets from different DJs. More recently tape packs have become available on CD as tape cassettes are being phased out and recordable CD media is more available, although the CD packs still retain their traditional name of "tape packs". Most of these packs contain 6 CDs.[citation needed]
[edit]
Distributors (Wholesale)

The bulk of drum and bass vinyl records and CDs are distributed globally and regionally by a relatively small number of companies such as SRD (Southern Record Distributors), ST Holdings, & Nu Urban.[59]
[edit]
Live Drum and Bass

Aphrodite at 2009 Moscow action of the Pirate Station: Immortal. World's largest drum and bass festival.

Many music groups and musicians (such as Roni Size's Reprazent, Jojo Mayer's Nerve, Pendulum, Shapeshifter, E-Z Rollers, STS9, KJ Sawka London Elektricity, Chase & Status, Johnny Rabb's BioDiesel, The Disco Biscuits, Lake Trout, ....) have taken drum and bass to live performances, which features an acoustic drum kit, synthesizers, bass (upright or electric), and other instruments. Samplers have also been taken live by playing samples on drum pads or synthesizers, assigning samples to a specific drum pad or key. MCs are frequently featured in live performances. Some acts such as Fragment use a lineup of a guitarist, bassist, at least one keyboardist, and an acoustic drummer, even if none of these instruments are present in the actual song, simply to give it a "thicker live sound". DJ FU and the Jungle Drummer also feature predominantly in modern day live dnb. Their show features them battling live on stage in a DJ v drummer scenario. With Jungle Drummer drumming at speeds up to 180 bpm. Other acts to take note of on the live drum and bass scene include Pendulum and Chase & Status, both of whom perform their tracks live. The DnB scene is still thriving in many urban area, with a particularly strong showing in LA amongst such dedicated clubs as The Dragonfly. This has given both of these bands a way to access the mainstream, giving drum and bass a more commercial edge. Some bands have even taken the term somewhat literally, such as Lightning Bolt, White Mice, and Comparative Anatomy (band). Alif Sound System play a special type of Live Drum and Bass by using an Electro punk like lineup.
[edit]
Media presence
[edit]
Radio

The two highest profile radio stations playing drum and bass shows are The Drum and Bass Show with Fabio and Grooverider on BBC Radio 1, simulcast in the US and Canada on Sirius XM, and DJ Hype on Kiss 100 in London. The BBC's "urban" station BBC 1Xtra also features the genre heavily, with DJs Bailey and Crissy Criss as its advocates. The network also organises a week-long tour of the UK each year called Xtra Bass. London pirate radio stations have been instrumental in the development of Drum and Bass, with stations such as Kool FM (which continues to broadcast today having done so since 1991), Don FM (the only Drum and Bass pirate to have gained a temporary legal license), Rude FM, Origin FM and Eruption amongst the most influential.
[edit]
Satellite Radio

In North America, XM Satellite, 89.5 CIUT (Toronto), Album 88.5 (Atlanta) and C89.5fm (Seattle) have shows showcasing drum and bass. Seattle also has a long standing electronica show known as Expansions on 90.3 FM KEXP. The rotating DJ's include Kid Hops, whose shows are made up mostly of drum and bass. In Columbus, Ohio WCBE 90.5 has a two hour electronic only showcase, "All Mixed Up," Saturday nights at 10pm. At the same time WUFM 88.7 plays its "Electronic Playground." Also, Tulsa, Oklahoma's rock station, 104.5 The Edge, has a two hour show starting at 10:00PM Saturday nights called Edge Essential Mix mixed by DJ Demko showcasing electronic and drum and bass style. While the aforemention shows in Ohio rarely play drum and bass the latter plays the genre with some frequency. In Tucson, Arizona 91.3 FM KXCI has a two hour electronic show known as "Digital Empire", Friday nights at 10pm (MST). Resident DJ Trinidad showcases various styles of electronica, with the main focus being drum and bass, jungle, & dubstep. Founded in 2002, Digital Empire features weekly guest DJs and producers, as well as an extensive online playlist and live webstream at KXCI's website.[citation needed]
[edit]
Other

In New Zealand, Aeon hosts a 4 hour Drum & Bass show called System Bypass on 105.4 BOPFM (Tauranga) every Sunday night from 7:00pm to 11:00pm, featuring some of New Zealand's, and the world's, latest Dnb tunes. Aeon also hosts a Dubstep show every Thursday on BOPFM.In Auckland, DJ Dub Panda and HT host a 3hr drum and bass and dubstep show called The Sunday Lax on 87.9FM from 1pm-4pm, featuring the very latest and greatest in global and NZ drum n bass and dubstep.

In Australia, Spikey Tee plays an hour long Drum and Bass show, every Saturday night at 2am on 97.7 fm Sbs Radio Alchemy(Sydney)[citation needed]

In the Philippines, 103.5 Max FM has "The Bass Hour" every Saturday at midnight that caters to nothing but bass music.[citation needed]

In France, the American University of Paris has a two-hour Drum and Bass program called "Jungle B Eyrie" hosted every Wednesday at 6pm +1GMT.[citation needed]

In Belgium, the national radio station "Studio Brussel" has a weekly show called "Jungle Fever" the radio show is hosted by Murdock, one of the famous Drum n Bass dj's in Belgium.[citation needed]

In Estonia, Radio 2 has two shows, which play DnB - "Tramm ja Buss" (hosted by dj/producer S.I.N & the legend in Estonian D'n'B sceen Raul Saaremets)[60] and "Tjuun In" (hosted by Qba, To-Sha and L.Eazy).[61]
[edit]
Magazines

The best known drum and bass publication was Kmag magazine(formerly called Knowledge Magazine) before it went completely online in August 2009. Other publications include the longest running drum and bass magazine worldwide ATM Magazine, and Austrian-based Resident. Toronto-based Rinse Magazine, dedicated to the North American drum and bass scene, and established in 2002 by publisher John Tan, ran for 28 issues, ending in 2007. The editor was Richard Yuzon.[citation needed]
[edit]
Literature
A History of Rock Music, 1951-2000 by Piero Scaruffi (ISBN 978-0595295654), nonfiction in HTML form
All Crews: Journeys Through Jungle / Drum and Bass Culture by Brian Belle-Fortune (ISBN 0-9548897-0-3), nonfiction
"Roots 'n Future" in Energy Flash by Simon Reynolds, Picador (ISBN 0-330-35056-0), nonfiction (British edition)
Generation Ecstasy : Into the World of Techno and Rave Culture by Simon Reynolds, Routledge. (ISBN 0415923735), nonfiction (American edition)
Rumble in the Jungle: The Invisible History of Drum and Bass by Steven Quinn, in: Transformations, No 3 (2002), nonfiction (ISSN 1444-377) PDF file
State of Bass: Jungle - The Story So Far by Martin James, Boxtree (ISBN 0-7522-2323-2), nonfiction
The Rough Guide to Drum 'n' Bass by Peter Shapiro and Alexix Maryon (ISBN 1-85828-433-3), nonfiction
King Rat by China Miéville (ISBN 0-330-37098-7), fiction
[edit]
Online

Drum and bass has a very strong, important and vocal online presence with many dedicated portals, forums, communities and internet radio stations - the internet has to much degree superseded the role of pirate radio stations in spreading and popularising the genre, as the stations have switched to newer genres.[62] Internet sites are a source of the latest mixes (professional or amateur) and tracks by unsigned producers Drum and Bass for unsigned artists. The dominant and most popular websites are Dogs On Acid and Drum and Bass Arena.[63]
[edit]
Dancing

A style of rave dance named 'X-Outing' (Also known as X-Stepping in the UK) developed in Eastern Europe during the late 2000s.

The street dance involves quick step-like movements, whereby the dancer hops between their heels and toes in a rapid motion, from leg to leg. The dancer would also often rock forwards and back on their heels and toes with one of their legs in front. The core 'stepping' move is usually called the 'X-Step' by many dancers. Involving many different flavors of body movements, the dance is also danced to breakcore and certain other types of freetekno and rave music. Many X-Outing dancers upload videos of themselves performing the dance to the popular video-hosting website 'YouTube'. X-Outing dancers often participate in underground social competitions of the dance amongst other dancers on the streets of Moscow.
[edit]
See also
History of drum and bass
Junglist
List of jungle and drum and bass artists
List of jungle and dnb emcees
Category:Drum and bass record labels
List of electronic music genres
Oldschool jungle
Drum and Bass Arena
Dogs On Acid
[edit]
References

As a musical genre that has recently emerged, drum and bass music has not been the subject of much academic or printed study. As such, reference materials are generally primary (particularly interviews with music producers, DJs, record label owners and listeners) and online.

"The early development of drum’n’bass had occurred in a seeming journalistic vacuum due to its perceived affiliation with the critically-dismissed sounds of rave. Once it had achieved the traditional markers of success, its emergence was rewritten into the pages of musical history." - Steven Quinn, Rumble In the Jungle, the Invisible History of Drum 'n' Bass

[citation needed]
^ For references, see History of drum and bass article.
^ "Rolling Stones review of Saturnzreturn of February 8, 1998". Retrieved January 26, 2007.
^ New Dawn - City Clubs Take Back The Night article, Village Voice, February 27, 2001
^ "Knowledge Magazine Article mentioning rise of live drum and bass in 2004". Retrieved October 18, 2006.
^ "Knowledge Magazine Article on live drum and bass bands". Retrieved October 18, 2006.
^ "TR-808". Retrieved December 24, 2006.
^ "Amen Break video on youtube.com". Retrieved September 6, 2006.
^ "Forever And Ever Amen article on knowledgemag.co.uk". Retrieved September 6, 2006.
^ "junglebreaks.co.uk". Retrieved August 15, 2010.
^ "Dom & Roland interview by Ben Willmott at knowledgemag.co.uk". Retrieved September 6, 2006.
^ "Life in The Fast Lane: An Overview of Drum and Bass by George Broyer at drumbum.com". Retrieved September 6, 2006.
^ a b c d e f "Red Bull Academy Interview Fabio - The Root To The Shoot Part 2". Retrieved September 4, 2007.
^ a b c d "Red Bull Academy Interview Zinc - Hardware Bingo". Retrieved September 4, 2007.
^ "Remix Mag Interview with Rob Playford, drum and bass pioneer at remixmag.com". Retrieved October 5, 2006.
^ The Good Life, No Such Thing As Society article, The Independent, July 23, 2003
^ "How To Release a Record pt2 at knowledgemag.co.uk". Retrieved September 6, 2006.
^ "Goldie in Shanghai on youtube.com". Retrieved September 6, 2006.
^ "MC Evolution feature on knowledgemag.co.uk". Retrieved September 6, 2006.
^ "Dogs On Acid note on origin of phrase". Retrieved October 3, 2006.
^ "The Many Faces of Drum 'n' Bass by Rob Bliss". Retrieved June 29, 2007.
^ "The Invisible Man Discography". Retrieved June 29, 2007.
^ a b "The Invisible Man - Top Ten Selection". Retrieved August 2, 2010.
^ "Various - Drum & Bass Selection 1". Retrieved Aug 2, 2010.
^ "Trace Discography". Retrieved August 3, 2010.
^ "Ed Rush Discography". Retrieved August 3, 2010.
^ "Nico Discography". Retrieved August 3, 2010.
^ "DJ Hype statement on realplayaz.co.uk forum". Retrieved September 6, 2006.
^ "NOOKIE by Noah Horton on weeklydig.com". Retrieved September 6, 2006.[dead link]
^ "Nigel Berman article on Goldie for the Insight, 2002". Retrieved September 6, 2006.
^ "LTJ Bukem feature on knowledgemag.co.uk". Retrieved September 6, 2006.
^ "History of drum & bass on London News". Retrieved January 18, 2007.
^ "Klute feature on knowledgemag.co.uk". Retrieved September 6, 2006.
^ "The History of Rock Music: 1990-1999 Drum'n'bass". Archived from the original on January 6, 2007. Retrieved January 18, 2007.
^ ""Ill Logic & Raf interview at breakbeat.co.uk";". Retrieved September 6, 2006.
^ "Liquid V Show Us The Bigger Picture article at breakbeat.co.uk". Retrieved September 6, 2006.[dead link]
^ "Mike Bolton interview on rwdmag.com". Archived from the original on October 25, 2006. Retrieved September 6, 2006.
^ "Being Everything But The Girl article, Salon Magazine, September 28, 1998". Retrieved January 26, 2007.
^ "Bailey profile on bbc.co.uk". Retrieved September 6, 2006.
^ "Makoto interview at 404audio.com". Retrieved September 6, 2006.
^ "NJC–Sativa Records interview by Dhanu Le Noury at planetdnb.com". Archived from the original on May 10, 2006. Retrieved September 6, 2006.
^ "A Guy Called Gerald's Silent Drum & Bass Protest by Benedetta Skrufff at tranzfusion.net". Retrieved September 6, 2006.
^ "Photek interview at native-instruments.com". Archived from the original on March 20, 2006. Retrieved September 6, 2006.
^ "MC XYZ interview at planetdnb.com". Archived from the original on May 10, 2006. Retrieved September 6, 2006.
^ "Goldie feature by Matthew Collin at techno.de". Retrieved September 6, 2006.
^ "Discogs.com entry on Ready Or Not remixes". Retrieved April 9, 2007.
^ "Frankie Bones". Retrieved April 29, 2007.
^ "History of Freestyle Music". Retrieved April 29, 2007.
^ "Renegade Soundwave - The Phantom". Retrieved April 29, 2007.
^ "Drum 'n' Bass Sample List at wanadoo.nl". Retrieved September 6, 2006.
^ "Adult Hardcore written by Simon Reynolds (originally published in The Wire) on garagemusic.co.uk". Retrieved September 6, 2006.
^ 2-Steps closer to America, a new dance mausic crosses the Atlantic to the beat of MJ Cole, Artful Dodge and others article, Boston Globe, July 6, 2001
^ "Raggacore article on lfodemon.com". Archived from the original on February 17, 2007. Retrieved September 6, 2006.
^ "A Guy Called Gerald feature at knowledgemag.co.uk". Retrieved September 6, 2006.
^ "Remix Mag Interview with Rob Playford, drum and bass pioneer at remixmag.com". Retrieved October 5, 2006.
^ ""Popular Musicology On Line Article "Big Tings Ah Gwan": Junglist Music Takes Centre Stage, An Introduction to Jungle Music And An Enquiry Into Its Impact On The London Jazz Scene"". Retrieved September 4, 2007.
^ "Pitchshifter biography". Retrieved May 16, 2009.
^ Drum N' Bass Keeps The Beat article, Boston Globe, February 6, 2003
^ The Pop Life article, New York Times, September 17, 1997
^ "Distribution feature at knowledgemag.co.uk". Retrieved September 6, 2006.
^ "Tramm ja buss" description Raadio 2 (Estonian)
^ "Tjuun In" description Raadio 2 (Estonian)
^ "Jungle And The Web feature at knowledgemag.co.uk". Retrieved September 6, 2006.
^ "BBC - Radio 1 - Fabio & Grooverider". BBC. Retrieved November 4, 2007. Both listed in the 'Fabio and Grooverider's links' section.

istory

In the late 1970s and early 1980s, hip-hop DJs (starting with Kool DJ Herc) began using several breaks (the part of a funk or jazz song in which the music "breaks" to let the rhythm section or soloist play unaccompanied) in a row to use as the rhythmic basis for hip-hop songs. Kool DJ Herc's breakbeat style was to play the same record on two turntables and play the break repeatedly by alternating between the two records (letting one play while spinning the second record back to the beginning of the break). This style was copied and improved upon by early hip hop DJs Afrika Bambaataa and Grand Wizard Theodore.[1] This style was extremely popular in clubs and dance halls because the extended breakbeat was the perfect backdrop for breakdancers to show their skills.

The Amen Break, a drum break from The Winstons' song "Amen, Brother" is widely regarded as the most used break ever. This break was first used on "King of the Beats" by Mantronix, and has since been used in thousands of songs. Other popular breaks are from James Brown's "Funky Drummer" and "Give it Up or Turnit a Loose", The Incredible Bongo Band's "Apache", and Lyn Collins' "Think (About It)".[1]

In the early 1990s, acid house artists and producers started using breakbeat samples in their music to create breakbeat hardcore, also known as rave music. The hardcore scene then diverged into sub-genres like jungle and drum and bass, which generally had a darker sound and focused more on complex sampled drum patterns. An example of this is Goldie's album Timeless. "Amidst the Raindrops"

A clip of downtempo progressive breaks music.
Problems listening to this file? See media help.


In 1992 a new style called "jungalistic hardcore" emerged, and for many ravers it was too funky to dance to. Josh Lawford of Ravescene prophesied that the breakbeat was "the death-knell of rave"[2] because the ever changing drumbeat patterns of breakbeat music didn't allow for the same zoned out, trance-like state that the standard, steady 4/4 beats of house enabled.

In recent times, the term breakbeat has become synonymous with the many genres of breaks music which have become popular within the global dance music scene, including big beat, nu skool breaks and progressive breaks. DJs from a variety of genres, including house and techno, work breaks tracks into their sets. This may occur because the tempo of breaks tracks (ranging from 110 to 150 beats per minute) means they can be readily mixed with these genres, whereas the comparatively fast speed of jungle and drum and bass (160-180 bpm) may have restricted the utility of these subgenres to DJs playing slower-tempo music. Some artists well known for breakbeat include NAPT, Stanton Warriors, Beat Assassins, Pendulum, Krafty Kuts, The Freestylers, DJ Loopy, Soul Of Man, Deekline And Wizard, The Breakfastaz, Ctrl Z, DJ Sharaz, DJ Icey, Freq Nasty, Annie Nightingale, Plump DJ's and avant-garde performance troupe Lucent Dossier Experience.

Breakbeats are used in many hip hop, rap, jungle, and hardcore songs, and can also be heard in other music, from popular music to background music in car and jean commercials on the radio or TV. One of the largest Breaks nights north of London is Milton Keynes lead Beatcheck, set up in 2006.[3]
[edit]
Sampled breakbeats

With the advent of digital sampling and music editing on the computer, breakbeats have become much easier to create and use. Now, instead of cutting and splicing tape sections or constantly backspinning 2 records at the same time, a computer program can be used to cut, paste, and loop breakbeats endlessly. Digital effects like filters, reverb, reversing, time stretching, and pitch shifting can be added to the beat, and even to individual sounds by themselves. Individual instruments from within a breakbeat can be sampled one by one and combined with others, to build new breakbeat patterns from the ground up. The advantage of sampled breakbeats over a drum machine is that the sampled breakbeats sound like a real live drummer is playing them, which was initially true.[4]
[edit]
Legal issues

With the rise in popularity of breakbeat music and the advent of digital samplers, enterprising companies started selling "breakbeat packages" for the express purpose of helping artists create breakbeats. A breakbeat kit CD would contain many breakbeat samples from different songs and artists, often without the artist's permission or even knowledge. One example of this is the Amen Break. The original song is by The Winstons, who hold the copyright. However, a company named Zero G released a "jungle construction kit" containing an exact copy of the Amen break, slightly sped up, to which Zero G claims copyright. The Winstons have not received any royalties for use of the Amen break.
[edit]
Broken beat

Breakbeat (or funky breakbeat or broken beat) may also refer to the music of bands who play funk and soul music with an emphasis on the elements that became popular in hip-hop and later breaks-based music. This sound is characterized by slower tempos (80-110 bpm) and organic, "human" rhythms. It is sometimes differentiated by the term "broken beat".
[edit]
Acid Breaks

In electronic music, acid breaks is a fusion between breakbeat, acid, acid techno forms of Electronic dance music. Its drum line usually mimics most breakbeat music, lacking the distinctive kick drum of other forms of EDM.

One of the earliest synthesizers to be employed in acid music was the Roland TB-303, which makes use of resonant cutoff filters to generate overtones and harmonics.

The first acid breaks track is credited to Zak Baney in 1987 for his track "Acid Break".[1]
[edit]
See also
Big beat
Breakdance
Breakbeat musicians
List of electronic music genres
[edit]
References
^ a b Modulations: A History of Electronic Music, Peter Shapiro, ed. New York: Caipirnha Productions Inc., 2000, p. 152
^ Generation Ecstasy, Simon Reynolds, New York: Routledge, 1999, p. 253
^ Nate Harrison
^ Dj[BB]'s Breakbeat Paradise - Info - The Break History 'n' Style
^ Credited by the DJ List [2]

History

The roots of ambient music go back to the early 20th century. In particular, the period just before and after the first world war gave rise to two significant Art Movements that encouraged experimentation with various musical (and non musical) forms, while rejecting more conventional, tradition-bound styles of expression. These art movements were called Futurism and Dadaism. Aside from being known for their painters and writers, these movements also attracted experimental and 'anti-music' musicians such as Francesco Balilla Pratella of the pre-war Futurism movement and Kurt Schwitters and Erwin Schulhoff of the post-war Dadaist movement. The latter movement played an influential role in the musical development of Erik Satie.

As an early 20th century French composer, Erik Satie utilised such Dadaist-inspired explorations to create an early form of ambient / background music that he labeled "furniture music" (Musique d'ameublement). This he described as being the sort of music that could be played during a dinner to create a background atmosphere for that activity, rather than serving as the focus of attention.[4] From this greater historical perspective, Satie is the link between these early Art movements and the work of Brian Eno, who as an art school trained musician, had an appreciation of both the music and art worlds.

Alongside these early developments, more conventional forms of music began to take note of such experimentation and in turn gave rise to future influence of ambient in the work of modernists composers such as John Cage and Morton Feldman as well as minimalist composers such as La Monte Young,[5][6] Terry Riley,[6] Philip Glass,[6] and Steve Reich.[6] Douglas Leedy's Entropical Paradise, released as a three LP set by Seraphim in 1971, consisting of six, side-long, compositions of "environmental music", in which single modular synthesizer settings were allowed to play out without further intervention.

Brian Eno is generally credited with coining the term "Ambient Music" in the mid-1970s to refer to music that, as he stated, can be either "actively listened to with attention or as easily ignored, depending on the choice of the listener", and that exists on the "cusp between melody and texture."[4] Eno, who describes himself as a "non-musician", termed his experiments in sound as "treatments" rather than as traditional performances. Eno used the word "ambient" to describe music that creates an atmosphere that puts the listener into a different state of mind; having chosen the word based on the Latin term "ambire", "to surround".[7]

The album notes accompanying Eno's 1978 release Ambient 1: Music for Airports include a manifesto describing the philosophy behind his Ambient music: "Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."[8]

Eno has acknowledged the influence of Erik Satie and John Cage. In particular, Eno was aware of Cage's use of chance such as throwing the I Ching to directly affect the creation of a musical composition. Eno then utilised a similar method of weaving randomness into his compositional structures. This approach was manifested in Eno's creation of Oblique Strategies, where he used a set of specially designed cards to create various sound dilemmas that in turn, were resolved by exploring various open ended paths, until a resolution to the musical composition revealed itself. Eno also acknowledged influences of the drone music of La Monte Young (of whom he said, "La Monte Young is the daddy of us all"[5]) and of the mood music of Miles Davis and Teo Macero, especially their 1974 epic piece, "He Loved Him Madly", about which Eno wrote, "that piece seemed to have the 'spacious' quality that I was after...it became a touchstone to which I returned frequently."[7]

Beyond the major influence of Brian Eno, other musicians and bands added to the growing nucleus of music that evolved around the development of "Ambient Music". While not an exhaustive list, one cannot ignore the parallel influences of Wendy Carlos, who produced the original music piece called "Timesteps" which was then used as the filmscore to Clockwork Orange, as well as her later work Sonic Seasonings. Other significant artists such as Mike Oldfield, Jean Michel Jarre and Vangelis have all added to or directly influenced the evolution of Ambient music. Adding to these individual artists, works by groups such as Pink Floyd, through their albums Ummagumma : Meddle and Obscured by Clouds. Other groups including Yes with their album "Tales from Topographic Oceans" , the Hafler Trio and Kraftwerk have all added distinctive aspects to the growing and diversified genre of Ambient Music.
[edit]
1990s: Ambient to Electroacoustic
Main article: ambient house

By the early 1990s artists such as The Orb, Aphex Twin, Seefeel, the Irresistible Force, Geir Jenssen's Biosphere, and the Higher Intelligence Agency were being referred to by the popular music press as ambient house, ambient techno, IDM or simply "ambient" according to the liner notes of Brian Eno's Ambient 1: Music for Airports:“ Ambient Music is intended to induce calm and a space to think. ”


So-called 'Chillout' began as term deriving from British ecstacy culture which was originally applied in relaxed downtempo 'chillout rooms' outside of the main dance floor where ambient, dub and downtempo beats were played to ease the tripping mind.[9]

The London scene artists, such as Aphex Twin (specifically: Selected Ambient Works Volume II, 1994), Global Communication (76:14,1994), FSOL The Future Sound of London (Lifeforms, ISDN), The Black Dog (Temple of Transparent Balls,1993), Autechre, (Incunabula,1993, Amber), Boards of Canada, and The KLF's seminal Chill Out, 1990, all took a part in popularising and diversifying ambient music where it was used as a calming respite from the intensity of the hardcore and techno popular at that time.[9]

Later in the period much experimental electronica, (particularly sound artists such as Pole, Mika Vainio, Ryoji Ikeda, Christian Fennesz, Aphex Twin (drukQs, 2000) and Autechre) expanded the themes of 'ambient' along the lines of earlier 1970s ambient music & dub but with increasingly abstracted sample-based textures and digital electronics that ultimately began to converge with minimalist compositions and music concrete.

Digital era electronic 'electroacoustic' artists, including the recent work of Eno himself,[10] are notable in their attempts to create 'sonic sculptures' which interact with the physical architecture of the listening space using advanced electronic installations.

Literally 'ambient' field recordings are a specialism of the Touch Music label. Forerunner of this species in Poland is Brunette Models (since 1995). The electroacoustic influence can be heard in the contemporary work of Polish artist Jacaszek (since 2008).

Glitch music is a major subset of this work produced by (usually German-speaking) labels such Mille Plateaux (Clicks & Cuts Series, 2000).

Some Dubstep producers, notably Burial and Kites (Bristol Ambient Dub step) have nostalgically referenced the sonic 'post-rave' ambience of the nineties era.
[edit]
Soundtracks

Ambient music has been used in many video games, television shows and motion pictures and is notable for contributing to their atmosphere, or soundscapes. David Lynch's 1984 film Dune, for example, forgoes the epic sci-fi adventure style theme music popularized by Star Wars in favor of a more atmospheric music score by Toto and Brian Eno. Electronic musician Paddy Kingsland is noted for the music style he brought to several serials of the television series Doctor Who which had until then relied mostly on stock music cues or minimal music for much of its history. The video game trilogy Fallout and its spinoffs use ambient music that sometimes contains gentle rumblings to portray the bleakness of the post-apocalyptic world which the games are set in. Relic Entertainment's 1999 game Homeworld uses such music to highlight the vast emptiness of the areas of deep space the Mothership often finds itself in. Another game series that uses ambient music is the Oddworld games, notably Oddworld: Stranger's Wrath. That music was composed by Michael Bross. The games featured in Valve's Half-Life series, including spinoffs such as Portal, feature ambient music soundtracks by composers Kelly Bailey and Mike Morasky. The EA Game Mirror's Edge also used ambient music, composed and produced by Magnus Birgersson under his guise Solar Fields, to give a futuristic feel or puzzling atmosphere to sections of the game. The Sci-Fi horror game Doom 3 uses an ambient soundtrack made by former drummer Chris Vrenna of the band Nine Inch Nails, instead of having a song, mainly a MIDI file, looped through the entire map.
[edit]
Related and derivative genres
[edit]
Organic ambient music This section may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (June 2009)

Main article: Organic ambient music

Organic ambient music is characterised by integration of electronic, electric, and acoustic musical instruments. Aside from the usual electronic music influences, organic ambient tends to incorporate influences from world music, especially drone instruments and hand percussion. Organic ambient is intended to be more harmonious with nature than with the disco. Some of the artists in this sub-genre include Robert Rich, Steve Roach, Vidna Obmana, O Yuki Conjugate, Voice of Eye, Vir Unis, James Johnson, Loren Nerell, Atomic Skunk, Tuu and Robert Scott Thompson.

Some works by ambient pioneers such as Brian Eno, Laraaji or Popol Vuh who use a combination of traditional instruments (such as piano or hammered dulcimer or hand percussion, though usually processed through tape loops or other devices) and electronic instruments, would[who?] be considered New Age / organic ambient music in this sense. In the 1970s and 1980s, Klaus Schulze often recorded string ensembles and performances by solo cellists to go along with his extended Moog synthesizer workouts.
[edit]
Nature-inspired ambient music

The music is composed from samples and recordings of naturally occurring sounds. Sometimes these samples can be treated to make them more instrument-like. The samples may be arranged in repetitive ways to form a conventional musical structure or may be random and unfocused. Sometimes the sound is mixed with urban or "found" sounds. Examples include much of Biosphere's Substrata, Mira Calix's insect music and Chris Watson's Weather Report. Some overlap occurs between organic ambient and nature-inspired New Age. One of the first albums in the genre, Wendy Carlos' Sonic Seasonings, combines sampled and synthesized nature sounds with ambient melodies and drones for a particularly relaxing effect. Transformation by Suzanne Doucet and Christian Buehner and the album Second Nature by Bill Laswell, Tetsu Inoue, and Atom Heart are ambient album that use processed nature sounds, with reverb and echo to create a hypnotic environment.
[edit]
Dark ambient
Main article: Dark ambient
See also: List of dark ambient artists

Dark ambient is a general term for any kind of ambient music with a "dark" or dissonant feel, but often involves extensive use of digital reverb to create vast sonic spaces for frightening, bottom-heavy sounds such as deep drones, gloomy male chorus, echoing thunder, and distant artillery. It has an eerie feel; the term "isolationist ambient" could be used interchangeably with it according to the listener or artists perspective. Some artists and releases that epitomize the style could include Lull's Cold Summer, Controlled Bleeding's The Poisoner, and the Robert Rich/Lustmord collaboration album Stalker. Related styles include ambient industrial and isolationist ambient.
[edit]
Ambient house
Main article: Ambient house

Ambient house is a musical category founded in the late 1980s that is used to describe acid house featuring ambient music elements and atmospheres. Tracks in the ambient house genre typically feature four-on-the-floor beats, synth pads, and vocal samples integrated in an atmospheric style.[11] Ambient house tracks generally lack a diatonic center and feature much atonality along with synthesized chords. Illbient is another form of ambient house music.
[edit]
Ambient industrial
Main article: Ambient industrial

Ambient industrial is a hybrid genre of ambient and industrial music; the term industrial being used in the original experimental sense, rather than in the sense of industrial metal or EBM. A "typical" ambient industrial work (if there is such a thing) might consist of evolving dissonant harmonies of metallic drones and resonances, extreme low frequency rumbles and machine noises, perhaps supplemented by gongs, percussive rhythms, bullroarers, distorted voices and/or anything else the artist might care to sample (often processed to the point where the original sample is no longer recognizable). Entire works may be based on radio telescope recordings, the babbling of newborn babies, or sounds recorded through contact microphones on telegraph wires.

Among the many artists who work in this area are Coil, CTI, Lustmord, Nine Inch Nails, Susumu Yokota, Hafler Trio, Nocturnal Emissions, Zoviet France, Scorn, PGR, Thomas Köner, Heimkveld Kunst, Controlled Bleeding, and Deutsch Nepal. However many of these artists are very eclectic in their output, with much of it falling outside of ambient industrial per se.
[edit]
Space music
Main article: Space music

Space music, also spelled spacemusic, includes music from the ambient genre as well as a broad range of other genres with certain characteristics in common to create the experience of contemplative spaciousness.[12][13][14] Space music ranges from simple to complex sonic textures sometimes lacking conventional melodic, rhythmic, or vocal components,[15][16] generally evoking a sense of "continuum of spatial imagery and emotion",[17] beneficial introspection, deep listening[18] and sensations of floating, cruising or flying.[19][20]

Space music is used by individuals for both background enhancement and foreground listening, often with headphones, to stimulate relaxation, contemplation, inspiration and generally peaceful expansive moods[21] and soundscapes. Space music is also a component of many film soundtracks and is commonly used in planetariums, as a relaxation aid and for meditation.[22]

Hearts of Space is a well-known radio show and affiliated record label, specializing in space music since 1984, having released over 150 albums devoted to the music style. Notable artists who have brought elements of ambient music to space music include Michael Stearns, Constance Demby, Enigma, Jean Michel Jarre, Carbon Based Lifeforms, Robert Rich, Steve Roach, Numina, Dweller at the Threshold, Paul Ellis, Deepspace, Telomere, Max Corbacho, Jonn Serrie, Klaus Schulze, Tangerine Dream (as well as the group's founder Edgar Froese), and Vangelis.
[edit]
Isolationist ambient music
Main article: Isolationism (music)

Isolationist ambient music, also known as isolationism, can be differentiated from other forms of ambient music in its use of repetition, dissonance, microtonality, and unresolved harmonies to create a sense of unresolved unease and desolation.[23] The term was popularized in the mid-1990s by the British magazine The Wire and the Ambient 4: Isolationism compilation from Virgin, this began as more or less a synonym for ambient industrial, but also inclusive of certain post-metal streams of ambient, such as Final, Lull, Main, or post-techno artists such as Autechre and Aphex Twin. It may be less appropriate to call isolationist ambient a genre than using it to describe the style or "feel" of particular works by an artist working in an ambient mode. This is because many artists better known for other styles of work can occasionally create pieces that "sound" isolationist. (For example, Labradford, Seefeel, Kyle Bobby Dunn, Techno Animal, Voice of Eye, KK Null, etc.)[24] There are many labels releasing work that could be termed Isolationist Ambient, among these are Malignant Records, Cold Spring, Manifold Records, Soleilmoon, and The Sombient label with the "drones" compilation series. Some of the artists known for this style of ambient music include Lull, Final, Deutsch Nepal, Inanna, Negru Voda, Thomas Köner, Robert Fripp and Chuck Hammer Guitarchitecture.

Of late there has been an influx of progressive metal artists who have clear ambient influences. Bands such as Cult of Luna, Isis, Devil Sold His Soul and Between the Screams have pioneered the genre and are largely credited with popularizing the sound. These bands are largely known as Post-metal.
[edit]
Ambient dub

"Ambient dub" is a phrase first coined by the now defunct Beyond Records from early 1990s in Birmingham, England.[citation needed] Their defining series of albums Ambient Dub 1, 2, through to 4 inspired many, including sound engineer and producer Bill Laswell, who used the same phrase in his music project Divination, where he collaborates with different musicians on each album (though sometimes the same ones are on more than one of the albums such as Tetsu Inoue and others). Laswell also presented ambient dub and ambient house music on albums by his collaboration project Axiom Dub, featuring recording artists The Orb, Jah Wobble, Jaki Liebezeit, Scorn and DJ Spooky.

Ambient dub involves the genre melding of dub styles made famous by King Tubby and other Jamaican sound artists with DJ inspired ambient electronica, complete with all the inherent drop-outs, echo, equalization and psychedelic electronic effects. As writer and performer David Toop explains in an early Beyond Records newsletter, "Dub music is like a long echo delay, looping through time...turning the rational order of musical sequences into an ocean of sensation."
[edit]
Notable musicians and works in chronological order
Main article: List of ambient artistsArtist name Influential works
Erik Satie 1917 – Furniture music (1)
1920 – Furniture music (2)
1923 – Furniture music (3)
John Cage 1952 – 4′33″
1989 – One3
1991 – One8
György Ligeti 1961 – Atmosphères
John Chowning 1966 – Sabelithe
1972 – Turenas
1977 – Stria
1981 – Phoné
Popol Vuh 1970 – Affenstunde
1971 – In den Gärten Pharaos
Cluster 1971 – Cluster
1972 – Cluster II
1974 – Zuckerzeit
1976 – Sowiesoso
1977 – Cluster & Eno (with Brian Eno)
1978 – After the Heat (with Brian Eno)
1979 – Grosses Wasser
1981 – Curiosum
1991 – Apropos Cluster
1995 – One Hour
Tangerine Dream 1971 – Alpha Centauri
1972 – Zeit
1974 – Phaedra
1975 – Rubycon
1975 – Ricochet
1976 – Stratosfear
—
2000 – The Seven Letters from Tibet
Wendy Carlos 1972 – Sonic Seasonings
Klaus Schulze 1972 – Irrlicht
1973 – Cyborg
1974 – Blackdance
1975 – Picture Music
1975 – Timewind
1976 – Moondawn
1977 – Mirage
1977 – Body Love Vol. 2
1978 – X
1979 – Dune
1985 – Inter*Face
1986 – Dreams
1988 – En=Trance
1990 – Miditerranean Pads
1991 – Beyond Recall
1994–2008 – The Dark Side of the Moog (with Pete Namlook)
1995 – In Blue
1997 – Dosburg Online
2005 – Moonlake
2007 – Kontinuum
2008 – Farscape (with Lisa Gerrard)
2009 – Come Quietly (with Lisa Gerrard)
Can 1973 – Future Days
1974 – Soon Over Babaluma
Gong 1973 – Flying Teapot for "The Octave Doctors and the Crystal Machine"
1974 – You for "A Sprinkling of Clouds"
Fripp & Brian Eno 1973 – No Pussyfooting
1975 – Evening Star
2005 – The Equatorial Stars
Kraftwerk 1975 – Radio-Activity
Harmonia 1974 – Musik Von Harmonia
1997 – Tracks and Traces
Neu! 1975 – Neu! '75
Brian Eno 1975 – Another Green World
1975 – Discreet Music
1978 – Ambient 1: Music for Airports
1980 – Fourth World, Vol. 1: Possible Musics (with Jon Hassell)
1982 – Ambient 4: On Land
1983 – Apollo: Atmospheres and Soundtracks
1985 – Thursday Afternoon
1992 – The Shutov Assembly
1993 – Neroli
Jean Michel Jarre 1976 – Oxygène
1978 – Equinoxe
1990 – Waiting for Cousteau
2001 – Interior Music
2002 – Sessions 2000
2003 – Geometry of Love
Chuck Hammer 1977 – Guitarchitecture
Harold Budd 1978 – The Pavilion of Dreams (1972–1975, recorded 1976)
1980 – Ambient 2: The Plateaux of Mirror (with Brian Eno)
1984 – The Pearl (with Brian Eno)
1986 – Lovely Thunder
1988 – The White Arcades
2000 – The Room
Michael Stearns 1978 – Ancient Leaves
1979 – Morning Jewel
1981 – Planetary Unfolding
1984 – M'Ocean
1988 – Encounter
2000 – Within
Earthstar 1978 – Salterbarty Tales
1981 – Atomkraft? Nein, Danke!
1982 – Humans Only
Robert Fripp 1981 – Let the Power Fall
1998 – Gates of Paradise
Robert Rich 1982 – Sunyata
1983 – Trances
1983 – Drones
1987 – Numena
1992 – Soma (with Steve Roach)
1997 – Fissures
2001 – Somnium
Steve Roach 1984 – Structures from Silence
1988 – Quiet Music
1988 – Dreamtime Return
1993 – Origins
1994 – Artifacts
1996 – The Magnificent Void
2000 – Early Man
2003 – Mystic Chords & Sacred Spaces
Coil 1984 – How to Destroy Angels
1998 – Time Machines
Erik Wøllo 1985 – Traces
1986 – Silver Beach (re-release 2006)
1990 – Images of Light
1992 – Solstice
1996 – Transit
1998 – Guitar Nova
2001 – Wind Journey
2003 – Emotional Landscapes
2003 – The Polar Drones
2004 – Blue Sky, Red Guitars
2007 – Elevations
Hirokazu Tanaka 1986 – Metroid
Mingo 1989 – Eroded Cloudiness
1999 – Strange Calibration
2000 – The once and future world
2004 – The floating planet
2006 – This side of the night
2007 – Astrofield Grave
2009 – Guide to Invisibility
2010 – Formidonis Tentatio
2010 – Narcosys
Vidna Obmana 1989 – Gathering In Frozen Beauty
1991 – Passage In Beauty
1991 – Refined On Gentle Clouds
1992 – Shadowing In Sorrow
1993 – Echoing Delight
1993 – Ending Mirage
1994 – Still Fragments
1994 – The Spiritual Bonding
1994 – The Transcending Quest
1996 – The River Of Appearance
1998 – Crossing The Trail
2000 – The Contemporary Nocturne
2000 – The Surreal Sanctuary
2001 – Soundtrack For The Aquarium
2001 – Tremor
2003 – Spore
2004 – Legacy
The KLF 1990 – Chill Out
1990 – Space (as Space)
Enigma 1990 – MCMXC A.D.
2006 – A Posteriori
Alio Die 1991 – Introspective
1992 – Under An Holy Ritual
1996 – Suspended Feathers
1997 – Fissures (with Robert Rich)
1998 – Password For Entheogenic Experience
1998 – The Hidden Spring
1999 – Le Stanze Della Trascendenza
2000 – Echo Passage (with Vidna Obmana)
2001 – Incantamento
2001 – Leaves Net
2003 – Il Tempo Magico Di Saturnia Pavonia
2003 – Khen Introduce Silence
2004 – Sol Niger
2008 – Aura Seminalis
2008 – Tempus Rei
2009 – Music Infinity Meets Virtues
2010 – Horas Tibi Serenas
Aube 1991 – Hydrophobia
1996 – Quadrotation
1998 – Pages from the Books
1999 – 108
1999 – Ricochetentrance
2000 – Millennium
2006 – Comet
The Orb 1991 – The Orb's Adventures Beyond the Ultraworld
1992 – U.F.Orb
NASA 1992 – Voyager Recordings (Symphonies of the Planets)
Biosphere 1992 – Microgravity
1994 – Patashnik
1996 – Polar Sequences (with Higher Intelligence Agency)
1997 – Insomnia
1997 – Substrata
1998 – Nordheim Transformed (with Deathprod)
2000 – Birmingham Frequencies (with Higher Intelligence Agency)
2000 – Cirque
2002 – Shenzhou
2004 – Autour de la Lune
2006 – Dropsonde
Aphex Twin 1992 – Selected Ambient Works 85–92
1994 – Selected Ambient Works Volume II
2001 – drukQs (in some tracks)
Voice of Eye 1992 – Mariner Sonique
1994 – Vespers
1995 – Sprocket
1995 – The Hungry Void, Volume One: Fire with Life Garden
1995 – Transmigration
1996 – Narratives: Music for Fiction with Paul Schutze & Robert Rich
2009 – Emergence and Immersion
2009 – Seven Directions Divergent

2009 – Substantia Innominata'
Pete Namlook 1992 – Silence I
1993 – Air I
1994 – Air II
1996 – Outland 2 (with Bill Laswell)
1996 – The Fires of Ork (with Geir Jensen of Biosphere)
Lull 1992 – Dreamt About Dreaming
1993 – Journey Through Underworlds
1994 – Cold Summer
1996 – Continue
1997 – Way Through Staring
1998 – Moments
2003 – They're Coming Out Of The Walls
2008 – Like A Slow River
Raison d'être 1993 – Prospectus I
1994 – Conspectus
1994 – Enthraled By The Wind Of Lonelienes
1995 – Within The Depths Of Silence And Phormations
1997 – In Sadness, Silence And Solitude
1998 – Lost Fragments
2000 – The Empty Hollow Unfolds
2003 – Requiem For Abandoned Souls
2006 – Metamorphyses
2009 – The Stains Of The Embodied Sacrifice
Moby aka Voodoo Child 1993 – Ambient
1996 – The End of Everything (as Voodoo Child)
2005 – Hotel:Ambient (Disc Two) (limited edition only)
2009 – Wait for Me
Autechre 1994 – Amber
1995 – Garbage
2003 – æ³o & h³æ (with The Hafler Trio)
2005 – æo³ & ³hæ (with The Hafler Trio)
2010 – Oversteps
2010 – Move of Ten
Neptune Towers (Gylve Nagell aka Fenriz) 1994 – Caravans to Empire Algol
1995 – Transmissions From Empire Algol
Tetsu Inoue 1994 – Ambiant Otaku
1995 – Organic Cloud
1995 – Slow and Low
1996 – World Receiver
Kenji Yamamoto 1994 – Super Metroid
SETI 1994 – SETI
1995 – Pharos
1996 – Ciphers
Omicron 1994 – Acrocosm
1995 – The Generation And Motion Of A Pulse
Global Communication 1994 – 76:14
Spacetime Continuum 1994 – Sea Biscuit
The Future Sound of London 1994 – Lifeforms
1996 – Dead Cities
Robyn Miller 1995 – Myst: Soundtrack
1998 – Riven: Soundtrack
Philip Cashian 1995 – Landscape
Facil 1995 – Facil
Alpha Wave Movement 1995 – Transcendence
1997 – The Edge of Infinity
1998 – Concept of Motion
2000 – Drifted Into Deeper Lands
Brunette Models 1995 - 97 - Magnus luctus in ergastulo - The first album
1999 - Apsychastenia - The second album
2000 - Impressions of whispers - The third album
2004 - Live [6th International Music Presentations of Ambient 2004, Gorlice, PL, 15 July, P5:00, presenter: Jerzy Kordowicz]
2008 - Last poem - The fifth album
2010 - Autarky [single - Studio Master 24-bit/96 kHz technology]
Burzum (Varg Vikernes) 1996 – Filosofem (tracks 4 to 6)
1997 – Dauði Baldrs (Balder's Død)
1999 – Hliðskjálf
Stars of the Lid 1996 – Gravitational Pull vs. the Desire for an Aquatic Life
1997 – The Ballasted Orchestra
1998 – Per Aspera Ad Astra
1999 – Avec Laudenum
2001 – The Tired Sounds of Stars of the Lid
2007 – Stars of the Lid and Their Refinement of the Decline
Robert Scott Thompson 1996 – The Silent Shore
1998 – Frontier
2002 – Sidereal
2005 – At the Still Point of the Turning World
2008 – Frozen Light
Oöphoi 1996 – Static Soundscapes: Three Lights at the End of the World
1998 – Behind The Wall Of Sleep
1998 – Night Currents
1998 – The Spirals of Time
2000 – Mare Vaporum
2001 – Mare Tarnquillitatis
2002 – Athlit
2002 – Bardo
2003 – Mare Imbrium
2003 – The Dreams of Shells
2003 – The Rustling of Leaves
2004 – Dreams
2004 – Three Lights at the End of the World
2005 – Hymns to a Silent Sky
2005 – Signals from the Great Beyond
2006 – Amnios
2006 – Aquos – The Complete Drones
2007 – Arpe Di Sabbia
2008 – An Aerial View
Boards of Canada 1998 – Music Has the Right to Children
2002 – Geogaddi
2005 – The Campfire Headphase
Max Corbacho 1998 – Vestiges
2000 – Far Beyond the Immobile Point
2003 – Nocturnal Emanations
2003 – Indalo
2004 – Moontribe
2006 – The Talisman
2008 – The Resonant Memory of Earth
2008 – Breathstream
2010 – Ars Lucis
Richard Bone 1998 – The Spectral Ships
1999 – Ether Dome
Marvin Ayres 1999 – Cellosphere
2001 – Neptune
2005 – Scape
2005 – Cycle
2005 – Sensory
2008 – Eccentric Deliquescence
Radiohead 2000 – Kid A – Treefingers
Ishq 2001 – Orchid
2005 – Magik Square Of The Sun (as Ishvara)
2006 – Infinite Garden (as Elve)
2008 – Timelapse In Mercury
2008 – Visions Of Surya (as Colourform)
Loscil 2001 – Triple Point
2002 – Submers
2004 – First Narrows
2006 – Plume
2009 – Strathcona Variations
2010 – Endless Falls
William Basinski 2002 – The River
2002–2003 – Disintegration Loops I, II, III and IV
2003 – Melancholia
Deca 2002 – Simbionte
Proem 2004 – Darker Still
2009 – Til There's No Breath
Nine Inch Nails 2008 – Ghosts I–IV
Kyle Bobby Dunn 2008 – Fragments & Compositions
2010 – A Young Person's Guide to Kyle Bobby Dunn
Jonas-nkb 2010 – City of memories (single).
2010 – Young town (single)
2011 – Radioactive Dream (album)
Buddha Sounds 2002 – Buddha Sounds
2003 – Buddha Sounds II – The Arabic Dream
2005 – Buddha Sounds III – Chill in Tibet
2007 – Buddha Sounds IV – Inner
2009 – Buddha Sounds V – New Mantrams
3rd Child 2010 – Seasons EP
Bindlestiff 1992 – early
1994 – live
1995 – quiet
1995 – LOUD
1996 – distant
1997 – late
2002 – enlighten
Saffron Matted Voids 2003 – perchance to dream
Dave Stafford 1996 – transitory
1997 – 1867
1998 – circulation
1999 – the autoreverse sessions
2000 – superambient (compilation)
2001 – journey to the west
2002 – a dream of red mansions
2006 – the machinations of heaven
2011 – sky full of stars (forthcoming summer 2011)
Ken Mistove 1998 – procrastination
Devin Townsend 2004 - Devlab
2006 - The Hummer
Röyksopp 2001 - Melody A.M.
Fever Ray 2009 - Fever Ray (album)

[edit]
Notable films incorporating ambient music or sound designFilm Director Composer or Sound Designer Comments
1956 – Forbidden Planet Fred Wilcox Louis and Bebe Barron (electronic tonalities) This soundtrack is generally considered to be ahead of its time with its spacey ambient sounds
1968 – 2001: A Space Odyssey Stanley Kubrick György Ligeti (composer "Monolith" and "Beyond Saturn" themes)
Winston Ryder (sound editor) "A cutting edge ambient, multimedia accomplishment...the ambient revolution, now and for the past couple of decades, owes much of its impetus to the achievement of 2001." — D.B. Spalding[25]
1971 – Clockwork Orange Stanley Kubrick Wendy Carlos (composer)
Wendy Carlos (Electronic Music) Wendy Carlos's "Timesteps" was used as the basis of the soundtrack
1971 – THX 1138 George Lucas Lalo Schifrin (composer)
Walter Murch (sound design) Murch's "Theater of Noise" offered as alternate soundtrack on Director's Cut DVD
1972 – Aguirre, der Zorn Gottes Werner Herzog Popol Vuh (composer)
1976 – Sebastiane Derek Jarman Brian Eno (composer)
1977 – Eraserhead David Lynch Alan Splet (sound design) Features innovative ambient noise sound design as its musical score.
1977 – Sorcerer William Friedkin Tangerine Dream (Composer)
1980 – The Elephant Man David Lynch Alan Splet (sound design)
1981 – Halloween II Rick Rosenthal John Carpenter (composer) & Alan Howarth (synthesizer programmer)
1982 – Blade Runner Ridley Scott Vangelis (composer)
1982 – Halloween III: Season of the Witch Tommy Lee Wallace John Carpenter (composer) & Alan Howarth (synthesizer programmer)
1984 – Starman John Carpenter Jack Nitzsche (composer)
1984 – Paris, Texas Wim Wenders Ry Cooder (composer)
1986 – The Hitcher Robert Harmon Mark Isham (composer)
1989 – For All Mankind Al Reinert Brian Eno (composer) Score released as Apollo: Atmospheres and Soundtracks
1989 – Sex, Lies, and Videotape Steven Soderbergh Cliff Martinez (composer) Soderbergh's instructions to Martinez were to channel Brian Eno. Soundtrack on Virgin/EMI Records
1992 – Alien 3 David Fincher Elliot Goldenthal
1997 – Insomnia Erik Skjoldbjærg Biosphere (composer)
1999 – The Limey Steven Soderbergh Cliff Martinez (composer)
2000 – Requiem for a Dream Darren Aronofsky Clint Mansell (composer) [26]
2001 – Donnie Darko Richard Kelly Michael Andrews (composer)
2001 – Traffic Steven Soderbergh Cliff Martinez (composer)
Brian Eno (composer- end title theme) End title theme is "An Ending (Ascent)" from Apollo: Atmospheres and Soundtracks
2002 – Solaris Steven Soderbergh Cliff Martinez (composer) This score (and the film in general) is highly influenced by Stanley Kubrick's 2001: A Space Odyssey. The track "Hi Energy Proton Accelerator" is very similar to György Ligeti's "Atmosphères," used in Kubrick's film.
2003 – Lost in Translation Sofia Coppola Kevin Shields (composer) Kevin Shields of My Bloody Valentine composed a number of ambient pieces for this film.
2003—High Tension Alexandre Aja François-Eudes Chanfrault (composer)
2005 – Me and You and Everyone We Know Miranda July Michael Andrews (composer)
2006 – The Prestige (film) Christopher Nolan David Julyan (composer)
2006 – Silent Hill Christophe Gans Akira Yamaoka (composer)
2007 – Zodiac (film) David Fincher David Shire (composer) David Shire's dark ambient title theme is clearly influenced by Charles Ives' "The Unanswered Question."
2007 – Southland Tales Richard Kelly Moby (composer)
2007 – Sunshine Danny Boyle John Murphy (composer) & Underworld Danny Boyle provided the film to the band Underworld, which improvised a score for the film. Karl Hyde of Underworld was influenced by the music of avant-garde composer György Ligeti, which had been used in Stanley Kubrick's 2001: A Space Odyssey (1968). "Lux Aeterna" by Ligeti particularly influenced Hyde. When Underworld finished recording, the band sent its work to composer John Murphy, who completed the score, resulting in a hybrid between Underworld and Murphy.
2007 – 30 Days of Night David Slade Brian Reitzell (composer)
2009 – The Lovely Bones Peter Jackson Brian Eno (composer) Beginning theme is Brian Eno's "1/1" from the album "Music For Airports"
2010 – The Social Network David Fincher Trent Reznor and Atticus Ross (composers) Features a dark ambient sound, similar to the sound in previous collaborations between Reznor and Ross.

[edit]
Notable ambient-music shows on radio and via satellite
Echoes, is a daily two-hour music radio program hosted by John Diliberto featuring a soundscape of ambient, spacemusic, electronica, new acoustic and new music directions – founded in 1989 and syndicated on 130 radio stations in the USA.
Hearts of Space, a program hosted by Stephen Hill and broadcast on NPR in the US since 1973.[27][28]
Musical Starstreams, a US-based commercial radio station and internet program produced, programmed and hosted by Forest since 1981.
Star's End a radio show on 88.5 WXPN, in Philadelphia, Pennsylvania. Founded in 1976, it is the second longest-running ambient music radio show in the world.[29]
Ultima Thule Ambient Music, a weekly 90-minute show broadcast since 1989 on community radio across Australia.
Ambient Zone, a weekly 2-hour radio show broadcast on RTRFM in Perth since 1994.[30]
[edit]
See also Book: Ambient music
Wikipedia Books are collections of articles that can be downloaded or ordered in print.
Background music
Black ambient
Drone music
Glitch
Incidental music Intelligent dance music (IDM)
Minimalist music
List of ambient artists
List of dark ambient artists
List of electronic music genres

[edit]
References
^ a b Though drone is now classified as a subgenre of ambient, early drone music influenced the origin of ambient: see the other note from Cambridge History of Twentieth-Century Music (Cook & Pople 2004, p. 502), and the note from Four Musical Minimalists (Potter 2002, p. 91).
^ "Ambient Music Definition". Deepintense.com.
^ Prendergast, M. The Ambient Century. 2001. Bloomsbury, USA
^ a b Jarrett, Michael (1998). Sound Tracks: A Musical ABC, Volumes 1–3. Temple University Press. p. 1973. ISBN 978-1-56639-641-7.
^ a b Potter, Keith (2002). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass (rev. pbk from 2000 hbk ed.). Cambridge University Press. pp. 91. ISBN 978-0-521-01501-1. (Quoting Brian Eno saying "La Monte Young is the daddy of us all" with endnote 113 p. 349 referencing it as "Quoted in Palmer, A Father Figure for the Avant-Garde, p. 49".)
^ a b c d Cook, Nicholas; Anthony Pople (2004). The Cambridge History of Twentieth-Century Music. Cambridge University Press. pp. 502. ISBN 978-0-521-66256-7. "Semi-audible music had been consistently prefigured in the music of left-field composers from Erik Satie onwards. ‘Ambient music’ emerged as a category when in the 1980s, influenced by the minimalism of La Monte Young, Terry Riley, Philip Glass, and Steve Reich, Brian Eno started to make music for deliberately sub-audible presentation, [...]"
^ a b Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. Watson-Guptill. p. 54. ISBN 978-0-8230-8346-6.
^ Brian Eno, Music for Airports liner notes, September 1978
^ a b Altered State: The Story of Ecstacy Culture and Acid House, Matthew Collin, 1997, Serpent's Tail ISBN 1-85242-377-3
^ Brian Eno's Video and Audio Installations
^ "Ambient House", Allmusic . Retrieved October 4, 2006.
^ "... Originally a 1970s reference to the conjunction of ambient electronics and our expanding visions of cosmic space ... In fact, almost any music with a slow pace and space-creating sound images could be called spacemusic." Stephen Hill, co-founder, Hearts of Space, What is spacemusic?
^ "Any music with a generally slow, relaxing pace and space-creating imagery or atmospherics may be considered Space Music, without conventional rhythmic elements, while drawing from any number of traditional, ethnic, or modern styles." Lloyde Barde, July/August 2004, Making Sense of the Last 20 Years in New Music
^ "When you listen to space and ambient music you are connecting with a tradition of contemplative sound experience whose roots are ancient and diverse. The genre spans historical, ethnic, and contemporary styles. In fact, almost any music with a slow pace and space-creating sound images could be called spacemusic." Stephen Hill, co-founder, Hearts of Space, What is spacemusic?
^ "A timeless experience...as ancient as the echoes of a simple bamboo flute or as contemporary as the latest ambient electronica. Any music with a generally slow pace and space-creating sound image can be called spacemusic. Generally quiet, consonant, ethereal, often without conventional rhythmic and dynamic contrasts, spacemusic is found within many historical, ethnic, and contemporary genres."Stephen Hill, co-founder, Hearts of Space, sidebar "What is Spacemusic?" in essay Contemplative Music, Broadly Defined
^ "The early innovators in electronic "space music" were mostly located around Berlin. The term has come to refer to music in the style of the early and mid 1970s works of Klaus Schulze, Tangerine Dream, Ash Ra Tempel, Popol Vuh and others in that scene. The music is characterized by long compositions, looping sequencer patterns, and improvised lead melody lines." – John Dilaberto, Berlin School, Echoes Radio on-line music glossary
^ "This music is experienced primarily as a continuum of spatial imagery and emotion, rather than as thematic musical relationships, compositional ideas, or performance values." Essay by Stephen Hill, co-founder, Hearts of Space, New Age Music Made Simple
^ "Innerspace, Meditative, and Transcendental... This music promotes a psychological movement inward." Stephen Hill, co-founder, Hearts of Space, essay titled New Age Music Made Simple
^ "...Spacemusic ... conjures up either outer "space" or "inner space" " – Lloyd Barde, founder of Backroads Music Notes on Ambient Music, Hyperreal Music Archive
^ "Space And Travel Music: Celestial, Cosmic, and Terrestrial... This New Age sub-category has the effect of outward psychological expansion. Celestial or cosmic music removes listeners from their ordinary acoustical surroundings by creating stereo sound images of vast, virtually dimensionless spatial environments. In a word — spacey. Rhythmic or tonal movements animate the experience of flying, floating, cruising, gliding, or hovering within the auditory space."Stephen Hill, co-founder, Hearts of Space, in an essay titled New Age Music Made Simple
^ " Restorative powers are often claimed for it, and at its best it can create an effective environment to balance some of the stress, noise, and complexity of everyday life." – Stephen Hill, Founder, Music from the Hearts of Space What is Spacemusic?
^ "This was the soundtrack for countless planetarium shows, on massage tables, and as soundtracks to many videos and movies."- Lloyd Barde Notes on Ambient Music, Hyperreal Music Archive
^ Reynolds, Simon; Chill: the new ambient, ArtForum, Jan, 1995
^ Epsilon: Isolationism Thread from Ambient Music Mailing List
^ Korova Multimedia § 2001: an ambient legacy
^ Requiem for a Dream
^ "The program has defined its own niche — a mix of ambient, electronic, world, New Age, classical and experimental music....Slow-paced, space-creating music from many cultures — ancient bell meditations, classical adagios, creative space jazz, and the latest electronic and acoustic ambient music are woven into a seamless sequence unified by sound, emotion, and spatial imagery." Stephen Hill, co-founder, Hearts of Space, essay titled Contemplative Music, Broadly Defined
^ "Hill's Hearts of Space Web site provides streaming access to an archive of hundreds of hours of spacemusic artfully blended into one-hour programs combining ambient, electronic, world, New Age and classical music." Steve Sande, The Sky's the Limit with Ambient Music, SF Chronicle, Sunday, January 11, 2004
^ "Star's End" is (with the exception of "Music from the Hearts of Space") the longest running radio program of ambient music in the world. Since 1976, Star's End has been providing the Philadelphia broadcast area with music to sleep and dream to." "Star's End" website background information page[dead link]
^ "Ambient Zone Online"
[edit]
External links
Ambient Techno in Sound on Sound
Ambient Music Guide – Comprehensive ambient music resource site
Further examples of ambient music
Ambient music at the Open Directory Project[hide]
v · d · e
Ambient music

Ambient house · Ambient noise · Dark ambient · Drone · Illbient · Isolationism · Lowercase · New Age · Psybient

Other electronic music genres Ambient · Breakbeat · Drum and bass · Electro · Eurodance · Hardcore · Hi-NRG · House · Industrial · Synthpop · Techno · Trance · Trip hop · UK garage


Categories: Electronic music genres | Ambient music
Log in / create account
Article
Discussion
Read
Edit
View history

Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact Wikipedia
Toolbox
Print/export
Languages
Беларуская
Български
Català
Česky
Dansk
Deutsch
Eesti
Ελληνικά
Español
فارسی
Français
Hrvatski
Italiano
עברית
ქართული
Latviešu
Lietuvių
Lumbaart
Magyar
Nederlands
日本語
‪Norsk (bokmål)‬
Polski
Português
Română
Русский
Slovenčina
Slovenščina
Српски / Srpski
Suomi
Svenska
ไทย
Українська
中文
This page was last modified on 8 March 2011 at 23:15.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of Use for details.