[1 Hour] Beautiful Study Ambient Music | Relaxing Music for Stress Relief • Meditation Sleep Music
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Brian Eno’s Music For Airports celebrates its 40th anniversary this month. This record is widely regarded as formalizing ambient music as we know it today.
To those of us used to the repetitious rhythms and hooks of pop music, ambient music may sound a little sparse. Often devoid of lyrics, a hummable melody, and pop song structures, it is about the creation of an environment around the listener. Ambient music floats in the air like a fog, creating a kind of acoustic tint that can be truly effective.
Music For Airports proposed a new way of approaching music, not as something to whistle or sing along to but to be gently consumed by.
The Discreet Charm of Ambient Music
I first discovered ambient music in college, when I was a late-night d.j. My show at the campus radio station started every Thursday at midnight and ran until five. From midnight through two-thirty, I played uptempo rock songs for a party that I knew happened almost every week, somewhere near Philly. (I had a phone relationship with the partiers, who would call me up to tell me how “awesome” my show was.) From two-thirty through four, I played shoe-gaze pop and ruminative electronic music—“Envane,” an Autechre E.P., was a particular favorite, as was Slowdive’s “Blue Skied an’ Clear.” Then, for the last hour, I’d play ambient music. I’d let “Music on a Long Thin Wire,” or “Music for Airports,” or “Discreet Music” unspool over New Jersey. Then I’d leave and walk home across campus. The music left my mind clear and thoughtful—the right feelings for just before dawn, when it’s still dark, but you can sense the sunrise gathering itself.
I’d listened to a small amount of ambient music before my time at the radio station—almost everyone has, whether he knows it or not. In my case, there had been the Pink Floyd album “Ummagumma,” and the soundtrack to “A Clockwork Orange.” But those late nights were a conversion experience. Since then, ambient music has occupied a major place in my musical life. Being a “fan” of ambient music is strange, though. This week, Brian Eno, one of the early ambient pioneers, released a new album of ambient music, called “Lux.” A few weeks ago, when I first heard about it, I was so eager and excited that I actually pre-ordered it on iTunes. But why? When I finally did receive a copy—an early copy, courtesy of Eno’s record label, Warp—I didn’t blast it on my headphones during my commute, or at the gym, which is what I usually do with new music.
In a way, I haven’t been paying much attention to the “Lux,” period. But that’s not to say that “Lux” hasn’t been a part of my life. The album has been making itself felt, like a new fitness regimen, or weather pattern. Ambient music isn’t like pop music. It doesn’t want the spotlight, or to conscript your body and mind. Instead, it aims to transform and divide your attention in more subtle ways. “Lux” is seventy-five minutes long, and it moves slowly. Clouds of strings rearrange themselves around isolated notes, played on piano or synthesizer, while, every few minutes, something semi-beautiful happens. In between, “Lux” teases you with gentle atonalities or moments of silence.
If you were to write a history of ambient music, you’d probably want to start with Erik Satie’s musique d’ameublement—the “furniture music” which he composed for parties, as a kind of half-serious, satiric experiment, in the years around 1920.
Today’s ambient music often pays lip service to this idea of fitting in—“Lux” was designed as a sound art installation in Turin; Eno’s early ambient album “Music for Airports” was actually installed, for a period, at LaGuardia; the K.L.F.’s “Chill Out” presents itself as a record designed for a “chill room” at a club—but, in fact, it aims to subtly transform and reimagine the space in which it’s played.
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