“To be merely exotic or unusual is not enough to make a powerful field recording. Whereas a curiosity for the atypical might have pervaded throughout earlier parts of the 20th century, the conditions of the digital age, travel opportunities, and the abundance of access to just about anything, makes the notion of the exotic problematic at best and just plain toxic at worst.”
When repeated or revisited enough, imagination is traced as memory, and thus becomes a form of interior reality.
This is Paul Clipson. He saw the world in a way that few others did. He created films from this unique perspective and inspired a whole lot of us through doing so. I’ll miss you Paul. Safe onward journeys.
You can read my essay on Ambient via Fact Magazine. In the meantime, here are 12 provocations towards the music’s future.
Ambient is a music of lived moments.
Ambient recognizes control must be forgone with respect to how the music is encountered (but not how it is composed).
Ambient is experientially discrete, but not musically so.
Ambient acknowledges the deceit that is the promise of repetition.
Ambient is never only music for escapism. It is a zone for participation in a pursuit of musical listenership that acknowledges sound’s potential values in broader spheres (the social, political, cultural etc). It is a freeing up, an opening out and a deepening, simultaneously.
Ambient pulses; it courses. Rhythm is a rare friend to this music.
Ambient is never only music. It is a confluence of sound, situation and listenership; moreover it’s an unspoken contract between the creator, listener and place, seeking to achieve a specific type of musical experience.
Ambient is about the primacy of listening (for audience and creator). The music and the spaces and places (interior and exterior) it occupies are critical to how it is appreciated, understood and consumed.
Ambient is transcendent but does not seek some higher plane. It is not new age music. Rather ambient music’s transcendence is within, and invites us deeper into the lived experience of the everyday.
Ambient is never a documentation of somewhere or sometime. Instead it creates an individuated, impressionistic and imagined place. It is realized in-between our internal and external selves.
Ambient is a music of perspectives. It is never fully knowable, in that the music seeps between perspectives (micro and macro) and dimensions of listening constantly. It maintains a sense of the eerie (as Mark Fisher noted).
Ambient is friend to noise, to volume, to physicality. It is however, an enemy of uncalculated dynamism.
Ambient is never finished. It is an experiential process of becoming – for listeners, for creators and more broadly as a musical philosophy.