Ambient music gives texture and space priority over conventional songwriting. It is often repetitive and electronic, while experimental branches extend into drones, white noise and soundtrack-like soundscapes.
The modern genre developed through experimental electronic music in the 1970s, with Brian Eno becoming one of its central figures. Synthesizers, tape and studio processing widened the vocabulary, and by the early 1990s ambient had also developed strong links with techno and other electronic forms.
IDIOTEQ often reaches ambient from outside electronic music. The IDIOTEQ piece on Perth-based Sleepthink centres on field recordings across an eight-piece ambient record. Nashville’s Hammock discuss ambient music through questions of perception, belief and how listeners experience the world. Opole composer Opollo connects sustained chords with post-shoegaze and drone.
Another Polish project, Voices of the Cosmos, brought musicians and an astronomer together around recorded and processed sounds connected to space. Paris band Bank Myna place ambient beside post-rock, drone and doom. Wrocław’s Guantanamo Party Program arrived from a much heavier background.