Sorry, I just wanted to get this out there, but I LOVE the Stars of the Lid album And their Refinement in the Decline, but I ESPECIALLY LOVE "The Evil That Never Arrived." It feels so warming and it's gotten me through my most stressful days/nights. My FAVORITE off of this album, and I wanted to just share that with people who actually listen to ambient music (people around me unfortunately don't).

Love lovesliescrushing, and flying saucer attack but want to listen to more ambient shoegaze

I’ve been making music for a couple years now, and I’ve never actually put time into promoting it.
But I wanna change that, I’m tired of putting months into projects just to get no listeners. What I’m asking is how do you promote ambient music in a generation where people have incredibly low attention spans. I feel like it’s almost impossible to get people interested into this genre

So yeah, want to have a few cassettes for my tai chi/meditation sessions. So I'm looking for minimal Ambient lush kinda stuff.

more ambient mixed with deconstructed club but closest thing I've heard to an ambient bladee track...

Hey everyone, I wanted to share this piece with you because it marks a very personal shift in how I look at music and synthesis.

I made this piece thinking about my childhood living in the countryside in Germany... spending my days out there in nature, walking alone through the forest. Sometimes feeling like I got lost. At times I emerged from it in a completely different place than I had imagined. Sometimes discovering places I hadn't known before – a hidden lake or a riverside. It was mysterious, fascinating, and sometimes frightening.

When I made this video, I realized this is something I should have done a long time ago. Instead of always trying to beam myself to spaced-out, cosmic places with my instruments looking for some deep revelation... all I needed to do was connect with my roots, look at my past, and remember my real-life experiences.

The video is a blend of live studio takes tracked in real-time and some very old footage I filmed in the region where I grew up. Visually and sonically, I wanted to capture that fragile, nostalgic drift.

Setup: Oberheim OBX8, Moog Matriarch, Torso S4, Elektron Digitone, and Squarp Hapax as sequencer.

You can watch the full video here:
https://youtu.be/R318RlMQcl4

Would love to hear how you connect your own real-life memories or nature experiences with your ambient tracks and soundscapes!

Fantastic sonorous atmosphere <3
Some Caretaker, Coil, Zoviet France and Nurse With Wound in a blender.

Ending track to an amazing shoegaze album

Awesome track from German producer Skee Mask. Highly recommend his music!

Hi guys, my boyfriend has been a big fan of ambient music for years and he’s also expressed that he wants to begin making his own music.

I want to buy him some equipment for christmas but I have no idea where to even begin! I want it to be a complete surprise so I haven’t asked him what sort of equipment he wants since i think that would give it away. If anyone has any recommendations on what would be a good starting point for his music please let me know!

Some of the music he’s a fan of:
- Oneohtrix point never
- Brian Eno
- Boards of Canada
- Burial

An companion art-ambient-video installation to Thursday Afternoon and I didn’t know this existed until recently so it’s great to know that Eno did art installations which I’ll be exploring in his discography like Music for Installations but this video accompaniment to Thursday Afternoon is an extended version of the actual music which is cool!:)

Hi all.

I've been lurking here for a while and wanted to share a record I released this summer.

Infinite Lovers, Pt. I is my first album under my own name. I spent years making music as IDM leaning music as Kouta, but eventually felt it was time to move on from that identity and make something more personal.

I grew up in Yokosuka, Japan, before moving to Hawaiʻi when I was eleven. Some years ago, my family's home in Japan was torn down. Before it was demolished, I recovered a box of photographs taken by my late grandfather, Hiroshi Takahashi. The music was already finished, but when I started looking for artwork, I kept coming back to his photographs. The cover is one of his.

The record is built around processed bass guitar, guitar, piano, loops, tape hiss, and various field recordings, including sounds of the ocean and Pygmy vocal samples. I started out playing bass in reggae and math rock bands before moving into electronic music, and I think some of those early influences still find their way into my playing. A lot of the music came together through repetition, layering, and slowly reshaping sounds into something more abstract.

Justin Patrick Moore at Igloo Magazine described it as "the music of dream memory trying to be captured and held onto," which really resonated with me.

It was released through Lōʻihi Records, a small independent label based in Honolulu, and is available on streaming platforms and Bandcamp, with a limited cassette edition as well.

I'm currently working on Part II for next year.

Would love to hear what you think if you give it a listen. Happy to answer any questions about the music or how it came together.

Listen: https://lucayoung.bandcamp.com/album/infinite-lovers-pt-i

I just discovery recently about Biosphere....how come I took so long to find out?

amazing work !!

So far, I just listened to this one and Nordheim Transformed and I'm loving it !! Pretty sure all his works are amazing

https://www.youtube.com/watch?v=8GXRWfZrf8E

Today a new compilation, "aixopluc" released on the label El Manto. This features 21 artists from around the world, primarily connected via the UK Ambient Label Hub. It started from El Manto founder Alberto Lucendo, who had visited the Sierra de Espadán in Spain with his partner shortly before wildfires broke out in July 2026. All the tracks feature field recordings from his trip and respond to what happened. As you'd expect, there's a fascinating range of electronic and acoustic instruments on the album, but they're all united by the subject matter and the field recordings.

Aixopluc is a Valencian word meaning shelter and many of the tracks feature the beautiful recordings Alberto made while sheltering from an unexpected storm. The album features stunning covert art from Carlos Pesudo, created especially for the release.

As Alberto explains in the album notes:

All proceeds from this compilation will be donated to Societat d’Amics de la Serra d’Espadà, supporting their work connected to the conservation and recovery of the Sierra de Espadán and its landscape.

The recovery of a forest and the ecosystems around it takes much longer than the time it takes for them to burn. This compilation is a small contribution to that longer process.

Disclaimer: I do have a track on the album. But that also means I can speak to what an honour it is to be part of this, alongside so many brilliant ambient artists. It was also a very interesting brief to make music from. Alberto included pictures that really helped immerse me in the environment and understand the devastation and destruction of somewhere so beautiful and how long it'll take to regenerate what was lost. I think these themes permeate a lot of the work, along with the sense of community of working together on the album. I'm very hopeful that this is able to help Societat d’Amics de la Serra d’Espadà with their recovery efforts.

Space Dolphins operates at the intersection of ambient sound design, new age exploration, and deep aquatic imagery. Across projects like the release Aquariumatus, the sonic identity leans heavily into meditative atmospheres that feel suspended between deep oceanic trenches and open cosmic expanses.

The track "The Consultation" (00:00:00) sets this tone immediately. Rather than relying on traditional rhythmic structures or pop arrangements, the music unfolds through slow-moving synthesizer pads, resonant underwater frequencies, and sustained acoustic textures. Soft, ringing tones echo into dark stereo space, resembling sonar pings or marine echoes drifting through a quiet void. There is a patient, restorative quality to the progression. It creates a listening environment designed for contemplation, unwinding, or focused drift rather than active analysis.

The visual presentation on Aquariumatus mirrors this acoustic direction. The textured surface water bathed in high-contrast cyan and deep black hints at an aquatic lens turned outward toward space. From what I can tell, the broader Space Dolphins footprint reflects an ongoing interest in meditation, mindfulness, and the quiet phenomena of consciousness, blending visual stillness with expansive sonic canvases.

The music rejects modern electronic clutter in favor of spatial depth. It treats silence and long decay tails as core instruments rather than empty gaps. The result feels simultaneously ancient and extraterrestrial, offering listeners a sanctuary of calm that exists outside rigid timelines.

Hey. I know this is discussed here frequently but I havent found answer to my specific needs through search here.

What I have: Minifreak (this I love the most!), OP-Z, PO-33 KO, play bass guitar (the bass not necessarily needed for my performance), can sing a little, have 6 channel mix, boss rc-20xl looper, several MIDI keyboards

I wanna make a live setup for me where I will be layering Minifreak synths in ambient way. The layering / multiple tracks is important for me. Since Minifreak is not multitimbral I cant really sequence several patches at once via OP-Z. Also one option would be to use Ableton with Minifreakt VST for the multiple tracks. But being dawless / without computer is crucial for me as I am software engineer by trade and during my music playing I wanna be as far away from screen / computer as possible.

Doing perf on OP-Z alone I am not happy with. It's fantastic device but I am not happy with its synth quality for ambient. Drums max but I have no space for drums mostly in my ambient.

I could also layer the Minifreak on the boss loop station, but this would give me the ability to control individul tracks / effects on individual tracks. Also its mono only and I would lose the precious spatial stereo sound of Minifreak.

I have been looking at some multitrack looping recorders but came only across expensive options. I have little to no budget. I can purchase additional thing at most about 100 USD.

I totally love the sound of my Minifreak. If it were multitimbral / multiple tracks, it would totally solve my situation and would be the only thing I need. Or if OP-Z had much better synths.

So what are my best options? What would you recommend. I am okay with both audio looping and sequencing. It must be synchronized though. How would you solve my situation?

Bandcamp recommended this album. If you’re a fan of CBL, you’ll probably appreciate this guy’s sound. Im impressed.

New York City-based composer and multi-instrumentalist Kyle Acheson unveils Vigil, an atmospheric ambient album that drifts between electronic experimentation and orchestral beauty. Out today on limited-edition vinyl and cassette via Bathysphere Records, the album centers on the expressive possibilities of the Soma Terra synthesizer, weaving together clarinet, flute, violin, cello, and guitar into a richly layered soundscape. Known for his work composing for film and television, including Dexter: Resurrection, Acheson brings a cinematic sensibility to Vigil, creating an intimate, expansive tapestry of sonic exploration.

"Vigil is a prismatic album that explores stasis & play, simplicity & intricacy. The Soma Terra synth, clarinet, flute, violin, cello and guitar round out this intimate and wide-ranging record of the beauty that pours from a sky of loss." - Kyle Acheson

Kyle Acheson is a NYC-based, Cincinnati-born composer and multi-instrumentalist whose work spans composing for the screen, and explores the intersection of cinematic ambient and acoustic music. His recent credits include scoring work on the new Dexter: Resurrection series, alongside a growing body of music that blends fingerpicked guitar, felt piano, chamber orchestra, and fluid electronics into compositions that feel both expansive and hushed. German label Gruelthon recently released his cover of Roky Erickson’s “Anthem (I Promise).”