History
Ambient House is a genre of music that emerged in the late 1980s and early 1990s. It is a blend of ambient music and house music, which means it combines the soft, atmospheric tones of ambient music with the rhythmic and dance-focused elements of house music. This fusion of styles creates a unique sound that is both ethereal and danceable. In this post, we will explore the history and evolution of Ambient House.
The origins of Ambient House can be traced back to the late 1980s in the UK. The term "ambient" was coined by musician Brian Eno in the mid-1970s to describe his own brand of experimental music that was intended to create a certain mood or atmosphere. This style of music was characterized by its use of looping, delay, and other electronic effects to create a dreamy, otherworldly sound.
House music, on the other hand, had its origins in the clubs of Chicago in the early 1980s. It was characterized by its use of repetitive beats and basslines, synthesizers, and the occasional vocal sample. As house music gained popularity in the UK, DJs began experimenting with different styles, including ambient music.
The first track to be credited as Ambient House was "Pacific State" by the UK band 808 State, which was released in 1989. The track featured a sample of a bird chirping and a dreamy, ethereal synth line over a steady house beat. The song became an instant hit, and other artists began to embrace the Ambient House sound.
One of the most influential artists in the development of Ambient House was The Orb, a British electronic music group. Their debut album, "The Orb's Adventures Beyond the Ultraworld," was released in 1991 and featured long, atmospheric tracks that combined elements of ambient music with house music. The album's most well-known track, "Little Fluffy Clouds," featured a sample of a woman describing her memories of watching clouds as a child.
Another key figure in the development of Ambient House was Aphex Twin, a British electronic musician. His early work, including the album "Selected Ambient Works 85-92," featured ambient music with a strong rhythmic element. Tracks like "Xtal" and "Pulsewidth" combined soft, ethereal synths with pounding basslines and driving beats.
In the mid-1990s, Ambient House began to evolve into other genres. Some artists started experimenting with more downtempo beats and jazz-influenced sounds, creating a subgenre known as "jazz-house." Others began to incorporate more ethnic and world music influences, which led to the development of "world-beat" music.
One of the most successful Ambient House tracks of all time is "Connected" by the British band Stereo MCs. The song, which was released in 1992, features a hypnotic beat, jazzy piano samples, and soft, ambient pads. It was a huge hit in the UK and became an international success.
Notable artists
The Orb: Known for pioneering ambient house in the late 1980s, The Orb blended electronic music, dub and ambient textures to create a mind-bending sound. With iconic tracks like "Little Fluffy Clouds" and "Blue Room," they paved the way for a whole new wave of chill-out music.
Aphex Twin: While often associated with experimental techno, Aphex Twin's music often overlapped with ambient house. His beautiful piano pieces on tracks like "Rhubarb" and "Avril 14th" mixed with intricate beats create a transcendent listening experience.
Global Communication: The British duo made some of the most lush and entrancing ambient house music of the '90s. Their album "76:14" is a masterpiece in the genre, featuring shimmering synthesizers, hypnotic beats and dreamlike melodies.
The KLF: Another influential British act, The KLF made a groundbreaking album called "Chill Out" that fused ambient house with samples of everything from Elvis Presley to Gregorian chants.
Boards of Canada: The elusive Scottish duo created a unique blend of ambient, downtempo and IDM on albums like "Music Has The Right to Children" and "Geogaddi." Their music is instantly recognizable for its hazy, nostalgic feel.
The Future Sound of London: With tracks like "Papua New Guinea" and "Lifeforms," The Future Sound Of London helped define the early years of ambient house. Their music is a heady blend of ethereal synths, trippy samples and breakbeats.
Sabres of Paradise: The trio of Andy Weatherall, Gary Burns and Jagz Kooner left an indelible mark on the UK music scene with their experimental, psychedelic brand of ambient house. Their early work on the label Warp Records blurs the line between dancefloor anthems and chill-out classics.
William Orbit: Perhaps best known for producing Madonna's "Ray of Light" album, William Orbit also released a series of solo albums that were ahead of their time. His 1993 album "Strange Cargo III" is a masterpiece of ambient textures, found sounds and electronic experimentation.
Biosphere: Norwegian musician Geir Jenssen created some of the most immersive and cinematic ambient music of the '90s. His album "Substrata" is a masterpiece of icy landscapes, evocative field recordings and haunting melodies.
Aphex Twin (again): It's hard to overstate the influence that Aphex Twin has had on ambient house. Whether he's making beatless soundscapes like "Stone In Focus," or blending breakbeats with haunting melodies like on "On," Aphex Twin's music continues to push the boundaries of the genre.
Broader context
In his book, Techno Rebels: The Renegades of Electronic Funk, Dan Sicko describes ambient house as "an introspective stylistic mutation of techno that made the music less linear and more thoughtful." He goes on to describe the genre as a "sonic cushion" that could be played at home or in a club setting. Additionally, David Toop's book, Ocean of Sound: Aether Talk, Ambient Sound, and Imaginary Worlds, touches on the origins of ambient house and its influence on early forms of ambient music.
In a Vice article, Angus Harrison explores the impact of ambient house on the UK's rave scene of the late 80s and early 90s. He argues that the fusion of ambient and house music created a "new, more cerebral approach to dance music" that marked a departure from the hedonistic and aggressive sound of the acid house era. He quotes Simon Reynolds, a music critic, who states that ambient house "had a calming effect on rave music, the decibel levels started to come down, the sonic aggression eased off."
Furthermore, Paul Oakenfold, a notable DJ and producer, played a significant role in popularizing ambient house. In an interview with the Quietus, he discusses his experiences in Ibiza during the early 90s, where he discovered ambient house and began incorporating it into his sets. He describes the genre as "a way of playing music that you could relax to, that you didn't have to get stuck into." He goes on to claim that it was this softer, more ambient sound that allowed electronic music to cross over into the mainstream.
Max Bushell, a music journalist, explores the influence of early ambient house tracks in his article for Resident Advisor. He argues that tracks like The KLF's "Chill Out" album and "Pacific State" by 808 State were instrumental in establishing the genre's sound. He quotes Paddy McAloon of Prefab Sprout who said that "Chill Out" was "the masterpiece of the ambient house era."
In addition to books and articles, several DJs and producers have discussed their experiences with ambient house. Aphex Twin, an influential electronic music producer, has spoken on the impact of ambient music on his work. In an interview with Pitchfork, he states that ambient house was "an interesting merging" of genres that inspired him to experiment with atmospheric sounds in his productions.
The social context of Ambient House was shaped by the rave culture that emerged in the UK in the late 1980s. Raves were large-scale all-night dance parties that were characterized by the use of electronic dance music, especially techno and house music. The rave scene was seen as a countercultural movement that rejected mainstream values and celebrated freedom, unity, and ecstasy. The use of drugs like MDMA (ecstasy) was also an integral part of the rave culture, which helped create a sense of euphoria and connection among participants.
Ambient House was developed as a subgenre of house music, which was characterized by the use of repetitive beats, synthesized melodies, and a 4/4 rhythm. However, Ambient House was different from other forms of house music in its emphasis on atmospheric textures, ambient soundscapes, and the use of non-traditional musical instruments like flutes, didgeridoos, and sitars. This was an attempt to create an immersive and contemplative environment that would complement the euphoria of the rave experience.
Culturally, Ambient House was influenced by several art movements and philosophical ideas that emphasized the connection between humans and nature, spirituality, and altered states of consciousness. The use of natural sounds, such as bird songs, waterfalls, and forest sounds, in Ambient House was inspired by the concept of "organic music" that aimed to create a harmonious relationship between music and nature. The influence of Eastern spirituality and mysticism was also evident in the use of sitars and flutes, which added a meditative and transcendent dimension to the music.
Technologically, Ambient House was influenced by advancements in music technology, especially the use of samplers and synthesizers. The use of sound samples from nature, films, and ambient recordings, allowed Ambient House producers to create complex and layered soundscapes that were not possible before. Additionally, the use of software sequencers and drum machines allowed producers to create intricate and precise rhythmic patterns, which helped create a hypnotic and trance-like atmosphere.
Notable record labels that contributed to the development of Ambient House include the UK-based labels Warp Records and Rising High Records. Warp Records, founded in 1989, became known for its experimental approach to electronic music and released several influential Ambient House records, including Aphex Twin's Selected Ambient Works 85-92 and The KLF's Chill Out. On the other hand, Rising High Records, founded in 1991, focused on the more club-oriented side of Ambient House and released several seminal compilations, such as The Ambient Cookbook and Excursions in Ambience.
Ambient House also received significant coverage from music journalists, who helped popularize the genre and provide critical analysis. Notable journalists include Simon Reynolds, who coined the term "post-rave" and wrote extensively on Ambient House in his book Energy Flash: A Journey Through Rave Music and Dance Culture, and David Toop, who wrote the influential book Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds.