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cAV's
Q&A
With Forest
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Exploring the Outer Edges of Sound 2,821,654 visitors | 7,237,588 page views since 1998 |
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Byron Metcalf
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Activation AV talks with Byron Metcalf and Billy Denk The world of ambient and ethno-atmospheric music has always thrived on the bridge between the primal and the celestial. In their latest collaborative effort, Activation, percussionist Byron Metcalf and guitarist/sound designer Billy Denk have constructed a 59-minute journey that is as much a spiritual ceremony as it is a sonic masterclass. By blending Metcalf’s signature "earthy thunder" with Denk’s intricate "celestial shimmers," the duo has created a cohesive narrative that challenges the modern trend of single-track listening, offering instead a profound "beacon of wholeness" for the year 2026. In the following interview, Byron and Billy pull back the curtain on their creative process, discussing how they maintained an intuitive, long-distance synergy from their respective studios in Arizona and Illinois. From the "sacred space" of the recording environment to the vital importance of direct listener support through platforms like Bandcamp, they share a transparent look at what it means to create transformative art in the
modern era. It is a deep dive into the philosophy of music as a tool for healing, expansion, and the "rewiring" of the analytical mind. Other AV's CD Focus Features available on Ambient Visions Quest for the Runestone AV talks with David Arkenstone |
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Michael Foster, Editor
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The Technological Banquet: Reclaiming the Ritual of Ownership We were the Early Adopters. For my generation, technology was a never-ending banquet, and we sat down at the table with an insatiable hunger. Every "next great thing"—from the jump to cassettes, then CDs, and finally the sleek convenience of the MP3—was a promise of a better, truer connection to the music we loved. We weren't just chasing gadgets; we were chasing the ultimate listening experience. But in our rush to embrace the future, we failed to notice a subtle "sleight of hand." As we moved toward digital files and eventually the utility tap of streaming, the actual quality of the sound began to drop. We were so enamored with the idea of having every song ever recorded at our fingertips that we didn't notice we were listening to a shadow of the original work. We traded the deep, rich fidelity of "the before times"—the warmth of a great amp and the physical presence of large speakers—for the thin, compressed convenience of a data-efficient stream. We sold our musical souls at the altar of convenience, and we didn't even realize the price we were paying in sonic depth. |
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Harry Towell |
Whitelabrecs: AV talks with Harry Towell Harry Towell started Whitelabrecs in 2016 from Lincolnshire (UK) which specialises in limited edition vinyl-effect CD-Rs and digital editions, as a natural progression from his previous netlabels Tessellate Recordings, and the Audio Gourmet. When he first discovered blank vinyl-effect CD media it reminded him of his DJing days when he’d buy white label bootlegs on vinyl at his local record shops. He had an idea for a new record label and he wanted to curate experimental releases capturing that same hand-crafted, limited edition experience. Since then Whitelabrecs has grown into something far bigger than he could have imagined. He's worked with over 150 artists from across the world, curating a collection of Ambient, Modern Classical, Electro-Acoustic, and cinematic Electronica. Each release tells a story with a concept and/or art aesthetic playing a central part to the records I release. Harry feels that it has been a real privilege to help connect artists and listeners through
music and that’s something that keeps driving him forward with the label. Harry Towell also records his own music as Glåsbird Other AV's Q&A Features available on Ambient Visions AV talks with David Luxton about Wayfarer Records |
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Imaginary Horizons 2 by Dino Pacifici & Brannan Lane Listening to Imaginary Horizons 2 feels like rediscovering a rare "Headphone Masterpiece" from the back bin of a 1970s record shop—the kind of album that promises a journey and actually delivers one. Dino Pacifici and Brannan Lane have moved beyond mere atmosphere, crafting a 12-track narrative that feels as much like a speculative sci-fi broadcast as it does a modern ambient suite. While the duo is credited as co-composers, the album thrives on a distinct division of labor that honors their individual strengths. Lane, acting as the atmospheric architect, provides the rhythmic "foundation tracks"—the pulsing heartbeats and sequencers that keep the journey on course—while Pacifici layers a sophisticated array of analog and digital synthesis, acting as the lead sound designer and mixing engineer. Together with mastering by Dionisaf and striking cover art by Wayfarer Owner/President Dieter Spears, they have created a work that is both technically pristine and emotionally resonant. The experience is a palpable migration that begins in the shimmering heights of "Glow Of The Seven Sisters." Here, Pacifici utilizes high-frequency "shimmers"—synths that possess the crystalline clarity of windchimes—occupying a wide panoramic space that echoes into the distance. This brightness is anchored by a foundational, low-pitched drone, setting a cosmic tone that quickly descends into a more claustrophobic, terrestrial environment. As the listener moves into "Seabed" and "Underwater," the duo employs low-pass filters to create a "submerged" frequency response, rolling off the high-end to mimic the literal pressure of the deep. A haunting, filtered voice clearly states, "We are underwater," amidst beeping tones reminiscent of vintage sci-fi consoles and a grainy layer of white noise that suggests a radio signal struggling against the density of the ocean. CClick here for the rest of the review For other recent reviews check these out: Activation by Byron Metcalf & Billy Denk |
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The Ghost in the Atmosphere: Vocal Sublimation and Deep Listening in Cirrus The alarm clock at 4:30 AM isn’t just a wake-up call; for those of us who live in the world of ambient music, it’s a transition into a specific kind of silence. It was in this pre-dawn stillness that I first encountered Robert Scott Thompson’s Cirrus. By the time I took the album out for a midday walk in the 43-degree air of a melting February, the music had transformed from a simple listening experience into a full atmospheric condition. Thompson describes Cirrus as a meditation on altitude and suspension, but the "secret ingredient" here is the human voice. Every shimmering texture and deep, resonant drone on this album is derived from the resynthesis of vocal and choral recordings. Drawing on a lineage that includes the "Deep Listening" philosophy of Pauline Oliveros, Cirrus utilizes an intentionally restricted palette of sounds. It is an act of vocal sublimation, where the "breath" of the performer is evaporated into a harmonic vapor. Thompson isn't simulating the human voice; he is distilling it, stripping away the text and liturgy until only a "pure timbral contour" remains. The album functions as a continuous, long-form journey through the taxonomy of the sky. We move from the title track’s wide-angle view into the "Cirruks" sequence, where Thompson’s creative spelling suggests a shift into a more processed, modular reality. |
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The Heartbeat of the Prairie: The work of Wes Jackson is often described as a "Prairie Prophecy," a lifelong mission to mend the rift between humanity and the earth that sustains us. To score a documentary of such ecological and intellectual magnitude requires an instrument that can bridge the gap between the ancient soil and modern innovation. In The Split, Tom Griesgraber proves that the Chapman Stick is that instrument—a hybrid of strings and resonance that acts as the heartbeat of the Kansas prairie. Griesgraber’s compositions don't just support the film; they breathe with it. From the opening moments of "At A Moment," we are introduced to a sonic foundation of deep, orchestral strings that feel like the weight of geologic time. But it is the entry of the Chapman Stick—shifting between low, earthy strums and high, crystalline plucks—that signals the birth of an idea. It is the sound of a "species out of context" finally finding its frequency. |
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John Lyell
Eternity II |
Eternity II: AV talks to John Lyell After almost 42 years of living in the Twin Cities area of Minnesota, John moved to and now resides in Rio Rancho, New Mexico since May of 2017. John Lyell has been a musician since 1984. As a guitar player for over 35 years...he has recorded and performed in numerous Rock and Hard Rock projects since the 1980's as well as Acoustic projects in the 2000's. Starting in the early 1990's John's focus and interests shifted more to synthesizer based Ambient, Atmospheric and SpaceMusic. He then started to put together his own home/project studio in 1996 so that he could compose and produce instrumental synth-based music. From his recording studio in New Mexico he currently writes, records, engineers and produces instrumental Ambient, Atmospheric and SpaceMusic. Inspired by his first introduction to SpaceMusic back in 1994 from the "Hearts of Space" radio program...John immersed himself in Ambient-SpaceMusic and started dabbling in computer graphic arts with his first Macintosh computer in June of 1997. With heavy interests in Astronomy, the concept of Time Travel, SpaceMusic and related cosmic subject matter, Lyell used these interests as inspiration to create "Cosmic" and "Surreal" digital art. He also designed the CD cover art for all of his Ambient releases and co-designed the CD cover art with Brent A. Reiland for the WORMHOLES and SYNTHETIC UNIVERSE CD's. John continually created this cosmic art from 1997 until 2015. From 2005 - 2015, John also displayed and sold his Space Art and Ambient Music at Science Fiction Conventions & Art Fairs in the Twin Cities area of Minnesota. To read the interview click here. Other Artist Interviews on Ambient Visions Into the Ancient: AV talks to Peter Phippen |
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FOR IMMEDIATE RELEASE: Chronotope Project Announces Kaleidoscope Chronotope Project, the recording moniker of Oregon-based composer, cellist, and electronic artist Jeffrey Ericson Allen, returns to the Spotted Peccary Music label on March 20, 2026, with his 7th release, Kaleidoscope. The album serves as a profound "sonic autobiography," tracing over four decades of Allen’s creative evolution. A lifelong musician who began cello studies at age eight with his grandfather, Allen’s journey has wound through classical performance, new acoustic music, and even a 25-year career as a librarian and storyteller before emerging as a leading voice in progressive ambient music. Musically, Kaleidoscope represents the essential unity of space and time—the literal meaning of the Greek-derived term "chronotope." The album blurs the lines between genres, coaxing the acoustic toward the electronic and the organic toward the synthetic. From the playful acoustic guitar and flute duets in "Ariadne’s Thread" to the windswept synthesizer textures and hand drums of "Medicine Wheel," Allen demonstrates his mastery of the Haken Continuum Fingerboard and his deep study of world traditions like Indian raga and Zen Buddhist practice. The title track and the album as a whole act like their namesake instrument, forming "beads and bits" of sound into endless mandalic patterns. Motifs recur and recombine into sterling fractals, offering a shimmering ode to the creative process. This is music that reveals itself slowly, inviting Ambient Visions readers to explore familiar sonic terrain in a very unfamiliar way. Track Listing 1. Ariadne’s Thread (remix) 03:40 About the Artist Jeffrey Ericson Allen is an Oregonian composer, cellist and electronic music recording artist with an extensive and eclectic background in classical, new acoustic and theatrical music production. Chronotope Project represents his most recent expression as a creator of contemporary progressive ambient music. “Chronotope” refers to the essential unity of space and time, a concept with numerous expressions in literature, physics and the arts. The music of Chronotope Project explores this time-space confluence and invites the listener on ambient journeys of deep texture infused with gentle pulsing rhythms and soulful melodies. |
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AV's Upcoming, New and Notable Releases
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How "Path: An Ambient Journey" From Windham Hill Records Redefined My Musical Horizon For many years, my musical universe revolved around the familiar sounds of rock, pop, folk, and jazz. These genres, with their well-worn paths and comforting rhythms, formed the bedrock of my listening habits, shaping my tastes into what I would later describe as “vanilla”—steady, safe, and predictable. My playlists reflected this insularity, a tendency to stay within the boundaries of what I knew, only occasionally dipping a toe into uncharted waters. But as the final notes of one chapter faded and a new one began, world music arrived like a sudden gust, blowing open the door to possibility. That invitation—issued by world music—was not merely an introduction to foreign languages or exotic rhythms, but a call to curiosity. It was an awakening, a realization that music was a vast and vibrant tapestry, woven from threads that stretched across continents, cultures, and centuries. The revelation was both exhilarating and overwhelming. What rushed in through that open door was, at first, impossible to categorize: sounds and textures I had never dreamed of, melodies that danced to their own mysterious logic, harmonies that lingered in the mind and soul. And so began my journey beyond the familiar, a journey that led me straight into the arms of a pivotal album: "Path: An Ambient Journey" from Windham Hill Records. Unlike anything I’d encountered before, this was a compilation—a constellation of artists and tracks that introduced me to new age and ambient music, two genres that had previously existed only as faint rumors in the background of my musical life. |
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Sverre Knut Johansen
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AV's Quick Interview METAHUMAN AV's Quick Interview With Sverre Knut Johansen Sverre Knut Johansen was born in 1960 and is from Mo i Rana, Norway. Sverre’s first electronic album in 1994 and was produced by Erik Wøllo on the Norwegian label Origo Sound. In 1999, he released The Source of Energy, followed by Planets in 2012. Sverre began distributing his music in 2013 on his own Origin Music label for download and streaming. METAHUMAN is his sixth album for Spotted Peccary Music. The music of Sverre has always had rich content and strong melodic elements that have become his trademark. Symphonic electronic music dominated the first releases but his more recent releases vary widely in style, as Sverre makes music that is both lyrical and rhythmic and often with elements of classical and electronic ambient music genres. Sverre is inspired by Norwegian artists Hvìtur Hestur and Different Directions from the electronic jazz world. Sverre’s releases Nightshift and Elements of Light were inspired by the work of Steve Roach. Click here for this quick Interview with Sverre Knut Johansen Other Quick Interviews on Ambient Visions Legacy AV's Quick Interview with Stefan Strand aka Between Interval |
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Renée Blanche |
AV's Charts Night Tides Playlist
We just wanted to make sure that the readers of AV were aware of the radio shows like Renee Blanche's Night Tides that feature ambient and new age music each and every Sunday night. There are so many choices out there to listen to music that it might be tempting to skip shows like Night Tides or Star's End or Galactic Travels or Hearts of Space in favor of just pulling up a playlist on Spotify and listening to it instead. Renee and Bill and Chuck and Stephen have been spotlighting great ambient/new age music on their programs for many, many years now and I think listeners would be doing themselves a disservice by not taking advantage of all of that musical programming skills to help you on your journey of discovery into the vast catalog of ambient, new age and electronic music both past and present. So perhaps you weren't aware of these programs or of the music that they play but AV is here to help. We are going to start featuring a radio show on the front page with links to the charts on AV's Charts page so you can get a feel for what is being played on these radio shows. You can then follow the links under each chart to learn more about the program, what time it's on and even links that will allow you to stream it live right there on
your computer. It doesn't get more convenient than that. To kick off these reminders we'll start with Night Tides which airs on Sunday nights just in time to decompress you before heading off to work on Monday morning. There is a small sample of the playlist just below and for the complete playlist just follow the link and begin your musical explorations. A lot of us grew up in an era when radio was our main music discovery venue. These programmers are simply carrying on a proud tradition of helping listeners
such as yourself find the music that you didn't even know you were looking for. Enjoy! |
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AV Goes to NYC
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AV's Concert Review An Introvert Journeys to New York City and Goes With the FLOW As you may or may not know I tend to be a very introverted
person who is connected to a broad musical world via my Ambient Visions website
and rarely do I venture out into the really real world other than at a very
mundane level as I head off to work or to do a variety of equally unspectacular
chores that make up my daily life. On occasion though I am tempted to step out
of my ordinary introverted life and to step into that wider world which makes
introverts like me quiver in their boots and on an even rarer occasion I act on
those temptations and dive into that real world. October 6 was one of those days where the
benefit of venturing out overwhelmed my reservations and sent me off to the big
city to discover the joys of live music. What, you might ask, would tempt an introvert such as myself out of his seclusion and pull him to the big city? I’m glad you asked. I wanted to go with the FLOW. I know that doesn’t sound like a compelling reason and what the heck does it even mean anyway. The FLOW in this case is a new ensemble group that was celebrating the release of their first album simply entitled FLOW by performing as a group at the Weill Recital Hall at Carnegie Hall in New York City which is a celebrated musical mecca of the performing arts in the United States. The motivating factor here was the composition of the group and the nature of the guest artists who would be performing with them on that Friday night in New York City. |
Sounds
to
Listen For
Berlin Transit
by DaFou
The Reality is...
by C37
SSentient Being
by Steve Roach
Narrow Gate
by mRn & Ambiente Solstice
Escape to Dream
by Solace Road
Echoes of the Cosmos
by Gustavo Denouard
Nine Breaths
by theAdelaidean
Infinite Unbound
by Dirk Serries
Tectonic Particles
by Kayla Painter
Impressions
by Julie Hanney
Echoes of the Canyon
by Michelle Qureshi
Arcadia
by Kevin Keller
Unfocused Dream Fragments
by Dino Pacifici
Days End
by Brian Fechino
Depth
by Jaffe
Shadows of Time
by DTime
Into Thin Air
by C37
Awakening
by Ashot Danielyan
Glacial Drift
by Glasbird
an extremely slow motion explosion
by yttriphie
Northern Isles
by Christoph Sebastian Pabst
Sleep Laboratory 5.0
by Various Artists
Spotted Peccary Sampler # 38
by Various Artists
Silver 25
by Stormloop
Fade
by David Wright
Silent Heart
by
Kerani
AOceanic
by
Jeff Greinke
Reflections on a Moonlit Lake
by
Rudy Adrian
Between the Stars
by Ann Licater
Cloudfields
by Richard Stonefield
Phased Returns
by Exit Chamber
Memory Islands
by Ellie Wilson
