Selecting artists from around the world, ranging from Germany to Mexico, Japan and beyond, Pop Ambient is an invaluable reminder that music is universal and that the ambient community is a global one. A primarily beat-less and constant mix of textural space, one that in its continuation of the series exemplifies the same infinite character as the type of music is puts out.
Are you a collector? Have you ever formed your own private collection of something you hold dear, whether it be vintage baseball cards, precious stones and gems, or an endless array of hard-to-find vinyl? If so, you understand the worth adorned to each item accumulated. You hang onto them because they bring you fulfillment. Recognizing which pieces are your favorite based on their various facets; rarity, caliber of quality, appearance, or perhaps an indiscernible attribute that just resonates with you. Maybe you even acquired them while traveling and they represent your experience in a different place.
Selecting artists from around the world, ranging from Germany to Mexico, Japan and beyond, Pop Ambient is an invaluable reminder that music is universal and that the ambient community is a global one.
Enter Kompakt, curators of atmosphere. For several years, they have compiled one of the absolute best anthologies of ambient music in existence. It has served as a north star in a cluttered night sky of electronic music for ambient lovers, while also exposing many music explorers to the genre for the first time. In the past, the Pop Ambient series has shared cuts from such contemporary figures as label co-founders Wolgang Voigt and Michael Mayer, to The Orb, GAS, The Field, DJ Koze, Tim Hecker, bvdub, and Jens-Uwe Beyer in addition to unearthing worthy and exceptionally talented composers in the sphere. With their 19th iteration, Pop Ambient 2019, Kompakt has released another balanced beauty of a record, adding to the canon for those in pursuit of peace by way of contemplative, sonic expansion.
Breaking with some of the more obvious and overdone effect approaches that have been on trend within the genre over the past few years, there seems to be a recent return by ambient composers to implementing traditional instrumentation in their works. This can be heard throughout a number of selections on the album including the second track “A Plain Of Reeds” by Coupler which features interwoven violin atop a glass harp-like melody that diverges slightly into dissonant territory, providing just enough tension to be unsettling. The following track by The Black Frame continues an organic feel with its trance inducing, deep guitar pattern, and understated vocals. Later “Zweitens” by Max Wurden and Luis Richard is built out of soft, reaching horns and a straightforward marimba rhythm. It’s another excellent representation of natural minimalism with clever arrangement.
“Bluebird” by Last Train to Brooklyn employs delayed harp plucks and an exquisite use of layering, conjuring images of leaves blowing in gusts of wind while Leandro Fresco brings his brand of wide-open air to his offering “Arna De Vidrio.” Alternatively, take a swim in the depths of the swelling ten-minute padded epic “Schien Immer” by Morgen Wurde and Maria Estrella. Those fond of the darker side of ambient will also be pleased as Pop Ambient 2019 contains slightly somber moments as well. For example, the second half of “Rot 2” by Gregor Schwellenbach plunges into ominous tones and the spectral “Karenina” by Thomas Fehlman leaves a listenable and lasting impression.
Each piece, with their own strengths, colors, and moods contribute a personal part to the collection. The compilation itself is overall a primarily beat-less and constant mix of textural space, one that in its continuation of the series exemplifies the same infinite character as the type of music is puts out. It lives and it breathes.
Pop Ambient 2019 is available on Kompakt.
