Excited, I wondered if this was to be the Ambient equivalent of Thurston Moore’s Top Ten From The Free Jazz Underground, Alan Licht’s Minimal Top 10, or those lovely lists Jim O’Rourke squirreled away. There’s no one better to pen such a list. He’s also a serious collector, runs a record shop, and carries an astounding a wealth of knowledge – arguably unparalleled in the fields of Electronic and Ambient music. Keith is a remarkable musician – one for whom I carry a deep respect (the only in memory, to make my ribs noticeably vibrate with ecstatic joy). Upon entry, I was startled to find myself faced with Keith Fullerton Whitman’s words. As a fairly serious record collector, I tend to offer these lists a suspicious eye – particularly because most seem to conceived as click bait and content filler, rather that offering their subjects the attention and thought they deserve. As a fan, I was naturally curious about what Pitchfork had to say. In the last few years, there’s been a surprising growth of interest in the genre – one small element of a larger cultural reappraisal of the history of recorded music, bringing to light thousands of albums once thought lost to the shadows of time, and in the case of Ambient, reigniting it as a relevant contemporary pursuit. ![]() Ambient music didn’t seem like the magazine’s forte. ![]() ![]() As it began to do the rounds, I was surprised. Early last week, a list appeared – Pitchfork’s The 50 Best Ambient Albums of All Time.
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