Being part of a two and having no form I/ we  are  prone to alternative and posibly delusional reality ... 

Analogy 1 ... when barely out of my teens I used to find long pieces of music that I liked ... I used to set up my record player in that repeat mode ( per clunk clunk I called it ) ... I liked the continuity and it was like finding a place to be that was my own and secure ... With the advent of digital it got even easier ... every continuous repeat  listen noticing a different hidden detail in whatever piece I was fasciated by at the time  ... Now I think in these terms all the time ... The legacy of vinyl , cd and tape almost , but not quite , a memory ... Music becomes parallel information etc 

first cod haddock analogy leads to second ... I don't look at a drawing, picture or painting from left to right .. nor from top to bottom ... So , hard as I might the locked in the " beginning to end " of aforementioned analog types of media stay with despite  ... Listening may become dislocated from time ??? and be an is ??? a movement inside every individuals thoughts only ??? 

I make a meal I lay and set the table .. if people eat I am delighted .. If they do not I am usually already busy making something else :) R+LL

thin line ( 2 analogies :)

The current music scene is great because of the places where music is made and the experiments that are repeated by each personality. For individual creators, it is much more valuable to have an environment where they can come into contact with a large number of personalities than to be spread.

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I like to make soundscapes and alternative soundtracks to my favorite films

The Oxford Ambient Collective (OAC) is the solo musical alter-ego of David Smith, an artist who began his compositional journey in his early thirties using software such as Buzz, FL Studio and Reason. He has a  focus on a aesthetic of crafting immersive "ambient drones and ethereal soundscapes." Intentionally grounding his work in the history of the genre, Smith’s creative output reveals a clear artistic lineage, with albums like Berlin Vol. III acknowledging the "subtle German EM influences" and paying thematic homage to the pioneering Berlin School of electronic music. While deeply reverent to this historical lineage, Smith's methodology is aggressively contemporary, positioning him at the vanguard of mobile sound design by relying on a sophisticated suite of iOS applications to perform complex sonic morphing and generate his signature textures; his advanced workflow employs Soundscaper as an "experimental sound mini lab" for textural manipulation, with all audio professionally routed through the AUM mixer and hosting application. This innovative approach powered his self-proclaimed "proudest achievement"—a 90-minute live performance at Oxford's prestigious Ashmolean Museum, an opportunity secured through his affiliation with Oxford Brookes University as part of its 150th Anniversary celebrations. To solve the inherent challenge of engaging an audience with long-form ambient music, Smith transformed the event into an immersive audio-visual installation, pairing his soundscapes with curated visuals from sources like The Internet Archive to command "active listening." The project's visibility expanded significantly beyond this institutional context through a pivotal relationship with the independent Focussed Silence label, which was instrumental in securing national airplay on BBC 6 Music. This success highlights a versatile appeal, with OAC's work finding a home on highly experimental programs like A Duck in a Tree on Resonance FM—hosted by the influential group :zoviet * france:—as well as on sophisticated global platforms where his work was programmed alongside compositions by genre progenitors like Brian Eno and Vangelis. While OAC remains a solo endeavor at its core, Smith actively engages in digital collaboration with a network of sound artists like Encym via platforms such as SoundCloud, effectively transforming the solo project into a decentralized creative hub, thereby giving true meaning to the "Collective" in his moniker.

Almost all tracks are free to download and covered by a Creative Commons license. Collaborations / Remixes are welcome so feel free to experiment - no need to get my permission first. Just send me a link to your track when you're done :)

I love listening to & creating ambient, dark ambient, avant-garde & experimental electronica (and the occasional beatscape). I have no professional aspirations  - I just really like creating music / manipulating sounds. It's my way of relaxing after a hard day at the office. All my tracks are produced using monitoring headphones (Audix A140) so I recommend that you listen to my music through headphones. My DAW of choice is FL Studio. I also use Reason every now & then. 


To the artists I follow; I do my best to try to listen to as many of your tracks as possible each night (I listen to each track all the way through - you went through the effort to create a track so you deserve to have it heard in full). If I miss a recent upload of yours, please forgive me...

Thank you for taking the time to visit my little corner of the soundcloud.

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formulaic conformity and convention the sworn enemy of creation

Ambient electronica, Berlin School, Chillout & Kosmische Space Musik from Munich, Germany. ► Soundcloud is my musical diary - expect lightfooted drafts, soundchecks, playthings & misfits here. ► Go Bandcamp for finished pieces & more serious musical works.

+Spatial & Poetic Journey into Sound+

I am a digital composer and sound artist based in Canada. I write experimental and cinematic music for games and films.
In my other life, I am a cultural historian and curator, specializing in East Asian and Canadian immigration history.

thin line ( 2 analogies :)

Xitb