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.

My new album Wind, Town & Flowers
🎶 Stream / Download: nrwrecords.lnk.to/Wind_Town_Flowers

For music and bunch of other stuff, check out: https://linktr.ee/Futurecop

Rocking out in my loft with a Dell Dimension 3200 and a copy of Reason.

For all inquiries please mail me at: RetroThunderMusic@gmail.com

Check out my bandcamp https://retrothunder.bandcamp.com/releases

"Their gloopy synths and nostalgic pop are as hot as a heatwave on the equator.” - NME 05/04/2014

http://freeweightsband.com
facebook.com/freeweightsband
freeweightsband@gmail.com
booking: marko@altagency.fi

Freeweights is:

Antti - Drums
Anssi - Bass
Markus - Guitar
Toni - Vocals
Kane - Synths

looking for a singer to write lyrics and play gigs. Surrey, Hampshire, Berkshire, London UK.

Jonathan Case recordings. The song cycles can be found here:
https://antifade.bandcamp.com

Contact: jonathan.d.case@hotmail.com

I can't drink as much as Mark E Smith, but who can?

Old and not wise. A journeyman producer who's finally getting his sh*t together.

Tires screech as a car packed to the ceiling pulls away, urgently longing to get out of California. The passenger seat is empty—a warm glow grows stronger among the hills in the distance. This is the world of “Grounded Satellites”, the triumphant return of Copenhagen based indie rock outfit The Forever Now. The band has come a long way since BIRP.FM referred to Throw it Down as, “an atmospheric sonic palette brought to life”, and Indie Obsessive awarded it a “contender for ‘The Summer Hit of 2017’,” marked by their relocation from Canada to Denmark.

Combining cinematic elements with indie rock, synth-pop, and singer-songwriter music, The Forever Now carve out a filmic experience with each release. Defined by their genre-defying style and relentlessly do-it-yourself approach, The Forever Now have been on critics’ radar from their debut, when, according to TEEZ FM, “they have impacted the music scene with their proper debut single ‘Last Day of the Year’”.

The project has often drawn comparisons to artists such as M83, The Naked And Famous, MGMT, Chvrches, and Oh Wonder. The Revue described their work as: “Incredibly beautiful. It is part cinematic, part cosmic, part operatic, and completely dazzling. The production work is sublime, radiating of the spatial pacing of Anthony Gonzalez’s (M83) work on Oblivion. The song, however, reaches sonic heights that Gonzalez wasn’t able to achieve … Simply spectacular.” With Grounded Satellites, The Forever Now mark a return to form, finally achieving the soaring heights of an explosive indie rock single they always dreamed about.

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