“We Are Emotional People.”

Ambient music lies at the very core of InFiné. We’re devotees of the great Brian Eno, raised on the 4AD label, and nurtured on KLF’s pioneering Chill Out and Aphex Twin’s Selected Ambient Works on Warp. Ever-curious listeners, we soaked up the German vibrations of early Ash Ra Tempel before diving into the abyssal basslines of Moritz Von Oswald or the stark minimalism of Pole.

Later, we encountered other wizards around the globe: Murcof in Mexico, Loscil in Canada, Kaito in Japan, Biosphere in Scandinavia, and more recently Kmru in Kenya. This music forms a central thread in our catalog, sitting alongside more rhythm-driven electronic styles, innovative classical hybrids, and increasingly even pop. In Ambient, the role of sound is more vital than in any other genre! Each note needs ample space to resonate, and every piece immerses you in the pure essence of its sound. These tracks stretch time by using minimal resources to create a profound experience. Here, silence is part of the composition, offering a depth and richness unlike anything else.

What seems simple often takes hours in the studio to refine and place each note, adjusting the movement of a resonance like an architect shaping a structure. Everything must be perfectly calibrated, without artifice, like a zen garden where the tiniest imperfection disrupts the harmony. Ambient goes straight to the heart of music: emotion! Sound becomes a safe haven, a powerful instrument for resilience and introspection, bringing us together to face personal or collective challenges. Fueled by this conviction and countless hours of practice, InFiné developed its own “medicinal music” series. We’ve carefully selected audio potions from our catalog—often electronic, sometimes more organic or experimental—to guide you through beneficial emotional landscapes. InFiné Ambient is an invitation to travel without moving, a moment to reset our humanity in a world assaulted by outside turbulence.
#WeAreEmotionalPeople

Who are the creators of InFiné’s ambient sound?

Many InFiné artists have explored the genre, but we’ll focus on our foremost experts. Right from our very first album, Francesco Tristano laid out the blueprint with Handover—a tribute to Autechre—before releasing two twenty-minute journeys with the master Moritz Von Oswald. Since then, Rone, Clara Moto, Arandel, and Cubenx have dabbled in ambient, and these days Lucie Antunes, Frieder Nagel, Basile3, Deena Abdelwahed, and Aārp keep pushing its boundaries ever further.

Bernard Sazjner, a visual artist and music theorist who invented Jean-Michel Jarre’s famous laser harp, was born in 1944 in Grenoble. A child of a Polish-Jewish refugee family, he began by founding a light-show company, then jumped into the emerging electronic scene with five albums before stepping away, disillusioned with the music industry. In 2014, we had the privilege of reissuing his major work inspired by Frank Herbert’s cult trilogy. Visions Of Dune, first released in 1979, is a modular-synth masterpiece that arrived just a few months after Brian Eno’s Music for Airports (March 1978). Both records laid the groundwork for what we now call “ambient.”

Murcof, the Mexican sonic sorcerer, reintroduced silence into music, paving the way for artists like James Blake. Weaving classical motifs into electronic textures, he creates immersive, meditative soundscapes with a distinctly cinematic feel that has earned him worldwide acclaim. We first crossed paths in 2007 when he reinterpreted Lully’s music for a promenade in the gardens of the Château de Versailles. Ever since, Murcof has continued to innovate, pushing electronic music’s limits in emotionally charged projects that cemented his place alongside Alva Noto, Ben Frost, Tim Hecker, or Gas.

Vanessa Wagner, a classical pianist always eager to explore modern repertoire, is also a dedicated admirer of electronic music. At the end of a summer concert in 2010, she performed a Gnossienne by Satie, amplified and stretched in real time by Murcof. This moment sparked the idea for their now-iconic collaborative album Statea, released six years later. Ever since, she’s been shaping introspective soundscapes rooted in her contemporary music research and joining forces with icons like Vladislav Delay and Suzanne Ciani.

Bruce Brubaker is an American pianist introduced to us by his former student at Juilliard, Francesco Tristano. Bruce had recorded select Philip Glass pieces before we invited him to produce a full album dedicated to the minimalist pioneer. That was followed by a Terry Riley record, after which Bruce looked to redefine the piano’s role entirely. Through spatialized sound techniques, he ventured into a post-ambient universe, revisiting Brian Eno’s landmark Music For Airports.

Kaito is one of the rare Japanese producers to find an audience beyond his home country, having collaborated with Derrick May in Detroit and the German Kompakt label. Following in the footsteps of Ryuichi Sakamoto and Susumu Yokota, he’s one of the foremost artists who draw on natural rhythms and Zen spirituality to craft music that invites a spiritual journey.

Gaspar Claus, a cellist who broke free from classical conventions, has collaborated with Bryce Dessner, Casper Clausen, and Sufjan Stevens, among many others, for nearly two decades across every continent. Rone introduced us to his work, and our initial recordings were with him and his father, Pedro Soler. Together, we explored a stripped-down flamenco setting for guitar and cello. Since then, Gaspar has been shaping deeply emotional sonic realms, continually evolving and elevating the instrument’s sound both on stage and in the studio.