Editing Ambient music (section)

===1990s===
By the early 1990s, artists such as [[the Orb]], [[Aphex Twin]], [[Seefeel]], the [[Irresistible Force (production identity)|Irresistible Force]], [[Biosphere (musician)|Biosphere]], and the [[Higher Intelligence Agency]] gained commercial success and were being referred to by the [[popular music]] press as [[ambient house]], [[ambient techno]], [[Intelligent dance music|IDM]] or simply "ambient". The term [[Chill out (music)|chillout]] emerged from British [[MDMA|ecstasy]] culture which was originally applied in relaxed downtempo "chillout rooms" outside of the main dance floor where ambient, dub and downtempo beats were played to ease the [[Psychedelic Experience|tripping]] mind.<ref name="altered">Altered State: The Story of Ecstasy Culture and Acid House, Matthew Collin, 1997, Serpent's Tail {{ISBN|1-85242-377-3}}</ref><ref>{{cite encyclopedia | year = 2002 | encyclopedia = Encyclopedia of Contemporary British Culture | publisher = Routledge | location = London | editor1-first = Peter | editor1-last = Childs | editor2-first = Mike | editor2-last = Storry | title = Ambient music | page = 22 }}</ref>

British artists such as Aphex Twin (specifically: ''[[Selected Ambient Works Volume II]]'', 1994), [[Global Communication]] (''[[76:14]]'', 1994), [[The Future Sound of London]] (''[[Lifeforms (The Future Sound of London album)|Lifeforms]]'', 1994, ''[[ISDN (album)|ISDN]]'', 1994), [[Black Dog Productions|the Black Dog]] (''[[Temple of Transparent Balls]]'', 1993), [[Autechre]] (''[[Incunabula (album)|Incunabula]]'', 1993, ''[[Amber (Autechre album)|Amber]]'', 1994), [[Boards of Canada]], and [[The KLF]]'s ''[[Chill Out (KLF album)|Chill Out]]'', (1990), all took a part in popularising and diversifying ambient music where it was used as a calming respite from the intensity of the [[rave#United Kingdom|hardcore]] and [[techno]] popular at that time.<ref name="altered" /> Other global ambient artists from the 1990s include American composers [[Stars of the Lid]] (who released 5 albums during this decade), and Japanese artist [[Susumu Yokota]] whose album ''Sakura'' (1999) featured what Pitchfork magazine called "dreamy, processed guitar as a distinctive sound tool".<ref>{{Cite web|title=Susumu Yokota: Sakura|url=https://pitchfork.com/reviews/albums/8874-sakura/|access-date=2021-01-05|website=Pitchfork|language=en}}</ref>