£1 goes to Auntie Flo, guest curators and our internal team. Any money left over will be spent on technical innovations such as an iPhone app, more channels, etc. This also allows us to dedicate time to the accounting side, making sure payments are distributed to the artists. This includes the internet radio licences, the server costs, the website, the artwork and the money spent on buying music every month. As we have a radio licence in place, we don’t have to do this, but we feel it is an important part of fair remuneration during a time when it is needed most by the music community. We will proactively contact each artist and publicly publish our monthly tracklists. This will be split equally between the 300 selected tracks we programme. With these imbalances now even more critical for the independent music sector, Ambient Flo radio is an attempt to start a new musical ecosystem where we can support artists who find themselves without work via our Artist Profit Share SystemĪt the moment we are in trial-mode, we need to reach 500 subscribers over the next three months in order to exist and keep evolving. The new economic streaming model of big tech is fundamentally unfair whilst the traditional licensing models via the PROs tend to be out of date and don’t benefit smaller artists either. Many musicians who relied on the gig economy have found themselves in a position where tech giants unfairly remunerate bigger name artists at the expense of the small indie label. A spotlight has been placed on the disproportionate split of revenue streams within the music industry. Please get in contact: Economics / Artist Profit Share Systemĭuring this pandemic, many musicians have seen their main income stream disappear overnight. We welcome music submissions and suggestions. All of these great visionary artists have acted as musical guides during the inception of Ambient Flo. As well as Eno, Ambient Flo is heavily influenced by the deep listening movement of the late, great Pauline Oliveros, the 4th world concepts of Jon Hassell, the immense sonic sculptures of Tim Hecker, the spiritual music of Alice Coltrane, and the sonic therapies of Kazuya Nagaya. The selection should work discreetly – as per Brian Eno’s original Ambient manifesto – but it should also be of high enough quality that the compositions can be listened to over and over again. 
Your listening experience can be either active or passive put on headphones and immerse yourself, or play at a low level to relax, meditate or work. Ambient Flo is curated in a way that an algorithm could never do and most of the music doesn’t appear on Spotify. We are not musical wallpaper or just another mood-based ‘chill out’ playlist. When musical form and structure isn’t predictable, it’s shelf life increases and when it fuses old instrumentation with modern production processes, it creates a sense of ethereal timelessness. Each track has been selected for it’s magical ‘flow’ that transports you to a higher realm.
Woolf, L.P.We focus on other-worldly electro-acoustic music. Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly & Experiential Orchestra). Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir & Toronto Symphony Orchestra). Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale & Orchestra Of St. Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar & Oregon Symphony). Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher & Wolf Trap Opera). 9 Copland: Billy The Kid (Gianandrea Noseda & National Symphony Orchestra) 
Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov & PaTRAM Institute Singers). Aspects Of America - Pulitzer Edition (Carlos Kalmar & Oregon Symphony).
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