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O.S.T.

About O.S.T.

While most IDM programmers look to twentieth century electronic composers for inspiration (and are a direct result of their histories), Chris Douglas' music as OST is explicitly so. His tracks of chirping electronics sound like a combination of insect and amphibian voice field recordings and '60s sci-fi film soundtrack cut-ups. Rhythmic and harmonic patterns are almost absent in a haze of blurry tones and sharp disruptions. The ebb and flow of sound is often disjointed and unpredictable, but maintains a clinical yet soothing cool -- not the soothing sounds of the chill space but the sterile, bluish-white light of a surgery recovery ward.

Listen toO.S.T.on Rhapsody

While most IDM programmers look to twentieth century electronic composers for inspiration (and are a direct result of their histories), Chris Douglas' music as OST is explicitly so. His tracks of chirping electronics sound like a combination of insect and amphibian voice field recordings and '60s sci-fi film soundtrack cut-ups. Rhythmic and harmonic patterns are almost absent in a haze of blurry tones and sharp disruptions. The ebb and flow of sound is often disjointed and unpredictable, but maintains a clinical yet soothing cool -- not the soothing sounds of the chill space but the sterile, bluish-white light of a surgery recovery ward.

About O.S.T.

While most IDM programmers look to twentieth century electronic composers for inspiration (and are a direct result of their histories), Chris Douglas' music as OST is explicitly so. His tracks of chirping electronics sound like a combination of insect and amphibian voice field recordings and '60s sci-fi film soundtrack cut-ups. Rhythmic and harmonic patterns are almost absent in a haze of blurry tones and sharp disruptions. The ebb and flow of sound is often disjointed and unpredictable, but maintains a clinical yet soothing cool -- not the soothing sounds of the chill space but the sterile, bluish-white light of a surgery recovery ward.

About O.S.T.

While most IDM programmers look to twentieth century electronic composers for inspiration (and are a direct result of their histories), Chris Douglas' music as OST is explicitly so. His tracks of chirping electronics sound like a combination of insect and amphibian voice field recordings and '60s sci-fi film soundtrack cut-ups. Rhythmic and harmonic patterns are almost absent in a haze of blurry tones and sharp disruptions. The ebb and flow of sound is often disjointed and unpredictable, but maintains a clinical yet soothing cool -- not the soothing sounds of the chill space but the sterile, bluish-white light of a surgery recovery ward.