Miles Clark is the creator of Noise Foundation, a project that makes textured noise and ambient soundscapes for restless minds. The premise is simple and unusually practical: pink, brown and white noise, processed through vintage gear and layered with subtle textures, built to hold a busy mind without pulling attention away. The catalogue now runs to more than twenty albums and over a thousand tracks, and the project has about 67,700 followers on Spotify.
His profile lists him as a Meditation Teacher, but the documented body of work is sound, and that is where his reputation rests. No guided sessions or spoken instruction are on record. What exists is a large, carefully built body of audio made for sleep and focus.
The available record does not name a hometown, and this profile will not guess at one. What Miles has described himself is a childhood habit. He says he has been chasing the right sound to switch off his brain since he was small, when he fell asleep with a Fisher Price radio under his pillow, half-listening to Radio Luxembourg through the static.
That image carries real weight. The drift, hiss and crackle of late-night radio is close to the texture his work now tries to rebuild with tape machines and granular synthesis. It is not a credential, but it explains a sensibility: he was drawn to sound as a way of settling the mind long before he made any of it.
Miles's route to this work was indirect. He studied forensic science at university, then took a PGCE in music. He went on to co-found I'm Not From London, a record label and music publisher in Nottingham, and ran it for six years.
After leaving the label he became a stay-at-home dad, and the family later chose to home educate. The ambient soundscapes grew out of this period as a creative outlet. He is plain about what they are: function rather than art. That candour is part of what makes the work interesting. It is made to do a job, and it is judged by whether it does.
The project began in 2018. Miles describes lying awake around 3am and finding that the ambient music everyone recommended was too musical and too distracting. Melody and harmony, even gentle ones, gave his mind something to follow, which is the opposite of what he needed.
So he made something different. He took pink, brown and white noise, processed it through vintage gear and layered it with subtle textures, aiming for something hypnotic enough to occupy a busy mind without getting in the way of sleep or focus. Noise Foundation began as a personal search for sounds to quiet his own head.
His central contribution is a particular kind of hand-built noise. Many sleep-sound products are generated by algorithm or assembled from stock libraries. Miles states that he uses no AI generation and no stock loops. Tracks are built by hand with a Juno 6, granular synthesis, guitar pedals, found sounds and tape machines, and he describes the process as play rather than formula.
What he chases is texture: warmth, grit, crackle and drift, sounds that feel lived-in rather than clinical. Pacing is slow and nonlinear, with no sung vocals and no climaxes. The closest comparison is a radio left on between stations. The tradeoff is real, and the sources acknowledge it: listeners who want a perfectly clean signal, or who hear every crackle as a fault, may find the grit works against them.
He also writes notes from the studio about how people actually listen to different noise colours. These add a small, practical layer of observation to the music, treating listeners' habits as something worth recording.
The available data does not list album titles, so none are named here. What can be said is the scale: more than twenty albums and over a thousand tracks since 2018. For newcomers, the sensible approach is to sample by noise colour. Pink offers an even, balanced texture, brown is deeper and more rumbling, and white is the brightest and hissiest. Each release can then be judged on whether its colour holds steady, how the grit is layered, and whether the drift stays subtle enough not to draw attention.
No awards, press coverage or critical reviews are recorded. That absence likely reflects the scale and nature of the project more than any verdict on it.
Noise Foundation is now one half of Cassette Creations, a small family company Miles shares with his wife, Louise. It is a quiet, home-based operation, and no live dates, retreats or tours are documented. The work lives where it was designed to be heard: on headphones or speakers, at night or during concentrated work. Listeners can find it on Spotify, on the Noise Foundation YouTube channel, and at noise-foundation.com, where the studio notes also appear.
Miles reaches people with restless minds: those who lie awake, struggle to focus, or find conventional ambient music too eventful. The work is not for those who want melody, chant, guided practice or a musical arc, and it makes no claim to a spiritual lineage. No tradition or teacher is named in the record, and none should be assumed.
Its significance is quieter. In a field crowded with generated and templated sleep audio, Miles offers a handmade alternative rooted in analog gear, tape and a lifelong fascination with static. He treats function as a craft in itself, and the result is a body of work that takes a modest purpose seriously: helping a busy head switch off.