How nature sounds became a multi-million dollar industry

By J.D.

IN 1984 Edward Wilson, a Pulitzer-prize-winning biologist at Harvard, published his theory of “biophilia”. Humans, he argued, “subconsciously seek [connections] with the rest of life” and nature because they create positive responses and feelings: the faces of baby mammals are a source of joy, as are long hikes in the woods or swims in natural lakes. In recent years, architects and interior designers have turned to biophilic design, a sustainable design strategy that brings natural elements into buildings. Grocery stores might make a feature of wood, for example, or an office might emphasise natural light.

One of the most faddish biophilic trends is to use natural sounds as a soothing backdrop for work or relaxation. Though the scientific evidence for the benefits of this is mixed, meditation and wellness apps that use ambient sounds have become popular among smartphone users worldwide. Both Headspace, which is used by 12m people, and Calm, downloaded by around 8m, are valued at $250m. Flowing and Windy, apps targeted at “upgrading sleep”, are built on recorded sounds of waterfalls, birds and crickets. But the general idea predates smartphones, and even the biophilia hypothesis, to long-form field recordings made in the 1960s and 1970s (which are also now available in an “Environments” app).