Italian electronic composer Ascanio Borga debuted under the moniker Vomit 2000 with Music For Non-Airports (1997), a collection of charming post-ambient frescoes, and Chemical Disorder (2001), a confused work of 20 brief vignettes in various styles.

Inner Geometry (2001) upped the ante by returning to the longer ambient compositions of the first album while improving the density and the chromatic quality of the music. The 18-minute Inner Geometry masterly employed Terry Riley's minimalist techniques in a very personal context. The 15-minute Circular Dream used Klaus Schulze's cosmic music as the launching pad to craft suspenseful, fragile, slow-motion structures.

Liquid Symmetries (2002) was less successful in recycling the techniques of the masters. A sense of dejavu detracted from most of the improvisations, although the 14-minute Underwater did achieve psychological tension through an organic-like morphing of electronic patterns.

Bad Ground (2006) is mostly taken up by the 35-minute Bad Ground, a melodramatic electronic symphony that represents a quantum leap forward for Borga. This is intense abstract soundsculpting with an almost neoclassical elegance.

Peripheral Vision (Borga, 2007) continued to mull over the stereotypes of ambient music, from the floating textures of Emergence to the sweet languor of Floating Sequence to the alien resonance of Discovery (perhaps the most intriguing track) to the dilated minimalism of Forgotten Medicine (imagine Terry Riley played at very reduced speed) to the quasi-silence of The Big Sleep.

Xenomorphic (2008) collects four compositions. The 30-minute Apnea is an exercise in slowly shifting textures, starting with subaquatic warped electronic melodies and transforming into more and more oneiric soundscapes, until the guitar ends it with a raga-like invocation. This probably marks the zenith of Borga's career together with Bad Ground. After a brief interlude of white noise, the 18-minute Xenomorphic blends shamanic drumming and sinister drones to create the backdrop for a loop of heavy-metal guitar riffs that is eventually attacked by industrial clangors and hisses. The 14-minute Equilibrium is a more conventional piece of ambient and cosmic music for electronics and guitar, but the 10-minute Raw Ground dabbles in harsh, disturbing drones that sounds like a counterpart to the stereotypical gentle textures of ambient music.

The double-disc Altered States (2015) collects guitar solos recorded live in studio with no overdubs. There is much to appreciate in the plethora of different camouflages that Borga adopts here. An awe-inspiring majesty transpires from the slow-motion tide of extended guitar distortion that submerges the nine-minute Magma, while the slightly "stoned" eight-minute Psychedelic Rings evokes Harold Budd's delicate filigrees. The ten-minute Magnitude is a cauldron of fiery industrial noise while the nine-minute Undercurrents (possibly the album's highlight) is a quantum vacuum invaded by subliminal drones, evoking Dali's surrealistic landscapes. If a wall of noise could be anthemic, it would sound like Radiance. On the other hand, Altered States implodes into funereal death tolls. The gothic atmosphere of Raw Science Loop is shaped by pulsating magma and cavernous echoes. Metronomic repetition propels the slow drift of the ten-minute Luminous Fields, a gentle bath into ethereal and almost psychedelic tones. A textbook lesson in decomposition technique, the glissandoes and reverbs of Harsh Ground turn into a zen soundtrack, and Underground Oceans closes the album with a glacial and solemn "om".

Raw Science (Sonic Boundaries, 2016) contains four lengthy pieces that are the exact opposite of Altered States: they are painstakingly crafted, mixed, processed, overdubbed, and generally manipulated to maximize sonic impact. Porta Alchemica (13:18) rises from a slowly-forming rotating nebula to become a sort of creaking slow-motion horror monster which then morphs into a fleet of alien spaceships plunging at accelerating speed towards the Earth. Raw Science (17:12) begins with a fantastic effect (a massive grating noise that evokes jungle rain) but then gets lost in a confused mess of strident drones. Prima Materia (14:18) is an even more trivial crescendo from cryptic drone to wall of sound. Azoth (14:37), luckily, finds the right balance between science and art: here the drones mix and match and mismatch, wrestle and breath, and the music rises out of the collision between the morbid ones and the harsh ones, like an orgy of pleasure and pain, reaching a harrowing peak of devastation that sounds like the burning ruins after a nuclear attack. Porta Alchemica and Azoth are, above all, intensely human even in their most dystopic moments.

Cult of Light was a collaboration with Davide Del Col that debuted with The Luminous Spiral (2024).

The 25-minute Un Chien Andalou (2025) was a tribute to filmmaker Bunuel, and it was followed by the 22-minute guitar drone Anatomy of Heat (2025) and by the six Variations on Static (2025).