In the ever-evolving landscape of ambient music, few artists manage to capture the essence of the genre’s rich history while pushing its boundaries into new territories. Kala, an emerging force in the ambient scene, does just that, weaving together influences from Brian Eno’s foundational works to the lush textures of Japanese Kankyō Ongaku.
Kala’s music is a masterclass in environmental tinting, creating soundscapes that are as ignorable as they are interesting – a core tenet of Brian Eno’s ambient philosophy. This is brilliantly exemplified in their track “Ever Turning,” where layers of synths slowly evolve over a subtle, pulsing rhythm, creating a sonic environment that envelops the listener while remaining unobtrusive.
Drawing inspiration from the minimalist traditions of composers like Steve Reich and La Monte Young, Kala’s work often features subtle, repetitive patterns that evolve slowly over time. This approach creates a meditative quality reminiscent of New Age music, yet avoids the genre’s sometimes overly sentimental trappings. Their composition “Counter Space” perfectly embodies this aesthetic, with its hypnotic arpeggios and slowly shifting tonal centers that invite deep listening and introspection.
Kala’s sound palette is diverse, blending organic instruments with electronic textures. In “Ever Turning,” echoes of Harold Budd’s piano work can be heard, softened and diffused through layers of synthesizers that recall the best of Yellow Magic Orchestra’s ambient experiments. Meanwhile, “Counter Space” showcases Kala’s ability to create expansive soundscapes that evoke the cosmic explorations of early Krautrock pioneers.
In live performances, Kala transforms the concert space into a chill-out room, creating an immersive environment that encourages deep listening. This approach harkens back to the ambient rooms of 90s rave culture, providing a sonic oasis amidst the chaos of modern life. During these performances, tracks like “Ever Turning” and “Counter Space” take on new dimensions, with subtle variations and improvisations that make each listening experience unique.
Thematically, Kala’s work often grapples with issues of environmental consciousness and the complexities of late capitalism. “Ever Turning” can be interpreted as a reflection on the cyclical nature of existence and our place within larger ecosystems, while “Counter Space” seems to explore ideas of digital existence and the spaces we inhabit in the virtual world.
Kala’s most recent album, which includes both “Ever Turning” and “Counter Space,” showcases their ability to incorporate influences from across the ambient spectrum. The album pays homage to the pointillist electronic sounds of Japanese ambient pioneers like Midori Takada, while also nodding to the hypnotic rhythms of Manuel Göttsching and other Krautrock innovators.
As ambient music continues to evolve and find new audiences in the digital age, artists like Kala serve as important bridges between the genre’s rich history and its exciting future. By synthesizing influences from Brian Eno to Boards of Canada, from Erik Satie to Aphex Twin, Kala creates a sound that is both familiar and refreshingly new.
In a world increasingly dominated by noise and distraction, Kala’s music, particularly tracks like “Ever Turning” and “Counter Space,” offers a much-needed space for reflection and sensory exploration. It’s ambient for the modern age – music that can fade into the background of our daily lives or reward deep, focused listening. As we navigate the complexities of the 21st century, Kala’s soundscapes provide a sonic refuge, inviting us to slow down, listen deeply, and connect with the world around us in new and profound ways.