written by Niall McCallum, co-founder of ModeAudio
It’s a bit of a cliché to state that Japan is a country with a rich musical tradition, with the starkly elegant plucking of koto strings and theatrical pounding of taiko drums having been heard down the centuries. What is perhaps not quite so well-known amongst the global general public is a more recent brand of distinctly Ambient music originating in the region in the 80s, fusing simple, unhurried arrangements with a deep engagement with the environment and natural world.
This music, known as Kankyo Ongaku, often featured isolated, repeating synth or electric piano motifs, occasionally accompanied by gentle environmental field recordings, such as soft rain or birdsong, and its commitment to conjuring still, meditative aural atmospheres has come to be reappraised and freshly appreciated amongst Ambient musicians and listeners around the world in the past decade.
Probably the best-known export of this musical form was the work of the late Hiroshi Yoshimura, whose profoundly uncomplicated, calmly immersive compositions as heard on albums such as Green and Surround, is enjoying posthumous interest and circulation.
Partly inspired by this deep well of local sonic inspiration, ModeAudio recently collaborated with talented sound designer and musician Tokyo Bedroom Orchestra, hailing from the eponymous capital city, in creating our first ever artist sound pack, now available through Splice.
From beautifully tape-worn synth drones and rushes of analog static, through to the sound of distant waves and crunching woodland as encapsulated in a handful of delicate field recordings, Tokyo Bedroom Orchestra threw his full arsenal of coveted guitar pedals and vintage hardware at the project to craft something typical of his style and yet utterly at home in the ModeAudio catalogue.
To celebrate the release, we decided to explore the thought processes and musical processing that went into the making of the pack by putting a series of questions to the man himself, which he was kind enough to answer for us below:
When did you start to explore making music with computers, synths and pedals, instead of acoustic instruments?
My main instrument has always been the guitar, but I started getting deeper into sound design through effects pedals. That curiosity for textures and atmosphere led me to synths in my late twenties.
What was the first DAW / piece of music-making software you used and do you still use it?
My very first DAW was Digital Performer. Later I moved to Pro Tools, and eventually switched to Ableton Live - its more experimental approach fits me better.
Do you have a favourite guitar pedal / type of effect you like to use when making music?
I’m drawn to granular-style effects, but if I had to pick one pedal I can't live without, it’s the Chase Bliss MOOD. It’s like a little dream machine.
Your approach to making music is very tactile... what do you think the advantages are of making music like this, rather than by using the computer and software?
Touching knobs and keys directly helps me feel more emotionally connected to the sound. It invites spontaneity, and I often find myself getting completely absorbed in the moment.
What do you think the advantages are of using software over pedals and hardware?
Software offers great flexibility and efficiency, especially when it comes to editing and mixing. While I prefer creating sounds and performing with hardware, I often turn to software for arranging and polishing the final mix - it makes the process much smoother.
Are there styles of music you enjoy listening to and draw inspiration from, but which you don’t directly make yourself?
Yes - I enjoy jazz, post-rock, and minimal classical music. These styles influence my use of space, silence, and emotional dynamics, even if I don’t create them directly.
Do you have any tips for creating field recordings?
Listen for the quiet details, not just the obvious or loud sounds. Movement, distance, and layering can turn simple everyday sounds into something musical and expressive.
What do you think it is about Japan and Japanese culture that has resulted in the creation of Kankyo Ongaku?
I think Japanese culture values atmosphere and subtlety - you can see it in architecture and garden design. That same aesthetic naturally made its way into music.
Close your eyes and let your ears take you on a journey, as you float to somewhere that feels a bit like the glorious, vibrant skies over Japan - download 'Tokyo Bedroom Orchestra - Ambient Drone Samples' and take off today!