"La Ola Interior covers a lot of stylistic ground. There's despondent drones, classic analog synths excursions, detached chants, field recordings, and, yes, even some more rhythmically forward tracks. But what unites it all is a clearly DIY aesthetic and a demand for your attention. Often, ambient music is designed to fade into the background. It "must be as ignorable as it is interesting," according to Brian Eno."
"The opening track from Miguel A. Ruiz, "Transparent," is built around a short loop of what sounds like a piano. It's bathed in aliased noise, suggesting it's being played by a low-bitrate sampler. What unfolds is almost like a reverse of William Basinski's Disintegration Loops. The lurching melancholy loop slowly fills in, adding more layers, building to a dense crescendo that abruptly cuts out."
La Ola Interior compiles Spanish ambient and acid tracks from 1983–1990 that sound unexpectedly contemporary. The collection spans despondent drones, analog-synth excursions, detached chants, field recordings, and rhythmically forward pieces, all linked by a DIY aesthetic demanding attentive listening. Many pieces resist New Age smoothing, favoring experimental textures, repetition, and hypnotic layering. Miguel A. Ruiz's "Transparent" uses a lo-fi piano loop that expands into a dense crescendo before cutting out. Camino al Desván evokes half-speed Tangerine Dream, Finis Africae blends Krautrock with Spanish and Arabic folk, and Orfeón Gagarin delivers drumless, Kraftwerk-adjacent electronics.
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