The Rise of ‘Kankyō Ongaku’ and the Future of Immersive Music Experiences
Over 8 hours of raw material distilled into a single album. That’s the foundation of Emily A. Sprague’s upcoming release, Cloud Time, a project deeply rooted in the Japanese philosophy of kankyō ongaku – environmental music. But this isn’t just about one artist’s creative process; it signals a growing trend towards music designed not just to be heard, but to be experienced as an extension of the surrounding environment, and it’s poised to reshape how we consume and create soundscapes.
From Indie-Folk to Ambient Soundscapes: Sprague’s Journey
Known for her work with the indie-folk band Florist, Emily A. Sprague’s solo ventures delve into the realm of ambient music. Cloud Time, set for release on October 10th via Rvng Intl., was born from a period of immersion during a tour of Japan last year. Sprague intentionally approached the project not as a creator imposing her will, but as a listener responding to the spaces and energies around her. This approach, she explains, was about “opening myself up to this new place instead of bringing something into it tightly under my control.” The resulting album, featuring tracks named after Japanese cities like “Tokyo 1” and “Osaka,” is a testament to this philosophy.
Kankyō Ongaku: More Than Just Background Music
Kankyō ongaku, emerging in Japan in the 1980s, isn’t simply ambient music; it’s a deliberate attempt to create soundscapes that blend seamlessly with the environment. Pioneers like Hiroshi Yoshimura and Midori Takada aimed to create music that was unobtrusive yet subtly influential, enhancing rather than dominating the listener’s experience. It’s a stark contrast to the often-aggressive sonic landscape of modern life. This philosophy is gaining traction globally as people seek refuge from constant stimulation and a deeper connection with their surroundings. You can learn more about the history and impact of this genre here.
The Immersive Audio Revolution: Beyond Binaural Beats
Sprague’s work, and the resurgence of kankyō ongaku, are part of a larger trend: the rise of immersive audio experiences. While technologies like binaural beats and spatial audio have gained popularity, the core principle extends beyond technical tricks. It’s about a fundamental shift in how music is conceived – from a product to be consumed to an environment to be inhabited. This is fueled by several factors:
- Increased Demand for Mindfulness: A growing awareness of mental wellbeing is driving demand for calming and restorative soundscapes.
- Advancements in Spatial Audio Technology: Headphones and sound systems are becoming increasingly capable of delivering truly immersive audio experiences.
- The Metaverse and Virtual Reality: The development of virtual worlds creates new opportunities for sound designers to craft compelling and realistic sonic environments.
The Role of Improvisation and Field Recording
Sprague’s emphasis on improvisation and recording on location highlights another key element of this trend. Field recording – capturing sounds directly from the environment – adds a layer of authenticity and realism that is difficult to replicate in a studio. This approach is increasingly common among artists seeking to create truly immersive experiences, grounding the music in a specific time and place. The album Cloud Time, distilled from over eight hours of recordings, exemplifies this dedication to capturing the essence of a location.
Future Implications: Sound as Architecture
Looking ahead, we can expect to see music increasingly integrated into architectural design and urban planning. Imagine buildings designed with acoustics in mind, incorporating ambient soundscapes that promote relaxation and focus. Or public spaces where music dynamically adapts to the environment and the movements of people. This isn’t science fiction; architects and sound designers are already exploring these possibilities. The principles of kankyō ongaku offer a valuable framework for creating spaces that are not only visually appealing but also sonically harmonious. The release of Cloud Time, following on the heels of Florist’s Jellywish, is a compelling example of an artist pushing the boundaries of what music can be, and hinting at a future where sound is considered an integral part of our environment.
What role do you see immersive audio playing in the future of music and design? Share your thoughts in the comments below!
