Remarkably, the collection known as La Ola Interior (Spanish Ambient & Acid Exoticism 1983-1990) carries a surprisingly modern tone, despite its tracks being recorded during the mid to late 1980s. By this time, ambient music as a genre was already well-rooted. However, while the ambient scenes in the U.S. and Japan began to drift into New Age realms as the century wound down, artists from the Spanish peninsula were delving into more experimental territories.

The compilation La Ola Interior showcases a rich tapestry of styles. It features everything from somber drones and classic analog synth adventures to detached chants, field recordings, and even rhythmically driven pieces. What ties these diverse elements together is a distinctively DIY approach and a powerful demand for the listener’s engagement.

Typically, ambient music is crafted to subtly blend into the background, aligning with Brian Eno’s notion that it “must be as ignorable as it is interesting.” Yet, the tracks on La Ola Interior often defy this convention, urging active listening with their hypnotic textures and repetitive motifs rather than their ability to be ignored.

Opening the compilation, Miguel A. Ruiz’s track “Transparent” revolves around a short piano loop, cloaked in aliased noise, hinting at its low-bitrate sampler origins. This piece evolves in a manner reminiscent of William Basinski’s Disintegration Loops but in reverse, as the layers build into a rich crescendo before suddenly halting.

This is followed by Camino al Desván’s “La Contorsión de Pollo,” which resembles Tangerine Dream at a slower pace. Finis Africae’s “Hybla” blends Krautrock with Spanish and Arabic folk influences, creating a rhythmic and catchy tune. It complements tracks like Orfeón Gagarin’s “Última instancia,” akin to a drumless Kraftwerk. Meanwhile, Javier Segura’s “Malagueñas 2” leans toward an orchestral, almost epic sound, unfolding like an unresolved hero’s journey.

Numerous artists make multiple appearances throughout the compilation, allowing listeners to grasp each artist’s unique role within this eclectic, interconnected scene. Some, like Finis Africae, draw from traditional musical roots, while others, like Segura, echo the influences of American minimalist composers. Artists like Ruiz remain delightfully unclassifiable. Yet, what binds them all is a shared pursuit of sonic exploration.

Compilations like La Ola Interior are invaluable for preserving lesser-known works from artists often overlooked by American audiences. The label Les Disques Bongo Joe puts out a number of such collections and is well worth following on Bandcamp.