Kmang Kmang The 45-minute performance was part of a 7-band benefit show for Youth Recording Chicago, a non-for-profit organization aiming to build and run a cutting-edge studio in the second city that will allow talented Chicago-area kids to record in a professional atmosphere without worrying about the obstacles involved and funds traditionally needed to allow such an opportunity.

Like the name, Kmang Kmang’s sound also works to reflect the two main musical personalities of the band. With Ung on acoustic guitar, loops and effects, Brett Swenson on drums and Sam Filip on string bass for this first outing, a deliberately cool yet energetic concoction was brewed, one the band calls classical guitar trip hop. Ung projected a reserved but authoritative stage presence as he scaled the fretboard, mixing hypnotic passages with sudden solo burst high on the tonal register.

The compositions’ titles suited the sound. “Drifting” opened up the set with a smooth background of bass and drums, with guitar chiming in, slowly leading the ensemble into an upbeat second half. “Calm” was a cover of an arrangement by Israeli jazz bassist and composer Avishai Cohen, one of the band’s key influences. The piece carried a heavily atmospheric quality to it, with simple strumming creating a mood ideal for constructive contemplation.

A bit of Cambodian flavor was mixed in with “Welcome,” a traditional ceremonial song suited to gatherings of friends old and new – very appropriate in a room filled with the people behind this cause, the other bands playing, and many of their supporters. The drums brought a laid back jazzy quality to most of the songs, and while this added to the overall effect, the differences between the bass and guitar occasionally drowned this out. With so many solos popping up here and there with both instruments, one specific sound would occasionally overpower the others, sometimes adding a roughness that clearly was not intended. Slightly off-kilter tempos during these instrumental switch-offs were another issue, but the band found these rough spots quickly and regained momentum.

These are minor things that probably have more to do with the sound setup than individual musicianship; each member has mastery of their instrument. This was again evident on “Simpliminal,” a lovely piece with a bass and guitar pattern that included bowing and more loops, bass weaving between steady drums.

A few pieces had Ung sing and chant in hushed tones, while the last one featured him promoting the band a bit. There’s no shame in that, especially given the good natured tone in which this was done; the audience was respected enough to be allowed time to absorb the sound and come to its own conclusions. The band was really there to create a meditative mood that was spiked with just enough musical gymnastics to exhibit talent while avoiding the any urge to be excessively showy.