Modular synthesis

Monad XVI

Kneeling (Original Mix)

Tulip Space

In Place of Matter

Squared

Please Touch

Spore

Buy/stream: https://kompakt.fm/releases/agartha_lp_dl

‘Where is Agartha? What is the specific region in which it lies? Along what road, through what civilizations, must one walk in order to reach it?.’ Saint-Yves d’Alveydre in 1886

Agartha, the debut full-length album by Japanese producer Wata Igarashi, is a mysterious, divine thing. Named for the mythical secret kingdom, understood as a complex maze of underground tunnels, perhaps designed by Martians who colonised the Earth tens of thousands of years ago, it’s a similarly mystical, perhaps even cosmic trip – but this time, exploring an inner, deeply personal cosmos. Beautifully detailed and bustling with rich incident, it takes Igarashi’s music to new places, which still retaining his unique sonic imprimatur; in this respect, it’s perfectly at home with Kompakt, a label that’s always encouraged artists to make the visionary music they need to create, to take risks and make sideways steps into uncharted territory.

An eloquent producer and DJ, Igarashi has been releasing techno for eleven years now, appearing on such imprints as The Bunker NY, Delsin, Midgar, and Time To Express; he has also self-released his productions via his WIP net label. Throughout, Igarashi has consistently explored his unique approach to techno and electronic music, one that’s eloquent and poised, even when it shifts into more psychedelic terrain; he’s a master at balancing the sensual and the functional, and he has an unerring ear for the right texture, the right tone, at the right time. He brings all of this into Agartha, his most thorough-going expression of self to date.

For Agartha, Igarashi had a strong concept he wanted to explore. Visualising specific scenes from an imaginary film based on the titular secret kingdom, he created soundtracks for those scenes, spending time during the pandemic in his studio, working away carefully at the ten tracks here. Given his background in creating music for television and advertisements, Igarashi is well-placed to explore the marriage of the sonic and the visual in such intimate ways, but freed from commercial concerns, he let his imagination run riot. He also drew on a rich palette of musical influences – techno is in there, of course, but you can also hear the smoky, improvised jazz of the likes of Miles Davis (to whom the album’s title is an indirect nod), and the minimalism and systems music of Steve Reich.

The latter is particularly pronounced on the gorgeous, beatless drift of “Floating Against Time”, where an arpeggiated sequence lingers, lovingly, around your ears for nine blissful minutes, coasting across swooning drones and waves of ambient noise. “Ceremony Of The Dead”, originally composed as part of a Sony 360 Reality Audio spatial sound concert, is a deep pass into systems composition, with various patterns overlaid and interlocking, before a wordless vocal rises from the depths, a gorgeous counterpoint to the swarming textures that gather across the track. On the other hand, tracks like “Burning” and “Subterranean Life” nudge toward Fourth World territory, painting deluxe dreamscapes of uncertain provenance; the title cut is an abstract drift-world, Igarashi painting an alien tableau dotted by shape-shifting creatures.

Agartha’s conceptual framework means that everything on the album sits perfectly together; listening to it in one sitting is a dizzying, lush experience. Its imaginings of inner landscapes recall, in some respects, the nautical, aqueous mythologies of the Drexciyan universe, though from different perspectives. But the result is Igarashi’s own creation, a deluxe, enchanting trip through the visionary Agartha of this unique producer’s cinematic mind’s-eye.

Agartha

Wata Igarashi - Floating Against Time

New SEMANTICA Compilation is about to bright and reflect on already well known directions explored by Svreca’s imprint. Despite the label efforts to hide from any sonic etiquette, still existing a core which will be the SEMANTICA sound identity for a time. 'Iridescent' twist and modulate this heritage which moves gradually from ambient / electronics to techno and set the release directly to S++ category into the SEMANTICA catalogue.

Polygonia - MViVM

Full album → https://goo.su/oFH2oA
Artist: KR
Title: Balance
Format: Digital 
Catalogue: DRSS1028
Tracklist:  
1. Balance
2. No Connection
3. 144
4. Polyround2
5. Pun15h
6. Adgt - KR & OP 
7. Tzuio - KR & OP 
8. Sum Experience - KR & GAB 
9. Hwll

www.diffusereality.net 
linktr.ee/diffusereality

KR & OP - Adgt

First 03.30min -  only Roland Tr-8s. 
From there also Roland SE-02

Unedited Analog Improvised 

RolandTr-09/Tr8 
RolandSE-02
Electronic Piano

https://www.instagram.com/sarastuntdriver

Teknu Minimal - Live & Analog - Roland Tr-8s - Roland SE-02

eMeL - A Desolate State of Being

Sutra

Rösten 1

SHXCXCHCXSH - Stämma #3 (Rösten 1)

buy
https://deathinvegas.bandcamp.com/album/honey

Witchdance Dub ( Richard Fearless Dub ) 

Death in Vegas 'Witchdance Dub'

WORD EP

WORD

Asayita

Asayita 1

Scandinavian Swords II

Tom himmel

Track from NE82 Anthony Linell - Winter Ashes LP
Out on EP and digital March 19th. Pre-orders on Bandcamp from March 5th.

For their first collaboration on an original audio-visual artefact, Ali M. Demirel and Anthony Linell have developed a stunning and unsettling work that studies the Icelandic landscape as a motor of mythology. Titled Winter Ashes, our senses search for logical order and signifiers with which to measure our relation to both the visual and aural elements, and by detailing the inhuman scale and structure of the region in this way, a hypnotic ambivalence regarding our place unerringly haunts the work. This edition is a snapshot of Linell's musical contribution at a moment of reflection in the project's enduring evolution. Far from being an acoustic summation of the collaboration, Linell has derived these pieces from his work with Demirel, retaining the name of the activity through which the album has arisen.

The nucleus of Winter Ashes is the relationship between landscape and mythology, a snare that binds us in contradiction. In its most common usage landscape refers to the visual indicators of any given terrain over and above any innate material properties. In its verb form it typically describes the agreeable construction and reconfiguration of terrain by the human hand. Our aesthetic preferences are from the outset privileged in the concept of landscape; our eyes are obeyed first. This is in distinction to mythology in which allegory upon analogy tells of but does not show the gods. Making sense of this nexus is to train our visual faculties towards seeing what is concealed, if not to merely search for an interaction with what is completely and surely unobservable.

Iceland's unearthly appearance is something else. It is conspicuously suited to the complexities of a task such as that which Winter Ashes imaginatively demands of it. It readily inclines toward the quality of the sublime. Situating this demand historically, Winter Ashes is inspired by the long and fragmented history of recording and retrieving Norse mythology, just as it is the mythology itself. The Codex Regius, a compendium of Old Norse poems that has been dated to the 13th century, and the Edda, a collective term for two volumes of medieval Icelandic literary works to which the Codex Regius is connected, both serve as points of reference. All were lost for periods of time throughout the centuries, and sections of each remain lost forever. As promptly as these documents tell the stories of Norse mythology, they register how easily they recede from written form back into the landscape. Though persistently morphing, it seems truer to look to the latter over the former as the eternal, volatile setting for these stories. Winter Ashes makes this ambiguous task its point of departure.

Words by Patrick Quick

Recorded by Anthony Linell in Gotland, Kebnekaise, Iceland and Stockholm 2019-2020.
Photographies by Ali M. Demirel in Iceland 2019.
Mastered by Neel at EnissLab, Rome.

Winter Ashes

Anthony Linell – The Final Words

https://www.instagram.com/monkeybrewing?igsh=NDhlN2V0enhkc3pp&utm_source=qr

Asayita 1

Abdulla Rashim

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