Descend into the immovable silence of Liturgia Atra, the eighth ritual cycle of the Arkanæa saga. Here, in the cold echo of stone and void, the divine watches without whispering—no warmth, no seduction, only the gravity of ancient liturgy.

Deep, distant Gregorian fragments drift through bowed-stone drones and pipe-organ undercurrents. Metallic scrapes and bone percussion punctuate rusted bells and gongs, while reversed vocal loops and breathless Coptic murmurs swirl like wind in a crypt. Cold analog synths and subterranean thunder recordings ground you in monolithic austerity.

This is a fossilized hymn—an archaic, post-sacramental relic where every tone uncovers what should have stayed buried.

✦ Gregorian Dark Ambient & Cold Ritual Drone
✦ Pipe Organ, Bowed Stone & Bone Percussion
✦ Rusted Bells, Gongs & Subterranean Wind
✦ Reversed Latin & Coptic Vocal Textures
✦ Tape Decay Chants & Monastic Field Recordings
✦ Enigmatic, Minimal & Monumental Atmosphere

Presented by Arkanæa: witness the sacred shadow.

Vox Lapidis

The Missing

The legendary city of Agartha lays deep underground. Atmospheric ambient music. soundscapes and drones by Vril Ya

Recorded August 2025
© 2025 Aeon Records
℗ 2025 Ditto Music LTD

Website

To the North

No More Dreams

1991 - No More Dreams I

From the upcoming Album "Vegetal Negatives"
Release Date 29 March 2019
Hallowground.com
HG1901
Vinyl / Digital

”Let us unfold the animal outward: the bronchia will become a thick foliage, keeping its respiratory function, but in reverse, naturally (CO2 absorption), reversed also concerning color, from the tint of calves’ lungs to its complementary cabbage green. The digestive system will become roots, maintaining its role of drawing in nourishment from the outside environment. […] for each animal form there exists a corresponding vegetal form. The man who would find his vegetal negative and unite with it would restore the integrity of the cosmos.”

Vegetal Negatives is a game of sonic mutations, mimicry, inversions, and association inspired by a text called "On pataphotograms", by the French writer René Daumal – a quasi-metaphysical essay that toys with breaking the conceived separateness of natural forms through poetic imagination.

Marja Ahti (b. 1981) is a Swedish-born artist living and working in Turku, Finland. She has been an active part of the Finnish experimental music scene for more than ten years. Now arriving at her debut LP under her own name, Ahti explores a new formal language and sonic palette that ventures far from the path of her earlier work.

The four electroacoustic compositions on the album combine and arrange field recordings, electronic feedback, Buchla and ARP synthesizers, bowl gong and harmonium, textures of detailed acoustic sound, and sustained tones with gentle microtonal beating into a precise musical narrative. She juxtaposes recordings of rooms and empty vessels, natural and artificial climates, spontaneous and staged events. Ahti draws upon Annea Lockwood's ideas about associative movements between sounds based on shared characteristics and sonic energy. Her approach to field recordings is neither diaristic, documentaristic, nor purely acousmatic, but rather it starts out from somewhere in between these notions: the sounds hover between abstraction and the deeply familiar, moving into a realm of poetic metaphor where they are set in relation to each other, fleetingly mirroring or shadow-dancing. Acoustic environments mutate into synthetically derived shadow forms.

The opening track, "Coastal Inversion”, moves from a seemingly familiar seascape into an ocean of wavelike synthetic staccato patterns, turning itself inside-out on the shore, before diving back into a sea of resonance. ”Rooftop gardens” arranges a series of largely unprocessed field recordings into a dream-logic sequence of upward movement towards the clouds. On the other side, ”Symbiogenesis” brews a slow evolution of wet, airy and earthy sounds and resonant friction. The closing track, ”Chora”, imagines a meditative space of breath: filter resonance posing as organ pipes against a backdrop of breezy industrial hoovers merges halfway with a harmonium improvisation that foregrounds the frictions of the wooden instrument itself, just before filtering out into resonant harmony.

Tracklist:
A1) Coastal Inversion (12:14)		B1) Symbiogenesis (07:22)
A2) Rooftop Gardens (05:44)		B2) Chora (10:47)

Credits:
Marja Ahti: composition, production, field recording, Buchla 200 and ARP 2600
Recorded at EMS, Stockholm, WORM, Rotterdam, and on locations in Greece, Alaska, Finland and Sweden.
Mastered by Giuseppe Ielasi
Designed by Ruth Stofer

Vegetal Negatives

BUY VINYL/DL

MARJA AHTI - Symbiogenesis (HG1901)

foggy

Teredo navalis_excerpts

TEREDO NAVALIS | Enrico Coniglio

Preview of the album 'Luchtwezen'
SØVN Records, July 15 2020, cd/dl/stream
https://sovnrecords.bandcamp.com/album/luchtwezen
____

Constructed by Rutger Zuydervelt, Rotterdam, February – April 2020
Rutger Zuydervelt: church organ (Oude Kerk Charlois), electronics
Berlinde Deman: serpent and vocals (recorded at home, Ghent)
Mastered by Ian Hawgood
Many thanks to Lies Klaus, Gilbert van Drunen (Koffie & Ambacht),
Jaap van Gils, Stepping Stone, and SØVN records 
____

Rutger Zuydervelt, a.k.a. Machinefabriek , needs no presentation to the ambient and drone audiences. (Hyper)active since the early 2000s, he epitomizes a minimalistic, electro-acoustic approach to these genres bringing together real world and synthetic oscillations. Berlinde Deman is a tuba player, and amongst many other projects member of the unconventional jazz big band Flat Earth Society.

In Luchtwezen, the two are brought together by a common veneration of the physical experience of the creation of sound. Both musicians each exploit on this record an unusual instrument: Rutger plays the Hess church organ of Oude Kerk Charlois, in south Rotterdam (together with some electronics); Berlinde sings, and plays the serpent, an ancient wind instrument, made out of wood and shaped like a snake. The meeting of the two should have taken place, as a matter of fact, in the Oude Kerk Charlois itself, during a live concert organized by Koffie & Ambacht. However, the quick rise to power of Covid-19 forced the duo to turn this get-together (as all musical get togethers during our quarantines) into a virtual one: a studio recording, that you can hear as Luchtwezen .

And yet, by just listening to the record, you may be fooled into thinking that this was a live recording - as we have all thought, because of their intensity, that some quarantine Zoom calls were not happening over a screen, but rather out there, in the real world. The flow is natural, the sound space unitary. The clicks of the organ keys are just right there in front of us. After the first brooding half, we all feel the mysterious, oriental breath flowing from the serpent in the spaces between us. And then, a simple melody sang by the organ reminds us of the feeling of excitement of going to a live concert - where you know that a serpent will dance to the sound of the organ's pipes.

Machinefabriek with Berlinde Deman – Luchtwezen (preview)

The Light Of Setting Suns

TR095 - Nemeton / Rafael Anton Irisarri - '...spin into nothingness'

The Duo Ludwig Wittbrodt, that‘s Emily Wittbrodt on cello and Edis Ludwig on laptop and drums. The two develop a thicket of sounds and melodies that absorbs us in a completely unpretentious way and fills us with associations and warmth. Sometimes in the jungle, sometimes under water in the desert, we are reminded of the achievements of both Krautrock and Neue Musik, of early electronic music as well as Drone and Ambient.

At first glance, Emily and Edis seem to be an unequal couple. She has an academic background as a cellist, he is self-taught with his main instrument being computer and programming. She is active in Free Jazz, he drums with the rock band Düsseldorf Düsterboys. On the other hand, both have been active in the Free Improv scene in the German Rhine-Ruhr region for years - for example in ensembles such as The Dorf or Hilde (Emily) and Nasssau or Transport (Edis).

After some concerts and a first tour now is the time for the release of the group‘s debut album. Ludwig Wittbrodt will be released on cassette (yes, on real music cassette) and of course digitally. These four tracks, which evolved from a mixture of improvisation and joint composing, show the musical communication between Edis and Emily, but also the fun of combining moods, styles and instruments, which, according to our dusty listening habits, are surprising and irritating in a pleasant way.