Suche:ágata

Berlin-based artist ágata explores her sound and voice in an intimate musical practice, where sincere storytelling meets sonic meditation and voice becomes a force of nature. This album follows ágata’s self released debut “primeros pasos”.

Looking through the window, waiting to enter the body, the storm we see on the other side. Thunder and relief. Consuelo. To surrender from listening to the body. To surrender to love as a state that heals and when it leaves it wakes up fear, confusing itself. To carry us until the end, until eternal. Pulso. To multiply from reflection instead of losing one self, to re-encounter each other’s pulse. A song to oneself, to love and expand our power from and towards love. words by Merma Suelo

Japanese folk-rock legend Morio Agata stunned fans with this way-outta-left-field dispatch - a synthesizer-laden, new-wave/post-punk classic. Originally released by Osaka’s Vanity Records in 1980 and back on vinyl for the first time in nearly 40 years, this fully authorized reissue has been remastered from the original analog tapes. In tip-on sleeve, with double-sided insert.

50 years ago, Hokkaido-born singer-songwriter Morio Agata released his debut single, Sekishoku Ereji (Red Elegy), an emotive, shuffling piano ballad that (shockingly) sold half a million copies in Japan. While he would never have another Top-40 hit, Agata would spend the next half century issuing a series of idiosyncratic, experimental pop albums. Today, he’s a beloved cult figure, still actively touring and recording in his seventies.

In his first decade as a recording artist, Agata released a stream of classics right out of the gate — Otome No Roman (1972) melded American-styled folk rock with traditional Japanese melodies, Zipangu Boy (1976) was a sprawling, Haruomi Hosono-produced psychedelic opus, and Kimi No Koto Suki Nan Da (1977) saw Agata tackle slick, lightly funky AOR. While this sort of stylistic schizophrenia might sink your average artist, Agata’s singular voice and magnetic charisma elevates everything he touches, and subsumes it all into Morio Agata World — a joyous, playful and frequently unhinged world.

Arguably the biggest left-turn of Agata’s early career, however, came in 1979, when legendary experimental label Vanity Records’ Yuzuru Agi paired Agata with major players from his label’s roster and the Osaka punk scene for an impromptu recording session. An impressive list of musicians took part (SAB, Yukio Fujimoto (Normal Brain), Masahiro Kitada (INU), Taiqui (Ultra Bide), Jun Shinoda (SS), Chie Mukai (Che-Shizu), and others) and even though they all came from different wings of the underground music scene, together they built an arresting, minimalistic bedrock of synthesized and acoustic sounds for Agata to work his magic over. The recording sesssions were tense and it took a while for the collective to find their footing. But the hard work paid off — Norimono Zukan is a masterpiece of ramshackle new wave and droning dirges, topped off with Agata’s unmistakeable croon, at times delicate, other times twisted. It’s a relatively short album, but a deep one, and Mesh-Key is honored to introduce it to a new generation of music fans.

Marie-Pierre Rixain and David Fenech form an unexpected and captivating duo, pushing the boundaries of alternative music. Together, they embark on an unclassifiable sonic journey, blending industrial downtempo, steady kicks, cold percussion, field recordings, and electric guitar feedback. Their music, often dark, carries flashes of warmth inspired by British dub—like an imaginary collaboration between The Bug and This Heat. At times, it echoes the world of La Perversita by Hector Zazou & Co.



Their debut album, Insane Ghosts, due out in spring 2025 on the Parisian label Hublotone, was recorded in 2024 in the intimate privacy of the bedroom. Mixed by David Fenech, it also benefits from the participation of Alexandre Berly (La Mverte) on the track ‘Toi en Moi’, adding a sub and experimental touch. The mastering was handled by the legendary Noel Summerville, whose sonic signature graces iconic albums by The Clash, My Bloody Valentine, Kraftwerk, Aphex Twin, and Nick Cave and the Bad Seeds.



The album cover features a striking work by French photographer and filmmaker Antoine d’Agata (Magnum Photos). His poetic and abstract image adds another layer to Insane Ghosts, a project already shaping up to be a must-have for fans of introspective, dark and cold music. Like if Lost in Highway from David Lynch had a new soundtrack.

White Vinyl

Greyscale's most personal release and perhaps the most important for label owner grad_u aka Aleksandr Martinkevič. Earlier this year, Alex was diagnosed with cancer. Certainly a horrible thing to hear and there has definitely been some low moments in certain stages of the journey. At just 36 years old, many of us are shocked that such a young person can develop cancer. After some research he found out that younger and younger people are randomly getting cancer studies show. An alarming trend to learn about. However, there has also been a lot of other learning and different new levels of appreciation for the simple things in life as a new higher level of inspiration in making music has manifested. And this new release encapsulates that. Alex has also felt a duty to make things better for others. Focusing on what can be improved as he wants to highlight research, treatment and the overall communication of this disease to more people in the electronic music scene. Part of the proceeds from this new album will be donated to the National Cancer Institute in his homeland of Lithuania.
Alex wants everyone to know that catching these signs early and getting regular checkups are your best chance at beating cancer. Thankfully Alex did this also and his treatments have gone well. Alex plans still stay steadfast with his label and his life. Simplifying things with the love from his family and friends, focusing on his hobbies
along with making sure he makes his health his #1 personal priority.
The name for this full length release is titled 'T2NO'. grad_u's most introspective work yet features 8 emotional tracks overall. The honesty expressed in this album is blunt and to the point. These tracks take you on an audio journey thru grad_u as he expresses his feelings thru the entire process in each stage.
Beginning with two wonderful ambient tracks named 'Genetic Mutation' & 'Carcinogen'. In the opener, Chords rain over you as a beautiful ambient melody peeks out underneath it followed by a more stark and hazy field of interference. From the gentle opener to the more tension filled follower, the personal journey of grad_u is
developing before your ears. The b-side of 'Neoplasm' is a bit more somber but also has a ray of light in it.
Introspective as it can get, this is a true journey through an uncertain future. 'MRI scan' needs no explanation....
The second half of the album begins the understanding of what grad_u was going thru. 'Malignant Transformation' gives off that feeling of the human body working thru the science. Fight or flight becomes the theme for this track. 'Adenocarcinoma' almost gives off the sound of cells rebuilding themselves. Sci-fi meets real life in this epic battle. 'Resection' continues this scientific sounding reflection on the body healing with sounds of movement and time. As if the body is working itself out. Lastly and triumphantly comes the closing
track 'Waking up to a New Life'....
The emotional journey of this album isn't for the faint of heart. It leaves nothing to the imagination. It works thru all the emotions that can come with such and life changing event like having cancer. We want to thank grad_u for sharing his story with us. This story can happen to anyone...
"I would like to take this opportunity to express my great gratitude to doctors A. Dulskas, G. Jurevičienė, V. Sidorov and all staff in Abdominal Surgery and Oncology Department at NCI. Thank you for your expert care and for saving my life.
Also, big big thank you my family and closest friends for all their love and support during this difficult period of time and always being there for me."
Special thanks to Lithuanian Council for Culture, associations AGATA and LATGA for support of this special project.
Part of proceeds from the album will be donated to National Cancer Institute, Lithuania

Die Verwandlung von Geschichte in einen Mythos macht persönliche Erfahrungen universell - ein Prozess, der in der Musik der russischen Produzentin Yana Kedrina, bekannt als Kedr Livanskiy, eine zentrale Rolle spielt. Auf ihrem fünften Album, "Myrtus Myth", entwirft sie eine experimentelle Pop-Reise, die von persönlichen und öffentlichen Mythologien inspiriert ist und Esoterik mit erzählerischer Tiefe verbindet. Livanskiys Musik war schon immer von Geheimnissen durchdrungen, von den ätherischen Synthesizern ihres Debüts "January Sun" bis zu den spirituellen Harmonien von "Liminal Soul". Mit "Myrtus Myth" wagt sie sich noch weiter vor und zieht Parallelen zu ihrem zweiten Album "Ariadna", während sie ihre Klangpalette mit dem Produzenten Flaty erweitert, der für seine futuristische, genreübergreifende Arbeit bekannt ist. Gemeinsam gehen sie über die Strukturen von Dance Music hinaus, integrieren Live-Instrumente und Einflüsse von Vaporwave bis Kate Bush. Zu den Höhepunkten des Albums gehören "Anna", eine von Fleetwood Mac inspirierte Pop-Elegie für eine verlorene Freundin, und "Purple Sadness", dessen knackige Synthies an den Cloud-Rap der frühen 2010er Jahre erinnern. Tracks wie "Agata Dreams" erinnern an 90s Electro-Pop, während "Spades on Hearts" ein hymnischer Aufruf zu den Waffen mit marschierenden Trommeln und hochfliegenden Vocals ist. Livanskiys Texte, die auf Russisch verfasst sind, bieten eine Heldenreise über 11 Tracks, die sich auf Mythen wie Orpheus stützen, um die dauerhafte Kraft der Kunst zu erkunden. Obwohl das Album stilistisch vielfältig ist, behält es durch seine mythische Erzählung seinen Zusammenhalt bei. Das eindringliche Schlussstück "Kali-Yuga" beklagt in zarten Harmonien eine verlorene Stadt und lässt den Hörer in einem traumhaften Dunst zurück. "Die letzten Jahre waren für viele schwierig", reflektiert Livanskiy. "Dieses Album erforscht den Schmerz durch das Mythische und Jenseitige." "Myrtus Myth" ist keine Tragödie, sondern eine Geschichte der Unverwüstlichkeit, die den Hörer auffordert, die Menschlichkeit im Mythos zu finden. Während die imaginären Welten verblassen, erinnert uns Livanskiy mit ihrem Werk daran, dass die reale Welt und die Zeit, die wir in ihr verbringen, bestehen bleibt.

Presenting 3+5, the long-awaited eighth album from Tokyo-based noise-rockers Melt-Banana on their own A-Zap label! The album showcases the duo’s visionary musical approach and extraordinary abilities as performers: Yasuko Onuki’s giddy, hyperactive vocalizing and Ichiro Agata’s glitchy, cyberpunk guitar, delivered at dizzying speed, bathed in aggressive electronic sounds. Their aesthetic approach is exultantly experimental, fusing diverse genres imbued with chaotic energy. As on their previous works, the music on 3+5 is unpredictable, always filled with surprises and excitement. 3+5 synthesizes elements of a variety of extreme music, hyper-pop, classic punk, vintage metal, and noise. It partakes of Japanese culture overall, especially the subcultures of gaming, anime and underground music. Melt-Banana seek to offer possibilities to musicians who won’t start a band if they can’t find a drummer, young women afraid to express themselves in their own unfiltered and unique voices, bedroom musicians and egg punks seeking to blend electronic noise with live instrumentation. 3+5 provides a fresh experience and perhaps inspiration for all. While Melt-Banana hasn’t explicitly explained the meaning behind the album’s title, 3+5, prime numbers symbolize mathematical integrity and independence, which could represent the band’s uniqueness and freedom. Why “3+5” and not “1 + 7”? One is left to ponder.

Sign Libra's third album Hidden Beauty is an intimate voyage through feminine nature, guided by the arts of subtext, musical collage, and mysterious allusions. Elegantly arranged, enigmatic, and mischievous, Hidden Beauty seeks to "release the invisible and bring fragility to the surface." From the rainforests of Closer to the Equator (Sounds of the Dawn, 2016 / Antinote, 2018) to the surreal lunar landscape of Sea to Sea (RVNG Intl., 2020), Agata Melnikova, the Latvian musician behind the Sign Libra symbol, has developed a signature blend of evocative composition with lyricless, ethereal vocalizing. Hidden Beauty attends to a closer space than her first two albums, a playfully layered pastiche of refined references, drawing musical inspiration from the assortment of Erik Satie, the early work of Mylène Farmer and Laurent Boutonnat, and 90s R&B. The first inklings of Hidden Beauty arrived in 2019, with the basic contours of the album sculpted in 2020 and early 2021. Like Sea to Sea, Hidden Beauty was invented as a solitary creative effort, but this time under uniquely hermetic impositions. Tethered to the world only by screen, the artist sought inspiration from an unlikely array of activities: new, unorthodox approaches at composing, learning French, a virtual pedagogical practice, and plenty of jubilant dancing in her flat, sunglasses on, to 90s dance music. Hidden Beauty moves inward from the distant spaciousness of Sea to Sea in favor of a "chamber-like" sound, reflecting the intimate environs of its creation. Balancing the New Age balletic resonance of Closer to the Equator and the cosmic-dancerly tracks of Sea to Sea, Hidden Beauty combines deft, postmodern arrangements with popular, contemporary suggestions. The reverb drenching her previous recordings is sponged up in the songs of Hidden Beauty, giving the exercises contained within a feeling of presence, and closeness. And always Agata's crystalline vocal furnishings, less a lead vocal than a first instrument, the ever-returning counterpoint in a beatific swirl. The other hidden elements of this work are plenty, and perhaps best left concealed for the listener's enjoyment. Or perhaps they are hidden in plain sight and sound, depending on what the puzzle pieces reveal to your imagination. Sign Libra's Hidden Beauty will be released in vinyl, Japanese import CD, and digital editions on November 3, 2023. A portion of the proceeds from this release will benefit Coral Guardian, a non-governmental organization working internationally and with local communities to protect coral ecosystems.

Repress!

Mesh-Key is pleased to announce the release of a lavish, limited edition run of this heretofore unheard collaboration, finally seeing the light of day 15 years after its recording. Acoustic instrumentation and synthesizers meet Mukai's haunting voice for four sparse, minimalistic compositions unlike anything in either artists' previous output.
.
Mesh-Key is pleased to announce the release of a lavish, limited edition run of this heretofore unheard collaboration, finally seeing the light of day 15 years after its recording. Acoustic instrumentation and synthesizers meet Mukai's haunting voice for four sparse, minimalistic compositions unlike anything in either artists' previous output.

Chie Mukai is a composer and musician from Osaka, Japan, best known for her underground improv-folk group Ché-SHIZU (PSF), which she founded in 1981. In addition to her song-based work, Mukai has been an active improviser since 1975, when she joined the East Bionic Symphonia group under the leadership of Fluxus violinist-composer Takehisa Kosugi at the Biggako Art School of Tokyo. She has since collaborated with Keiji Haino, John Duncan, Agata Morio and many others. Her primary instrument is the bowed Chinese er-hu, but she also plays piano and percussion.

The people at Antinote are always excited to introduce new names to its roster and Sign Libra, its latest addition, makes no exception to the rule.
.
Released under the moniker Sign Libra, Closer to the Equator is the work of Latvian artist and composer Agata Melnikova. Composed for a contemporary ballet at Latvian National Opera in Riga, the music on this record strongly relies on Melnikova's appreciation of BBC-produced nature documentaries. Projecting the life of each creature that inhabits the British TV-program into her very personal and highly synthetized world, Sign Libra lends these microscopic beings her own voice. Each song works like a musical tableau' in which the main protagonists - plants and animals - come on stage to play their part in a ballet carefully choreographed by the Latvian artist.

Sign Libra's mental and musical incarnations of the microcosm of the rainforest have something to do with Software's album populated by exotic insects and crawling plants, a Carnaval des Animaux' released on Sky by a MIDI-addicted Hector Berlioz. These microscopic beings incarnate themselves in resonated melodies that echo through a technicolour rainforest, while winds blow through holographic ferns, vines and palms.

Closer To The Equator synthesizes visions panning treetops as the sun's rays pierce through clouds nearby. Sign Libra takes you into a harmonic world that shines brightly wherever you stand, and offers a genuine synesthetic experience.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl