(2022) (full Album) | Taro Nohara - Poly-time Soundscapes / Forest Of The Shrine

: Critics have noted the "gentle" precision of Nohara’s production. It avoids the coldness of some IDM, opting instead for a warm, humid soundstage that feels "alive."

: This side features bubbling arpeggios and intricate percussion. It leans into the "Fourth World" tradition pioneered by Jon Hassell, mixing digital sounds with an "organic" feel. The tracks are meditative but maintain a steady, hypnotic pulse. Side B: Forest Of The Shrine

Analog and digital synthesizers, drum machines, field recordings. Slow to mid-tempo; non-linear "poly-time" structures. Atmosphere Pastoral, spiritual, humid, and tranquil. : Critics have noted the "gentle" precision of

: Atmospheric immersion and environmental storytelling.

: Being released on WRWTFWW placed it alongside reissues of Japanese ambient legends like Hiroshi Yoshimura and Midori Takada, signaling Nohara's place in the modern lineage of Japanese minimalist music. Summary of Musical Elements Description Instruments The tracks are meditative but maintain a steady,

The album serves as a sonic bridge between traditional Japanese aesthetics and modern electronic synthesis. Nohara utilizes a "poly-time" approach, where various rhythms and textures operate at different speeds, mimicking the organic, non-linear flow of nature. Side A: Poly-Time Soundscapes Focus : Rhythmic complexity and synthetic textures.

Released in 2022 on the Swiss label (We Release Whatever The Fuck We Want), this double-sided project is a significant solo outing for Japanese artist Taro Nohara , also known as Yakenohara. It is a contemplative blend of ambient, fourth world, and environmental electronics. Overview and Artistic Context Atmosphere Pastoral, spiritual, humid, and tranquil

: The album is often praised for its ability to sound both futuristic and ancient. It explores the relationship between human-made technology (synthesizers) and the natural world.