'Catatonia' visualizer:
youtu.be/zF63FU2HGiI

By now, the second full-length album of my side project, Section Zero, is more-or-less done. I started working on it in early 2022, and finished it in the first half of 2023. However, it’s not ready for release just yet. For the time being, here is something slightly different, to at least break the four-year period of silence after Adema.
Fragments is not really a studio album, it’s rather a compilation of singles made during and after the Adema sessions, hence the title. They explore similar themes, have similar inspirations, and delve into similar sonic realms. These nine tracks are the essence of these “leftovers”. They were produced from 2016 all the way to 2021.
Fragments is deep, dark, melancholic and minimalistic, just like Adema. Triphop, ambient, tribal experiments, electronica. Adema and Fragments belong together, with Fragments being the supplemental piece, or the “spin-off”, if you will. Different pieces from the same story.

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Track-by-track:

Remember (around 2016):
- The basis of this track is a percussion sample I recorded, in which I played a rhythm on a metal stairwell handrail. After I managed to tune it to a note I liked, I started building the track around it, adding the vocals, and multiple different layers of percussion.

Catatonia (2017, 2021)
- I tried a different track structure here, and it worked quite well. Although it’s only 3 minutes, it can be broken up into separate movements. Otherwise, it’s a simple breaks/dubstep kind of rhythm, with a retro-sounding “synth” lead (which is actually made from a recorded sound) and loads of reverberated sounds and vocals.

Unknown God (2019)
- Before the home office era, I made a lot of music in the office at work, at times when I was bored, had nothing to do, and nobody cared. As the toolsets of mobile DAWs are quite limited, the results didn’t always turn out to be anything interesting. However, there were tracks made almost completely on my phone with which I’m quite happy, one of these is Unknown God. The vocals were recorded as a sound note earlier, also with my phone, but I didn’t want to re-do them, because I liked the lo-fi aesthetic of the way it worked with the rest. Lev played the piano on this one, which was also recorded the same way, long before the actual track was made, and it was used like a sample. The track itself is not typical Section Zero, it has a more definite rock/metal vibe to it.

Doaivu (2021)
- The vocals and vocal processing were made a few years ago, but it didn’t go any further then. The project was revisited in 2021, and made into a song. This is a brighter ambient track, not really in line with the dark atmosphere of most Section Zero songs. The title means “hope” in the Northern Sami language, I simply liked the sound of it, and the fact that there is something hopeful about this track, even though it’s kinda sinister at times.

You Devoured The Sun (2019)
- This one started out as a Kauna track, but around halfway into the writing process, I had the idea for the lyrics and vocals, so I completely restructured the song to fit the new purpose. Still, it’s a drum & bass track, and I even played it in some of my Kauna DJ sets.

When The Trees Started Moving, Part II (2017)
- This one had many different versions with different lyrics and vocals, but it eventually became the continuation of WTTSM from Adema. In this new form, I recorded the rest of the vocals for the song, the lyrics of which are in the Adema booklet. However, I eventually decided to cut most of it, as it works better as a mostly instrumental track in my opinion. The music is minimalistic, percussive, dark and ambient, with some unusual rhythm patterns.

Somewhere Beyond (2016)
- This is an instrumental hiphop track, in the Section Zero mood, based around a contemplation of death. The speech samples are from a radio broadcast in the film White Palms (Fehér tenyér), directed by Szabolcs Hajdu. Lev is featured, as he wrote and played the main piano theme of the song.

The Deep (2019, 2021)
- Inspiration for The Deep and the lyrics came from the Puzzle Box of Yogg-Saron in World of Warcraft. The lyrics and the item itself are related to the Old Gods of the Warcraft mythology, which are in turn analogous to the Gods of the Cthulhu Mythos by H.P. Lovecraft. Probably the darkest one on the album, this is a simple minimal bass music track. Most of the ambient pads and sound effects are processed layers of my voice.

Soulache (2019)
- I originally envisioned a two-track single with Soulache as the A-side, and Unknown God as B, since they were made in more-or-less the same time period, and they seemed to work together. This track was initially inspired by and also features the epigram Agonia Christiana by János Pilinszky. I experimented with auto-tuning a short, distorted piano sample, which became the twisted and detuned lead melody of the track. The drums were recorded ages ago, during one of the earliest drum recording sessions with Diablo back in 2015, with quite lo-fi equipment.