Noise and artwork by Karl Grümpe, 2025.
Everlasting mentor: Rene P.G.
For the loving memory of Maestro Popovski (2008-2025), a comrade, a companion, a surrealist, our beloved cat.
mai12.bandcamp.com
noise.mai12@gmail.com
Limited edition of 23 double floppy disks
Philippe Neau lives and works in France. His artistic practice circles around a single pursuit: the shaping of an imaginary landscape. Each work reaches toward a mental topography, a place that exists somewhere between perception and projection. His music summons these spaces through non-narrative form, built from muted field recordings, organic collages, abstract tonal fragments, rumbling glitches, atonal gestures, metallic textures and distant, half-remembered voices. The atmosphere often thickens into density. His palette is sharply contrasted, moving in the shifting interval where familiarity blurs into the uncanny. The sound swells, envelops, inhabits. These sonic terrains carry the listener into a state of immersion, an encounter with a place that is felt rather than described.
LR Friberg is a Swedish composer, mastering engineer and narrative artist whose work bridges sound and speculative fiction. Her music begins in mathematical processes – cellular automata generating evolving harmonic structures – and grows into immersive, emotionally driven ambient landscapes. Each piece functions as both music and world-building: sonic fragments of the ongoing fictional universe she writes, where light, place and connection shape atmosphere as much as melody. Her focus is precision, mood and storytelling through sound.
This collaboration emerged through a suggestion from Ivo Petrov at Mahorka for the “Making Things Happen: Netlabel Day 10th Anniversary Compilation”, released in the summer of 2025. While their contribution to that compilation carried an ironic glint, this album moves in a different direction – principled, disciplined and fully aligned with their respective aesthetics. Philippe’s textural density and shadowed abstraction meet LR’s luminous ambiences and patient rhythmic pulses, coalescing into a sound world reminiscent of the early pioneers of drifting electronic landscapes: spacious, enveloping, deep-focus environments where harmonic movement unfolds slowly and soft pulses act less like beats and more like shifting tectonic plates beneath the surface. The result is an immersive sonic terrain where two distinct artistic languages converge into a shared, resonant place.
Philippe Neau: field recordings, ambiance, effects.
LR Friberg: synthesizers, ambiance, effects, production, mastering, artwork.
Sanna Nordin: Foldverse thematic inspiration.
philippeneau.bandcamp.com
aurora-mm.codeberg.page/Foldverse/
aurora-mm.codeberg.page/Aurora/
aurora-compilations.org
Born Vladimir Genadiev, MEION starts producing electronic music and DJing from early age. Common features of his works are industrial atmospheric elements and raw power.
MEION is persuing to bring fresh energy and innovations in bass music and has developed a unique and distinctive signature sound featuring specific heavy basslines, variety of colorful yet deep cinamatic textures and technically intricate yet powerfully kicking drum sounds and patterns.
“Drowned memory”, MEION’s debut on Mahorka, is a mini-album showcasing a more abstract side of his music. Dark, fractured beats and deep, rumbling bass, hollowed by heavy grooves, cinematic industrial atmospheres and raw electronic power, simultaneously induce head‑nodding and submerge the listener in a state of tension where memories clearly hold sway…
Wahn is an electronic music producer based in Rennes, France, whose work explores the blurred edges between techno, ambient, and bass-driven sound design. His music is built around texture, weight, and duration – where rhythm exists as pressure rather than propulsion, and sound unfolds in slow, immersive layers.
The Drifted series marked a defining phase in his work: a body of releases rooted in rhythmless and slow-motion ambient music, shaped by heavy sub-bass, grain, and cinematic restraint. Each volume is released on a different label and in a different country, turning the series into an ongoing journey beyond comfort zones and algorithmic habits.
Across his releases, Wahn develops a deeply physical approach to sound. Sub-bass is central – not as impact, but as presence – while drones, echoes, and organic textures shape spaces that feel both intimate and unsettled. Melodic elements, often sparse and fragile, offer moments of breath and quiet clarity within darker emotional landscapes.
Whether working in ambient forms or moving toward more rhythmic territories – techno, dub-inflected structures, or hypnotic repetition – his music remains introspective and tactile. Wahn’s sound is less about narrative than sensation: a suspended state where tension, melancholy, and faint light coexist, resonating long after the music fades.
Echo Mist Light unfolds as a dense, inward form of techno – heavy, blurred, and suspended in echo. The music moves through foggy territories where rhythm is present but never dominant, shaped by pressure, repetition, and the slow accumulation of texture. Dub-inflected delays stretch time, while ambient drones linger beneath the surface, anchoring the listener in a space that feels both physical and psychological.
There is a constant tension throughout the album: unease without collapse, weight without aggression. Sub-bass plays a central role – not only as sound, but as sensation – pressing against the body, grounding the mind, reinforcing a feeling of persistence rather than momentum. The tracks seem to circle their own gravity, caught in loops, phases, and residual motion.
Yet Echo Mist Light is not closed or entirely dark. Within the mist, moments of clarity appear. Melodic fragments and restrained harmonies surface quietly, carrying a fragile sense of openness and release. Light does not arrive as resolution, but as something that holds – brief, subtle, and necessary. A glow rather than a breakthrough.
Balancing techno, ambient, and dub aesthetics, the album inhabits a liminal space where repetition becomes introspective and intensity turns inward. Echo Mist Light is music for suspended states – where pressure, doubt, and calm coexist, and where something continues to resonate long after the sound fades.
Composed, produced and mastered by Wahn
Artwork by Erwan Charier
Released February 14, 2026 as free digital download and in limited audio cassette edition.
Long before her work was fully seen, Leonora Carrington lived in the margins of Surrealism.
First eclipsed by the figure of Max Ernst, then displaced – geographically, symbolically – to Mexico, where her world finally began to unfold.
A world shared with other insurgent imaginations, among them Remedios Varo. A world stubborn, occult, fiercely lucid.
The Acoustic Cornet takes its title from Carrington’s dark, delirious novel.
A book that asks a dangerous question:
Do “disturbed” women disturb because they are mad or because they hear too much?
The story follows Marion Leatherby. Ninety-nine years old. Almost deaf. Living quietly in Mexico, knitting cat hair, listening to the world fade.
Until a gift arrives: an acoustic cornet.
A ridiculous object.
A revelation.
Through it, Marion overhears what was never meant to be heard.
Her family plotting her disappearance.
Her future sealed inside a retirement home where nothing is what it claims to be.
From there, reality fractures.
Women inhabit houses shaped like igloos, cakes, fantasies.
A false doctor presides like a guru.
A libidinous abbess watches from the shadows.
Architecture bends. Time slips. Staircases multiply.
The institution reveals itself as a cosmological trap.
This album does not retell the story.
It listens to it.
Philippe Petit approaches Carrington’s text as one would approach a signal coming from another frequency.
Fragments. Resonances. Distorted transmissions.
The acoustic cornet becomes a metaphor for listening itself: an instrument that amplifies what society prefers to keep inaudible.
Here, sound behaves like Carrington’s prose.
Absurd, ominous, playful, cruel.
A black farce. An initiation.
An Alice in Wonderland whose mirror opens onto the occult.
The music wanders through hidden corridors, riddles, vertiginous descents. It inhabits the space between lucidity and delirium, between laughter and menace. Nothing settles. Everything listens.
The Acoustic Cornet is not a tribute cast in bronze.
It is a continuation.
An echo.
An invitation to lean closer.
To hear what was always there.
And to accept that once you listen this way, there is no going back.
Composed and produced by Philippe Petit
Cover artwork by Iglika Kodjakova
A dark ambient journey composed of slowly evolving and interwoven feedback drones that submerge into the unconsciousness.
Recommended listening: asleep (if you like unsettling nightmares)
This work is meant to be a single piece: track 8 “Stream of Unconsciousness” is the continuous mix
Recorded at Home Office Studios in 2025
+/-0: Modular Synth
Cover photography: +/-0
1.Dying Under The Master’s Vision
2.Bastards In Uniform
3.Deal
4.Grim
5.Of Elements And Devotion
6.Disappear
7.From The Death
8.Sniper Eye
9.Black Stream – Your Blood And Pleasure
Limited edition of 23 double floppy disks
released February 1, 2026
A. Stefan Christoff – Demand the Impossible
01. A sky entrance
02. Arc
03. Turning in the Bosphorus
04. Demand the Impossible
An album recorded in Sofia, Bulgaria one late evening in October 2023
Recorded and mixed by Yoncho Pavlov at AD 57, Sofia, Bulgaria
All piano compositions are original improvisations by Stefan Christoff
B. Open to the Sea – The Sofia Intuition
1. Please stop loving me
2. I will not wake you up
3. I recognise you
4. Bodies in contact
Reworks of Stefan Christoff’s original piano recordings with:
Saverio Rosi – OP-1 with wind instruments, double bass, synths
Matteo Uggeri – laptop, samples, random drumming
Enrico Coniglio – guitars
Mastered by Ryan Morey
Original artwork by Catalina Villegas-Burgos
Layout by Angel Draganov
Síntesis boreal
Esta pieza surgió como una experimentación con la idea de los triángulos, sus búsquedas de balance y de síntesis. Me sentía atraída por la energía del sol y los eventos cósmicos como eclipses y auroras boreales, así que los puse a danzar y a atravesarse. Cuando escuché el álbum de Stefan ‘’Demand the Impossible’’ sentí que mi experimentación le venía perfectamente por el juego de voces entre el bajo y las notas un poco más agudas e insistentes de esta obra. De algún modo, veía también los triángulos en su música y los tonos ‘boreales’ sobre fondo oscuro. En ambas obras: la musical y la visual, percibo desplazamientos y formas que se cruzan. Cuando ambos triángulos se encuentran, ¿es el sol un testigo de aquel eclipse o es acaso una fuerza oculta?
– Catalina Villegas-Burgos. (album artwork artist)
///
It felt unlikely that this recording session would actually happen in Sofia, Bulgaria, but I am really happy that it did and I can share this moment in time. I had played a concert in Sofia that same evening hosted by Tsvetan Tsvetanov of the experimental Bulgarian National Radio program Alarma Punk Jazz. After the show finished I rushed over to the basement studio, AD 57, just before midnight. Sound engineer Yoncho Pavlov generously agreed to record this session super late and we recorded until just before 2 am in the morning. After the session I ran back to the apartment where I was staying with Canadian activist scholar Ezra Winton, packed my bags and rushed to the airport for a flight to Berlin that was set to depart at around 6am.
Despite all the rushing around this recording, the mood and feeling of the sound reminds me of the stars. In certain parts of Sofia there aren’t a lot of street lights and the sky feels close to touch. The mountains that shape the Bulgarian landscape also hold a presence and vibe in the capital city. While playing piano I was thinking of the sky above, the stars and the lands around Sofia and the Balkan region. This project is important to me because of my Bulgarian roots, my father is Macedonian Bulgarian. It was a long road from growing up in Canada to finally making it back to Bulgaria and to finding a path to work on this recording and music in Sofia. I hope that you can feel the emotional resonance in the piano tones.
Another layer to this recording is the fact that recording took place in the context of the Israeli state’s military attacks on the Palestinian people in Gaza. The recording took place in November and the horrifying news coming out of Gaza spanked an intense need to take action around the world. In the week before this recording I had been with friends at protests and events to mobilize for Palestine in Montréal, Amsterdam and London. I was often thinking about Palestine during this recording session and the critical importance of sustaining an involvement and finding ways to support Palestine throughout my lifetime. Walking with and supporting the Palestinian struggle for freedom and against colonialism is one of the essential progressive causes of our time, we must never be silent and always find ways to stand up when Palestine is in the headlines and critically when it is not. I certainly was thinking of my Palestinian friends and comrades around the world who have played such an important role in my life over the last decades throughout this recording, that is the honest truth. I hope that you can hear the sense of commitment and urgency around supporting Palestine that I have carried and acted upon my entire adult life.
Thank you for listening to this solo piano recording from Sofia, it means a lot to me, sending love from Montreal.
– Stefan Christoff.
[mhrk478]
CANNED PELLET by hiyohiyoipseniyo
————————————————–
An absurd lo-narrative in directories.
“Mastega_i_conserva”
Digital entropy and exquisite corpses:
Jbird – regurgitator
Q*bert – digested idea
Bergson – canned ‘risa’
… until meaning becomes lo-bitrate.
“Classifica_i_rebutja”
E G A G R Ò P I L A enllaunada
__________________________________________________
Merci:
Nefasto Celiba, Eulàlia Clarineto, Fuzzy KQ i Mitx Xonix
Dismemberments:
Alma
Arkanoid
Beethoven — 33 Variations on a Waltz by Diabelli in C major, Op. 120
Fetiche Maya
Goody
J-Bird
Manic Miner
Minecraft
Ninja Gaiden
Pong
Q*bert
Test Drive
Wolverine: Adamantium Rage
Xonix
. . .
… y muchas risas enlatadas.
__________________________________________________
linktr.ee/hiyohiyoipseniyo
hiyohiyoipseniyo.hotglue.me
>>>23DISKETTES<<<
Òscar Hidalgo Aguilera
Manresa-Lleida, November 2025
“Collected not lost” is a decade of Autonomaton’s work, outside of LPs and EPs, collected. The music was released in the period from 2015 to the end of 2025. It’s done mostly through dubbing and overdubbing sound approaches. Both computer and hardware were used. Programmed or live. The tracks included have been released mostly on VA collections of works, through various online labels from around the globe: Animal Breaks (BE); Treetrunk (USA); DIGITAL DIZZY (UK) – dismissed; EcoSci (BG); eden.deeply (AU); Linear Obsessional Recordings (UK); Petroglyph Music (NOR); Studio 4632 (USA) – dismissed; Cian Orbe (CL); We are all ghosts (UK); Cousin Silas Emporium (UK); Doomcore Records (DE); L.O.T.R (FR); Attenuation Circuit (DE); Mahorka (BG); and couple of self-released entities. Included are various (re)mixes, versions and rebuilds for different artists like Cousin Silas, Passenger of Shit, Mystfied, Emerge!, Protuberance, Teeth of Divine and couple others. These three albums will take you mostly through 3 aspects of Autonomatons sound – teknoiz, ambient drone and dub breakz, reflected also in the title of each volume. The music on the albums will follow this trajectory, starting with noises and drones, then turning to more fluffy ambient and in the final chapter entering the zone of dub and breakz.
All music couresty of Nikolay Stanchev a.k.a. Autonomaton
Atomai constructs a bridge between the hiss of the past and the synthesis of the future.
SIGNALAI 3 continues ambient journeys through old tape recordings and new inventive adaptations of audio technology.
An exploration of signal processing by manipulating found footage, tape artifacts and integrating harps, strings and flutes.
Released December 21, 2025, Fallen’s brand new album “Our Endless Waltz between Wonder and Mud”, coming out in beautiful digipak CD edition, is the artist’s second with Mahorka after his debut on the label “Soft Skin Eternal Verses”, released in 2022 on cassette.
Fallen’s notes about the album:
“Our Endless Waltz..” came to light in a very delicate and intense period in my life, with great changes from many angles.
Musically, this very precious to me new album of mine, keeps going in the direction established by my very first Móatún 7 release in 2023 and after my most recent releases on Intellitronic Bubble, Neotantra, Shimmering Moods Recs and ROHS!, where my ways and approaches to electronic ambient music have started to become much more dynamic, whilst never losing (instead, enhancing it, in my opinion) my will/aim to sound as spontaneous as possible, without forcing anything, as usual.
This album is about Love and Resilience and how much this messed up world, keeps going ahead with his crazy race, losing grip day after day, in a cruel way we aren’t able to discuss with open heart, without the will of hurting each other. This is Our Endless Waltz.
I could say the album is pretty connected and tied up to the Victorian Era, in terms of literature and poetry before all. I grew up with that Era in my heart and this time I have done a concious tribute, including with graphic ides – references to the XIX century.
Written, Composed, Performed, Recorded, Mixed and Mastered by Fallen between January and March 2025
Instruments performed, recorded, processed:
Piano, Electric Piano, Organ, Acoustic and Electric Guitars, Bass, Synthesizers, Voice, Field Recordings
Artwork by Angel Draganov
“Thank You So Much to the Dearest Ivo, Angel and to my family”
thechildofacreek.bandcamp.com
live recorded at Trigger in Shanghai on 2023.12.30
screams: Junky
voice/program operation: Shu Ride
program: Huang Lei
Limited edition of 23 floppy disks
Released November 15, 2025 as digital download and in beautiful limited digipak CD edition.
The mighty Pandacetamol returns with an album of chunky and mysterious IDM. This release is a spectacular first solo endeavour for him on Mahorka, after the collaboration album of Autonomaton + Pandacetamol, two albums of Cognition Delay (the group of him and Jeremy Rice / Abdicant), plus some outstanding remixes and compilation appearances.
Positively addicted to his hardware music machines, the 12 tracks on “Below The Surface” have analogue warmth, cut through by glassy FM tones and intricate percussion. The overall effect is dizzying and immersive. Look below the surface and find a deep ocean of sound.
Written and produced by Paul Alexander
Mastered by Black Particle
Cover artwork by Paul Alexander
Substak is the alias of Kostas Staikos, a sound artist based in Athens, Greece. His work moves through the deeper end of electronic music – drone ambient, space ambient, dub ambient, electronica and hypnotic minimalism – always shaped by a sense of inward movement. In Greek there is a verb, εμβαθύνω, meaning “to deepen”, and this perfectly captures the core of his practice: a continual descent into texture, resonance and the subterranean pulse of sound. For Kostas, Substak is less a name than a method – “sub” for low frequencies and introspective moods, “stak” from his own name. An abstract container for experiments, escapes and the slow building of a personal sonic language.
LR Friberg is a Swedish composer, mastering engineer and narrative artist whose work bridges sound and speculative fiction. Her music begins in mathematical processes – cellular automata generating evolving harmonic structures – and grows into immersive, emotionally driven ambient landscapes. Each piece functions as both music and world-building: sonic fragments of the ongoing fictional universe she writes, where light, place and connection shape atmosphere as much as melody. Her focus is precision, mood and storytelling through sound.
Though coming from different angles, Substak and LR share something essential: music as escape, experimentation and dialogue. Kostas describes collaboration as a natural way to trade ideas and deepen sound. LR finds that Kostas’ textures integrate flawlessly into her frameworks, opening spaces she wouldn’t reach alone. The admiration is mutual – LR is one of Kostas’ favorite artists to work with, and she sees every collaboration with him as an invitation into new terrain. Together, they create ambient that is both grounded and atmospheric, abstract and emotional – a meeting point where deep minimalism and narrative generativity merge into one evolving sound.
***
She’d been coming to the fjord every morning that week.
The city behind her stirred and hissed. Gulls shrieking over dumpsters, tram line clattering in rehearsal for rush hour. Bells rang out from the cathedral, mistimed and overlapping, like no one had agreed what hour it was anymore.
But out here, by the water, time did something else. It slowed. Not gently. More like a held breath. More like waiting.
Trine leaned against the railing, fingers curled around warm steel.
“I used to think peace would feel like sleep,” she said quietly, not looking up. “But it doesn’t. It feels like aftermath. Like the pressure that settles after the shattering stops.”
A silence answered. The kind that wasn’t empty, just unseen.
“I can track calm the way I used to track anomalies. There’s data in it. Repeating patterns. Subtle recursions. A kind of… harmonic delay. Not static. Not passive. Just a system cooling slowly, pretending it isn’t still under load.”
The wind shifted slightly, brushing the back of her neck. She didn’t shiver, but her breath caught, like someone had just stepped up behind her. Like something was about to speak.
“Stillness lies,” she said, lower now. “It tricks you into thinking nothing’s moving. But all the while, pressure builds. Currents gather.”
A ripple formed far down the fjord. Not wind. Not current. Too precise.
Trine watched it. Didn’t follow it with her eyes, just… marked it. Like you do with a noise in a dark house.
“Maybe that’s all there is now,” she said. “Residual motion. Echoes with memory. The shape left behind after a convergence.”
She closed her eyes. The world didn’t vanish.
But it did watch. Not hostile. Not kind. Just… observant.
“I don’t need the world to disappear anymore,” she whispered. “Just give me pause. Enough to decide if I still belong in it.”
She opened her eyes. Stayed still. Waited.
Then, finally, turned. Not with urgency. Not with fear. But like someone who knew she’d been seen, and didn’t need to run.
The city waited behind her.
And something else, just outside knowing, waited with it.
01 Sector 5 Scan
02 Cargo Ship Exchange
03 Solypsis Corps
04 Amokiantronics
Limited edition of 23 double floppy disks
released November 2, 2025
Nenormalizm+ Noir
“Spring 2025: bike ride, sunshine, flowering meadows, blue sky, Mahorka’s fabulous catalog intertwines to create this soundtrack that perfectly illustrates this precise moment…”
The Mahorka Remixes series continues with its 7th volume and Iliaque taking on tracks from the inspiring and wide catalog of the label and re-mixing them together on the six tracks of the release. It is, once again, as much a tribute to the creative commons netlabel as it is to the remixed artists and the respective original tracks.
1 – Dayin + Sven Phalanx + QUAZIMONO + Vioro Vio – Reaching for silence vs The Harbinger vs Schallmauer vs B.R.I.C.S. vs EKGVBK
mahorka.bandcamp.com/track/reaching-for-silence
mahorka.bandcamp.com/track/schallmauer
mahorka.bandcamp.com/track/the-harbinger
mahorka.bandcamp.com/track/b-r-i-c-s
mahorka.bandcamp.com/track/ekgvbk
2 – Peltiform + Moki Mcfly + Hans Castrup + Philippe Neau – Reprise (ft. Dissolved) vs Oblique vs Move in a crowd
mahorka.bandcamp.com/track/reprise-ft-dissolved
mahorka.bandcamp.com/track/oblique
mahorka.bandcamp.com/track/move-in-a-crowd-bonus-2
3 – Oberlin + Moki Mcfly + Philippe Neau – Honeychruch vs Imprint vs hors SOLS vs orsol
mahorka.bandcamp.com/track/honeychurch
mahorka.bandcamp.com/track/imprint
mahorka.bandcamp.com/track/hors-sols-2
mahorka.bandcamp.com/track/orsol
4 – Dayin + This Communication + Traveling Light – Razor bite vs You are now at peace
mahorka.bandcamp.com/track/razor-bite
mahorka.bandcamp.com/track/you-are-now-at-peace
5 – Xu + Oberlin + Tomosla + Moki Mcfly + Particules – Velvet meadow vs Rivermouth vs Oblique vs Auf vs Island
mahorka.bandcamp.com/track/velvet-meadow
mahorka.bandcamp.com/track/rivermouth
mahorka.bandcamp.com/track/oblique
mahorka.bandcamp.com/track/island
mahorka.bandcamp.com/track/auf
6 – Dayin + sevensy + Tomosla – Reaching for Silence vs one2one vs Stoc below
mahorka.bandcamp.com/track/reaching-for-silence
mahorka.bandcamp.com/track/one2one
mahorka.bandcamp.com/track/stoc-below
[mhrk465]
released October 12, 2025
Born from a Mahorka experiment in collaboration, “Phase Memory” is the first full-length release from Scottish producer Nonima (aka Peltiform / Mitoma) and American artist Abdicant. The two were introduced through the label’s “Making things happen” compilation of collaboration tracks, and despite only ever chatting over messenger, something decidedly clicked.
The result is a tightly woven IDM album that nods to the genre’s classic period while embracing modern production sensibilities. Nonima brings his signature glitch-sculpted tension and atmosphere, while Abdicant’s melodic frameworks give the tracks shape and momentum. It’s detailed, propulsive, cohesive, and compelling. This will not be the last you hear from this pair!
Written / Produced by Nonima (Tam Ferrans) and Abdicant (Jeremy Rice)
Mix & Mastering by Weldroid
Thanks : Tamas Zsiros, Ivo Petrov
