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Orshina – Requiem for "NOVA"
Remembrance in the Room
For Orshina, remembrance begins in the recording room. Requiem for “NOVA” grew from the Tel Aviv artist’s grief following the loss of a sister and close friends, giving that experience a place within an electronic album shaped by live instrumental contributions. Violinist Maianne Tur, drummer Roey Brosh and vocalists Idit Eshel and Shiran Tzfira bring distinct human presences into the work.
Much of the recording took place in Orshina’s own studio, with drums and mixing completed at Leon Sound Pro. The project draws on an interest in ambient electronics, psychedelic music and the expansive arrangements of Pink Floyd. Across six extended compositions, commemoration remains its organising idea: music as a way to hold memory, and to seek some comfort without pretending loss can be resolved.
Manufracture Music – System Apathy
Human Indifference in the Machinery
Vienna’s Valerian Steel keeps Manufracture Music close to the machinery on “System Apathy”, an industrial and EBM single built from analog synthesizers, drum machines and hands-on sound design. Distorted electronic pulses and mechanical rhythms carry a lyric about technological collapse and human indifference: systems continue operating even as the meaning behind them begins to disappear.
Steel calls this hardware-first approach Analog Core Industrial. Voltage, texture and the physical limitations of the machines become part of the composition, giving the single’s dystopian setting a material foundation. The accompanying video introduces a deliberate contradiction, pairing hardware-made music with AI-assisted imagery. Across sound and image, “System Apathy” considers what remains of human intention in a world of increasingly automated routines, and what happens when people stop noticing the failures around them.
Marek De Vann – Stereotyping
Marek De Vann Turns Crime-Film Memory Into A Modern Pulse
Marek De Vann and Hammond organist Paolo Apollo Negri revisit 1970s Italian crime-film soundtracks on Stereotyping, drawing on Moog, drum machines, Clavinet, Rhodes and Mellotron. American cop-show funk is part of the frame, too, giving the record a shared vocabulary of pursuit and intrigue. De Vann’s trick is simple but sharp: “I put one poliziottesco stereotype into every track on purpose.” Homage becomes a game of recognition.
“When a Plan Comes Together” features vocals by Maddalena Conni, adding a human presence to that cinematic world. After more than 25 years as a musician, mainly on bass and drums, De Vann composed with Negri, then arranged and mixed the record. The familiar cues become material for a new scene, with its own cast and a different hand on the controls.
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