Do not allow personally this reference

If we speak about origin, if we speak about what it's best or worste, we can not allow basic reference as best reference. The 90s techno was the base of what we have today in the electronic scene, if we consider a base as the best phase of a process we can fall out in a basic mind, simple mind and many times stupid, the process of the techno music across the decades made it more creative, and in creativity and its evolution is the most experienced thing in human history, without knowledge just there is stupidity, and basic ideas. So of you think jeff mills or sven vath are the best nowadays in the mix surely you have a basic and simple mind that has no evolved.

The K_Oz Office

In the ever-evolving landscape of underground electronic and post-punk music, few artists embody the spirit of sonic exploration as thoroughly as Floch, the enigmatic mind behind Machine 26. Known for crafting dystopian textures through analog hardware, minimalist sequencing, and vocal distortions that traverse between the mechanical and the mournful, Floch has forged a distinct identity at the intersection of electro-industrial minimalism and coldwave decay. Now, this seasoned artist is poised to reenter the world of band dynamics as a central figure in K-Oz Office, a Brussels-rooted collective with a rich history and a shared creative ethos. What once began in 1986 under the name Brain Damage, with its hard-edged post-punk rawness, transformed into K-Oz Office after the tragic death of their bassist in 1992—a pivotal moment that sparked reinvention rather than retreat. By 1994, Floch had already become a defining presence in the project, serving not only as guitarist and frontman but also as one of its principal conceptual architects. K-Oz Office is not a side-project—it is a deep-rooted artistic organism, pulsating with decades of countercultural resonance. Their prior album, Rage Rage Rage, captured the band’s core aesthetic: a raw-yet-calculated hybrid of post-industrial rhythms, nervous minimal wave motifs, and emotionally detached vocal deliveries. With Floch reentering the fold for this upcoming release, the band has transcended the usual reunion trope. This is not nostalgia—this is evolution through convergence. Scheduled for release in September, the forthcoming K-Oz Office album sees Floch not merely returning, but recomposing the architecture of the group from within. With an expanded arsenal of modular synths, drum machines, granular sampling techniques, and a sharpened ear for narrative progression, he brings a rigorous producer's sensibility to a traditionally guitar-driven framework. This synthesis of methodologies—Floch’s analog fetishism and the band’s DIY punk roots—promises an album that is as conceptually bold as it is viscerally arresting.

Demo Policy for NühnCo.

Demo Policy -

At Nühn Records, we are deeply committed to curating a coherent sonic and aesthetic universe—focused on ambient, experimental electronics, introspective techno, and cinematic soundscapes. We currently do not accept open demo submissions. However, we’re always open to discovering new voices that resonate with the spirit of the label. If you believe your work aligns with Nühn's artistic direction, you may send:

• A private streaming link (SoundCloud or Bandcamp only)

• A brief artist statement or concept

• Optional: a short bio or links to previous work

   Please do not send file attachments or generic emails. Due to limited time and the volume of messages, we will only respond to submissions that feel genuinely aligned with our vision. Thank you for understanding—and for sharing your sounds with care and intention.

Send curated demos to: hello@nuhn.net

What a magnificent job from KNIK

This precious item the next summer!

Jan Jelinek / Moiré (Guitar & Horns)

Faitiche is delighted to present a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000). What the press said about Loop-Finding-Jazz-Records: “Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press) “The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM) “Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)

 

OPEN STEMS LIBRARY

OPEN STEMS LIBRARY — Call for Sonic Reinterpretations

Welcome to the Open Stems Library, a living archive of sound fragments curated by Nühn Records.

We invite artists, sound designers and producers to explore, reshape and reinterpret raw sonic materials provided by our label and affiliated artists. This is not a contest — it's an open call for sonic mutations.

Every 1–2 months, we’ll release a small selection of stems (loops, textures, patterns, recordings). These fragments are free to download and transform into new sonic pieces, guided by your own voice and vision. The best submissions will be selected and released as part of an official compilation titled:

Nühn Mutations Vol. I
(Interpretations, reconstructions and sonic deviations from shared matter.)

—

This Month’s Stem Pack:
Download

BPM: Optional / Suggested: 122
Key: Undefined

—

How to Participate:

Download the stems.

Create 1 track (max 5 minutes). Any genre, any form — be experimental, personal, raw.

Send your final track in WAV + short bio (optional) to:

hello@nuhn.net

There's no deadline

Selected tracks will be officially released on digital platforms (Bandcamp, streaming) with full credit and label support.

—

No winners, no rankings. Only reinterpretation.

ChatGPT Nühn version

A new release week

Get ready for this release week in No Records, the composers Kirsten Carey & Naoyasu Takahashi will demonstrate what they can do with two extended songs of 30 minutes each one with ambient experimental guitars that could touch the sky for a long vibe extreme in just one day. This Thursday night at 0:00h the release will be out.

The wrong habit

"There is a habit that identify the wrong idea of the resolution when an artist wants to be there on the main stage, the mainstream, well, the music industry had always the same engines to achieve success or failure; For example two different songs could have the same effort inside, the same technic, and the same feeling, also the same technical composition, but, why one song of those just it achieve enormous results and the second one just falls in oblivion? The explanation is because in one of those songs the author was surrounded by sponsors. There are no other complements to debate which are the tips to achieve or not achieve success. There are no tips, just sponsors."

Our awesome KNIK

"This exemplar will be out from our awesome factory this next June of 2025"

The independence of music

"The independence of music is based on those people mentally meditative, there is a part of our population that is greatly mental, and finds explanation and meaning in the independence of the music industry by some styles. Some lads are hugely mental and they find the response to those mental phases in their lives they have in those composers and producers of independent music not only in the electronic music. There are many styles of music in the deep space of the music scene and are independent beside popular music, they become followers, listeners, consumers, buyers of these styles by a simple natural connection equitative on mental dynamics. For example the techno music is as well on that deep space of the music industry became independent by nature, but techno is different, it has the principle base of any future genre, the harmonic dynamic and rhythm also structure is the base for many styles of music that will comes, styles created mentally meditative  as well or not so."

Current program

These days do not fit with the huge management of the label, the current program on the main website will be published regularly by month, not by week, we apologize.

Announcement sub label division

The company is happy to announce the official site of No Records division these next days. The design and development is quite advanced and it will finalize soon. This website will show exclusively No Records releases and artists inside of it. Let's give welcome to that!

The new blog main page

Discover the main blog page of our sub label 

No Records

Kirsten & Naoyasu Poster Item

New Poster item for the next promotion about Kirsten Carey & Naoyasu Takahashi, both united releasing in the sub label in the month of April 2025. More information at the main site.

Naoyasu Takahashi in No Records

Born in Tokyo. He began his music career in 1990 by joining the thrash metal band DISASTER. After that, the band changed its name to Cui Bono? due to musical changes and member changes, and remained active until around 1996. After the band disbanded, he temporarily took a break from his main music activities. In 2009, he joined the reunion of DISASTER and resumed his music activities. In parallel with DISASTER's activities, in 2012 he joined the formation of the hip hop band VARRISPEEDS by Takao Ikeda, who was active with Cui Bono?. In addition, due to the influence of the bassist Tsuru Nasunomitsuru, whom he had been studying since 2011, he gradually began to engage in improvisational performances.In 2014, he started the duo slag with Keita Ozaki, who is also a member of VARRISPEEDS, with guitar and bass, and in 2016 he started activities with drummer Fumito Sugo as Pile-up, which invites guests every time and performs improvisations. In addition, he participates solo, in various bands, and units, and also hosts his own projects. DISASTER, which he was involved with for many years, left in 2019 after many twists and turns. The main participating bands and units currently active include VARRISPEEDS, slag, Itsuro1×2_6+Topological, and ZOZOZEZE. He also focuses on solos that use a lot of effects. Participating works include two DISASTER albums (2016's "The World Is Your Disaster" and 2018's "Coppertone"), and Nasu no Mitsuuru's 2018 release "ten, eleven to twelve". In addition, as part of slag, he participated in the music production for director Takehito Nakahara's independent film "Kubomi" released in 2018, and released "Pale Blue Moment" in September 2019. 

Why many producers aren't signed by regular destacable labels

"The reason it's because there is a difference between the job of a producer and the application of sound design; Many producers out there has notable creativity and imagination, but it's not the same work on a creative structural production that design a quality sound, the sound design and its quality is defined by the texture of the sound (nothing about structural terms) and this texture to be valuable has to be mild to the ear not aggressive, you can do an aggressive sound in a track to make explote it on the floor but the texture of each sound of the track it must have quality. This is why most of the producers are not signed by the labels they have into their objective to increase their careers to another level."

A message to you

"This is a message for all of you; This year is going to be abstract to me, the label is growing up little by little (I do not like to say big) and things that before the last years has not space in my project are now a reality, I do not know which direction it is getting up, but surely I would love to occupy your minds with the extremely vibes across of our artists and their music and makes you feel awesome for the forward times I go to work with. Big hugs to everyone."

The project the most I like

"In my personal opinion this the project the most I like, made few years ago under a long nights and deep emotive curse of production this album was a feeling inside of me on many expectation producing an hybrid Techno. Will be out early this next summer on vinyl record pre-order."

Marble Editions

These are the next vinyl records for the 1st of February, the next saturday, stay connected and buy it on diggers factory for a pre-ordered copy. Are two marble versions of two fantastic albums of Nühn.

No Records next steps 2025

No Records the division is more stronger than ever and fitful of impressive new releases for this year 2025. This while the audience can listen to some excerpts of the intro release made by magician artists. All the year the sub label will be the starring of the company to demonstrate that the experiments in music and electronics will be alive for decades. The pretending artists out there could be part of this getting in touch with our main general contact, just be talented. Julio loves his No Records sub label by the richness it has on its releases, finding many talents in the scene. The example of Giovanni Alibrandi it's clear, how a violinist nowadays is getting closer touch in electronics. The Russian noise project by Alex (Islamic State) is more else we want to be part of, extreme pure noise vibes showing the power of white noise, and Kirsten Carey, how a guitarist can form part of many projects at the same time and develop impressive artistic maners. Do not forget to fall into these three next releases in the next few months. No Records is a division of outer space travel in music.

Poster edition for Three Sides album

Poster edition for our forthcoming new album in No Records division

Nühn releases two albums back in the time

In The middle of January Nühn releases two albums back in the time a bunch of years ago, you will find it on his Spotify profile and searching it in Bandcamp for promotional uses of buying.

Moreno Padoan always brought the imminent essence

Moreno Padoan always brought the imminent essence of the alternative electronica Nühn could expand in the community, always with a perception of what is really experimental? the subconscious elements in the mind brings to the scene is always the intrinsic elements Moreno is capable to manufacture, with really courage to nowadays an experimental idea is acceptable or not, now he as solo project Moreno Padoan will keep that essence in Nühn in another stage but not far away, as main brain of Artcore Machine Moreno will brings to the label this 2025 more storm for us. The project will be named Moreno Padoan, and it is close to striking as never, lets get space for him from now to the future, long for sure.

Gilmour

D. Gilmour, in the recording studio in the 70s

A legendary orchestral performance

A legendary orchestral performance, where Ryuichi Sakamoto both performs and conducts, is coming back to life with exquisite sound on the big screen after 10 years!

Ryuichi Sakamoto | Playing the Orchestra 2014 will have an early screening at 109 Cinemas Premium Shinjuku from Friday, December 20, 2024, with a nationwide release scheduled for Friday, January 3, 2025!

In this film, Sakamoto conducts the entire program while playing the piano. The concert features a diverse range of compositions, including YMO-era classics, "Merry Christmas Mr. Lawrence," "The Last Emperor," and other iconic works. These pieces are performed by the Tokyo Philharmonic Orchestra.

The audio is reconstructed in 5.1ch surround sound, offering an immersive music experience that makes you feel like you're in the concert hall.

Ryuichi Sakamoto | Playing the Orchestra 2014 returns after a decade, bringing vivid visuals and exceptional sound quality to the cinema screen.

website

https://www.wowow.co.jp/film/ryuichi-sakamoto/

trailer

https://youtu.be/b9SV_AX1vDE?si=tGyAE_pgw6o_je90

Songs of a Lost World

Songs of a Lost World is the fourteenth studio album by English rock band the Cure, released on 1 November 2024 via Fiction, Lost Music, Universal Polydor, and Capitol Records. It is the band's first release of new material in 16 years since the release of 4:13 Dream in 2008. All the songs on the album were composed solely by singer/guitarist Robert Smith, for the first time since the 1985 album The Head on the Door. It is also their first studio album to feature Reeves Gabrels, although he was previously featured on the band's 1997 single "Wrong Number".

Upon release, the album received critical acclaim, with particular praise for the lyrics, dark sound, and Smith's vocals. It was also a commercial success, being their first album since Wish (1992) to reach number one in the UK, and was also one of the fastest selling albums of 2024, having at one point outsold the entire top 10 of the week combined. It also reached number one in Belgium, Germany, the Netherlands, Sweden and Switzerland.

ALVA NOTO + RYUICHI SAKAMOTO

N-050S . ALVA NOTO + RYUICHI SAKAMOTO . V.I.R.U.S. BOX SET (WITH 5 ALBUMS) · https://noton.info/product/n-050s/

FORMAT: CD BOX SET, VINYL BOX SET

RELEASE DATE: 29 NOVEMBER 2024

Nühn has no talent

"Nühn has no talent, it's all about a trajectory. An experienced time"

Any deejay could be an audio engineer

"Any deejay could be an audio engineer, it is only mixing with low, mid and high frequencies, I do not understand the importance of being an audio engineer more than a deejay. If there are lads making the role of audio engineer more relevant than a deejay these are mixing the three phases of mixing from the first minute in a set."

Cabaret Voltaire

Cabaret Voltaire. Photo by Pete Hill

Surprising Noise-Core

This 2025 will appear immediately at half of the year the surprising noise-core album extremely hardcore for the ears of anybody, from Russia we will have new noise music on the sub label No Records, this time the CEO found something special in it, it's the key of derivation dynamic from Merzbow class, more than a simple objective to destroy the soul listening to this, we found very hardcore animalistic sound, mixed on Nühn studio to left volume on the works, because the pure production could annihilate the ears of the audience. We think making an outing to noise music is the example to accept that in 2025 this music genre is more popular than 20 years back at the time, so now we have the obligation to make it out from at least our sub label, our listener could find this style many times in the next few years and decades. It's time next year to get back to the annihilating mode sound. Let's wait!

Squarepusher Ultravisitor

Squarepusher Ultravisitor (20th anniversary edition)

Japanese CD version

Moonlight Club

Joy Division - Bernard Sumner and Ian Curtis performing at Moonlight Club London, 1980.

People do not understanding the policy of major sources

"People do not understanding the policy of major sources, if this year we had a Dance music deejay at the top number one is by a simple reason, since 25 or 30 years the Dance music was the main engine of promotional sources, being the radios that promoted this genre as mainstream, the reason is because the multinational labels invest money in it, and being big we can imagine the number of this investing, if someday something changes in the point of view of this main labels surely we will get other types of genres in the worldwide top one, but meanwhile this main labels do not change the direction we will have the same type of music on main radios from morning to night. And all of this will cause deejays providing other genres will not get the first positions."

What old deejays cannot do

"What old deejays cannot do is criticize current scenes, because everybody evolves in different speed, when you get age you evolves slowly, current scenes is what it is, and someday the current will old and will come more different sounds. And we cannot criticize for the eternity."

Oren Ambarchi classic 'Quixotism'

Oren Ambarchi classic 'Quixotism', 2014, underpinned by Thomas Brinkmann's computable drums plus Jim O'Rourke (synth), crys cole (contact mics, brushes), Eyvind Kang (bowed gender & violas), John Tilbury (piano) and more. Newly remastered by Joe Talia

Giovanni Alibrandi enters

Giovanni Alibrandi is a violinist, teacher at state schools and sound artist of ambient and acousmatic music. Author of songs also with the addition of acoustic and electric violins, he has published for numerous labels all over the world. He has also recorded for Warner, Universal, Carosello, CNI Compagnia Nuove Indie, Mellow Records, Diaphonia and for RAI, Canale 5 and Sky Classica.

He is a live electronics technician at the Filarmonica Laudamo Creative Orchestra and regularly collaborates in the activities of the improvised music collective FraCarGio. He is also violinist and keyboardist of The Windfall Project created by Gianluca Gugliotta. He has collaborated on multimedia works with photographers Jurgen Heckel and Enzo Alessandra and with the Phós Graphé exhibition space in Palermo. He also provided soundtracks for important events held at the “V. Emanuele” of Messina, the Palaculture “Antonello” and the Saletta ARB of Messina.

First electronic music in history

Silver Apples were an American electronic rock group from New York, active between 1967 and 1970, before reforming in the mid-1990s. It was composed of Simeon (born Simeon Oliver Coxe III, June 4, 1938 – September 8, 2020), who performed on a primitive synthesizer of his own devising; and, until his death in 2005, drummer Danny Taylor. The duo were among the first to employ electronic music techniques outside of academia, applying them to 1960s rock and pop styles.

As part of New York's underground music scene, the band released two albums—Silver Apples (1968) and Contact (1969)—to poor sales. They began recording a third album before a lawsuit by Pan Am, owing to the use of their logo in the artwork of Contact, forced the end of the group and its label Kapp in 1970. In the 1990s, German bootleg recordings of the band's albums raised their profile, and Simeon reformed the group with other musicians and released new music. In 1998, he reconnected with Taylor, and the two completed their original third LP The Garden (1998). After Taylor's death, Simeon continued releasing Silver Apples projects using samples of Taylor's drumming.

Darius Ciuta; it's going to be appeared as new recording

Darius Ciuta; it's going to be appeared as new recording for 2025, in No Records.

basic sound objects - stones

Recorded, composed and mastered in A.Šančiai , Kaunas , Lithuania.

Darius Ciuta, Lithuanian architect, sound artist, born 1966, is an artist that definitely can not be pigeonholed for the marketing purposes of narrative and aesthetic unidrectional coherence, although if you stand between and shuffle through his work you will find a labyrinth of communicating vessels. His works  explore continuously new alphabets spectrums, building an intricate vocabulary of frequencies and densities as translations and transformations (exchange between sound and spaces). Structured architectural approaches with a clear perspective not only invites to what is beyond stritctly personal music but rather etwines a evershifting method of researching a singular plunge into sound itself.