Truth marked MANOID’s debut album, a ten-track statement from the Polish producer and live act. First emerging in 2014 and known for his work with Pola Rise, MANOID has taken his sound to audiences across South Korea, Iceland, the Netherlands, and beyond.

Truth reflects that journey. Jazz-tinged electronica with contributions from Atom String Quartet’s cellist, modern classical elements shaped by brass from Jedrzej Kupiec, and a standout vocal performance by Josephine Philip (Darkness Falls) all show the depth and detail in his work. Field recordings from a textile museum in Łódź and personal sketches, like a lullaby turned eerie, add further dimension.

Re-uploaded here to revisit one of hafendisko’s most nuanced releases, Truth still resonates with emotional clarity and compositional strength.

To Grieve marked MANOID’s striking debut on hafendisko in 2017.

Emerging from the edge of one of Europe’s last remaining primeval forests and now based in Warsaw, MANOID crafts electronica and techno charged with tension and emotional clarity. While shaping his debut album, he’s also been refining his identity through immersive live sets.

The title track opens a window into his sonic world, arpeggiated synths drifting through mist and melancholy. It’s evocative, slow-burning, and unmistakably forest techno.

Sid Le Rock’s Grievance Mix condenses the track into a bubbling, focused groove, while Pysh leans into the rhythmic pulse, keeping its emotional weight intact.

The release also comes with a video directed by Pat Dudek, a visual meditation on love, loss, and the spaces heartbreak leaves behind.

To Grieve marked MANOID’s striking debut on hafendisko in 2017.

Emerging from the edge of one of Europe’s last remaining primeval forests and now based in Warsaw, MANOID crafts electronica and techno charged with tension and emotional clarity. While shaping his debut album, he’s also been refining his identity through immersive live sets.

The title track opens a window into his sonic world, arpeggiated synths drifting through mist and melancholy. It’s evocative, slow-burning, and unmistakably forest techno.

Sid Le Rock’s Grievance Mix condenses the track into a bubbling, focused groove, while Pysh leans into the rhythmic pulse, keeping its emotional weight intact.

The release also comes with a video directed by Pat Dudek, a visual meditation on love, loss, and the spaces heartbreak leaves behind.

To Grieve marked MANOID’s striking debut on hafendisko in 2017.

Emerging from the edge of one of Europe’s last remaining primeval forests and now based in Warsaw, MANOID crafts electronica and techno charged with tension and emotional clarity. While shaping his debut album, he’s also been refining his identity through immersive live sets.

The title track opens a window into his sonic world, arpeggiated synths drifting through mist and melancholy. It’s evocative, slow-burning, and unmistakably forest techno.

Sid Le Rock’s Grievance Mix condenses the track into a bubbling, focused groove, while Pysh leans into the rhythmic pulse, keeping its emotional weight intact.

The release also comes with a video directed by Pat Dudek, a visual meditation on love, loss, and the spaces heartbreak leaves behind.

Truth marked MANOID’s debut album, a ten-track statement from the Polish producer and live act. First emerging in 2014 and known for his work with Pola Rise, MANOID has taken his sound to audiences across South Korea, Iceland, the Netherlands, and beyond.

Truth reflects that journey. Jazz-tinged electronica with contributions from Atom String Quartet’s cellist, modern classical elements shaped by brass from Jedrzej Kupiec, and a standout vocal performance by Josephine Philip (Darkness Falls) all show the depth and detail in his work. Field recordings from a textile museum in Łódź and personal sketches, like a lullaby turned eerie, add further dimension.

Re-uploaded here to revisit one of hafendisko’s most nuanced releases, Truth still resonates with emotional clarity and compositional strength.

Stream/Buy: https://hfnmusic.lnk.to/Ugle

Danish producer Kasper Bjørke has tapped Stockholm’s Axel Boman for a remix of Ugle (Drømmen om Møn), taken from his latest album Puzzles.

Known for his off-kilter, sun-drenched approach to house music, the Studio Barnhus co-founder transforms the original flute-driven instrumental into a heady, groove-laden trip - balancing deep Balearic textures with his signature playful rhythms.

“How could i resist remixing this little pop gem into the stratosphere” says Boman, “ all the elements are there! Proggy flutes and krauty guitars, dubbing it suitable for the most balearic of sunrises, the coziest afterhours or a just ride down the autobahn through the lush mountains of Spätburgundertal”.

Arriving just in time for the shift from spring into summer, Boman’s rework lands digitally on June 13th via hfn music, ahead of the full Puzzles (Club Remixes) EP, due June, 27th.

To Grieve marked MANOID’s striking debut on hafendisko in 2017.

Emerging from the edge of one of Europe’s last remaining primeval forests and now based in Warsaw, MANOID crafts electronica and techno charged with tension and emotional clarity. While shaping his debut album, he’s also been refining his identity through immersive live sets.

The title track opens a window into his sonic world, arpeggiated synths drifting through mist and melancholy. It’s evocative, slow-burning, and unmistakably forest techno.

Sid Le Rock’s Grievance Mix condenses the track into a bubbling, focused groove, while Pysh leans into the rhythmic pulse, keeping its emotional weight intact.

The release also comes with a video directed by Pat Dudek, a visual meditation on love, loss, and the spaces heartbreak leaves behind.

Following the success of last year’s critically acclaimed album Puzzles. Which these past months received standout remixes from Justin Strauss and Kasper Bjørke himself, the next reimagining is here.

This time, it’s from none other than Berlin underground luminary Johannes Albert, a driving force in the contemporary house and Italo disco scene.

Albert’s remix of Conversations featuring Icelandic trio Sísý Ey (also known as Systur) showcases the finesse of an experienced producer.

He masterfully preserves the emotional weight of the track’s strong vocal melody while reimagining it with a Cologne-inspired blend of house and techno melancholy. The result is a late-night and early-morning anthem, primed for dancefloor transcendence.

Albert revealed that during an early test run of the remix in a club setting, the reaction among the crowd was unmistakable: lighters held high on the dancefloor — a signal that he was on to something special.

Following the success of last year’s critically acclaimed album Puzzles. Which these past months received standout remixes from Justin Strauss and Kasper Bjørke himself, the next reimagining is here.

This time, it’s from none other than Berlin underground luminary Johannes Albert, a driving force in the contemporary house and Italo disco scene.

Albert’s remix of Conversations featuring Icelandic trio Sísý Ey (also known as Systur) showcases the finesse of an experienced producer.

He masterfully preserves the emotional weight of the track’s strong vocal melody while reimagining it with a Cologne-inspired blend of house and techno melancholy. The result is a late-night and early-morning anthem, primed for dancefloor transcendence.

Albert revealed that during an early test run of the remix in a club setting, the reaction among the crowd was unmistakable: lighters held high on the dancefloor — a signal that he was on to something special.

The second of a series of remixes from Kasper Bjørke’s latest album “Puzzles” has been crafted by Kaspe Bjørke himself. “Reworking your own catalogue is always a challenge”, he says “and it’s not something I have done very often. Yet, transforming I Was There into a club track for DJs was incredibly rewarding.

On the Puzzles album, this trackmaybe stood out a bit compared to the rest of the songs - but in its remixed form, it fully embraces its club potential. “On the rework I took out the live bass and guitars and opting for a programmed kick drum while making the overall track more synth-driven. Using a 303 acid bassline and more distinct keyboard layers, I wanted to bring a new dimension to the track while preserving the raw, live energy of the original drums.”

It’s basically a tribute to the 2000’s post disco sound of New York which was and still is incredibly inspiring to me - it was a scene that has had a lasting influence on me both as a

producer and music fan, shaped by my countless trips to the city, for working

on new music, DJing and getting lost in the night life.