MIN t returns with her third full-length album ‘Before The After’, a record that further cements Martyna Kubicz’s position as one of the more architecturally ambitious figures operating in the intersection of electronic production, pop songwriting, and experimental club music.
Released as both artist and producer under her MIN t alias, Kubicz continues to build on a multidisciplinary foundation that spans classical training, jazz and soul exploration, and formal production studies at Berklee College of Music’s Valencia campus. That lineage is less a background detail here and more a structural framework, the album feels engineered by someone who understands music from the ground up, both compositionally and technically.
Preceded by singles ‘Hope’ and ‘Last Day’, the latter accompanied by a premiere via tastemaker platform KALTBLUT, Before The After arrives with significant live credibility already attached. MIN t’s extensive performance history, over 300 shows across Europe, including appearances at Reeperbahn Festival, Off Festival, Orange Warsaw Festival, Open’er Festival, and Y Not Festival, alongside tours with Saya Noé and OIEE, reinforces the sense that this is an artist operating with both studio precision and stage-tested instinct.
Sonically, the album positions itself firmly within “genreless” territory, though its references are clearly traceable. Opening/title track ‘Before The After’ functions as a statement of intent: a high-intensity cut built on drum and bass-inflected percussion, a distorted, forward-moving bassline, and a vocal performance that oscillates between urgency and release. The production is dense but controlled, with synth layers swelling in a way that creates tension rather than resolution, an effective framing device for the album’s broader conceptual arc.
Elsewhere, tracks like ‘Hope’, ‘Last Day’, and ‘Water’ pull the energy inward, leaning into more vulnerable songwriting structures. Here, MIN t explores UK garage-adjacent rhythms softened by emotive toplines, balancing rhythmic restraint with melodic openness. These moments provide necessary contrast, allowing the heavier production passages to land with greater impact.
The experimental edge of Kubicz’s production identity is most clearly expressed on ‘Digital Flower’, where glitch-based sound design and granular synthesis techniques are pushed to the foreground. The track feels less like a conventional song and more like a sculpted audio environment, fragmented, reactive, and intentionally unstable. It’s in these moments that MIN t most clearly aligns with the lineage of artists such as Aphex Twin and Autechre, while still retaining a pop-aware sensibility in structure and pacing.
On ‘Hangover’, she shifts again, this time incorporating reggaeton-inspired percussion into her sonic palette. Rather than treating the influence as surface-level texture, the rhythm is integrated into the track’s structural core, demonstrating a continued commitment to genre fluidity that feels studied rather than opportunistic.
Across ‘Before The After’, influences ranging from FKA twigs and Charli xcx to D’Angelo and Aretha Franklin are not imitated but absorbed into a broader, more fluid production language. The result is a record that operates less as a collection of individual tracks and more as a cohesive system of shifting emotional and rhythmic states.
With Before The After, MIN t reinforces her trajectory as a producer-composer working at scale, balancing technical precision with emotional volatility, and positioning herself firmly within the evolving landscape of forward-thinking electronic pop and club-influenced experimental music.