2025年9月16日 12:30-14:00 JST 

NGLY 
https://instagram.com/ngly747

#electro #techno #breakbeat

Nglyは、テクノのような多様なジャンルから、ノイズやIDMのような実験的なジャンルまで、エレクトロニック・ミュージックの世界で活躍している。

Ngly stands within the world of electronic music revolving through diverse genres like techno, and more experimental, like noise and IDM


Room 303 ・三○三号室 
https://instagram.com/room303radio

@ WPÜ HOTEL SHINJUKU 
https://www.instagram.com/wpu_shinjuku

NGLY｜2025年9月16日

Plush (Teaser)

'Plush', out now on Ninja Tune: https://djseinfeld.lnk.to/plushSo

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#DJSeinfeld #NinjaTune

Plush

On the first day of the new year, we kick off 2026 with absolute sonic precision. Our 100th mix captures a live recording of Objekt (@keinobjekt) at the PURE G event in FINAL Taipei, a fitting document of an artist widely regarded as one of the most formidable of our generation. Objekt is TJ Hertz, a Berlin-based producer and DJ whose background is as multifaceted as his sound: born in Tokyo to British-American and Filipino parents, raised between Belgium and the UK, and settled in Berlin in 2009. He first turned heads with the self-released white-label 12"s Objekt #1 and #2 in 2011, before a string of defining releases on labels such as Hessle Audio and a remix for Radiohead. Tracks like “Cactus,” “Unglued,” “Agnes Demise,” and “Ganzfeld” didn’t merely shake dancefloors—they rewired them, introducing a generation of clubgoers to a sound that felt both violently disassembled and eerily controlled.

Listening to Objekt is like watching a vast structure built from nanomachines collapse and reassemble in real time. His music reveals an almost pathological obsession with spatial depth and sonic texture—precision so severe it borders on the cruel—yet within the fractured grids and skewed rhythms pulses a startling vitality. Cold digital signals are transmuted into something fiercely alive, futuristic without losing its physical impact. This approach earned early admiration from figures such as Aphex Twin and Autechre, led to a split EP with Drexciyan pioneers Dopplereffekt (with “Ganzfeld” crowned Resident Advisor’s #1 track of 2014), and produced crossover moments like the breakbeat house anthem “Theme From Q” on Objekt #4. Even his slowest record to date, Objekt #5 (2022), twists dancehall rhythms into something unmistakably his own—measured, menacing, and exacting.

That same hyper-detailed vision extends to his album work on Berlin’s PAN label. Flatland (2014) and the landmark Cocoon Crush (2018) treat the LP as a canvas for immersive, hyperreal sound worlds—synthetic simulations of splintering wood, dripping caverns, and insect wings that trigger an acoustic uncanny valley, at once familiar and alien. Pitchfork awarded Cocoon Crush an 8.0, praising it as containing “some of the most meticulously arranged compositions that dance music has ever produced,” and the project later evolved into a full-spectrum live A/V show with visual artist Ezra Miller, touring festivals such as Unsound, Atonal, and Primavera. Parallel to this, Objekt has built a fearsome reputation as a DJ: crowned Mixmag’s DJ of the Year in 2018, capable of guiding a room through half a dozen genres or plunging it into a psychedelic wormhole of self-discovery with surgical precision. His 2016 mix CD for Tresor, Kern, Vol. 3, was described by Resident Advisor as “a window into the very essence of DJing.” 

Underpinning it all is relentless quality control, a genre-agnostic ethos, and a deeply technical mind—honed not only in clubs and studios, but also through his ongoing work as an engineer at Native Instruments, developing audio and machine-learning algorithms. In Objekt’s world, rational calculation and visceral intensity are not opposites, but twin forces locked into a singular, unmistakable circuit. With the launch of his own label Kapsela, he continues to conjure dancefloor weapons that are both fiercely experimental and immaculately detailed, carving out a singular sonic circuitry where rational calculation and visceral intensity collide.

PURE Guest.100 Objekt

**Outis Podcast Series 031 — Luigi Tozzi**

This episode is deeply special to me.

I’m speaking as the curator of Outis Podcast Series, but also as someone who has shared a long personal and artistic journey with Luigi. He is not just an artist I profoundly respect; he is someone who has been part of the Outis family for many years. Our connection grew naturally over time, built on trust, listening, shared vision, and mutual respect. He feels like a younger brother. Someone I believed in from the very beginning, when his talent was already clear, even if still unfolding.

Above all, Luigi is a remarkable human being. Sensitive, honest, and deeply focused, with a musical vision that is both personal and uncompromising. Over the years, I’ve watched his path evolve with quiet strength and consistency, shaping him into one of the most authentic voices of our scene. Giving him my trust felt natural; seeing how he has grown makes it even more meaningful.

This is Luigi’s second podcast for Outis Podcast Series, and it arrives at a particularly meaningful moment in our shared journey. In recent times, we’ve been quietly exploring a new musical path together. A work in progress rooted in shared sensibility, trust, and time, still taking shape, still becoming.

I wanted to release this episode during the holiday days, as a gift to everyone who follows Outis. A gesture of gratitude, and a sincere wish. It’s an invitation to slow down, to listen deeply, and to travel inward. A podcast shaped by friendship, trust, and time, expressed through the language we know best: music.

Tracklist coming soon.

Warm listening, and end‑of‑year wishes
**Dino Sabatini · Outis Podcast Series, winter 2025**


OutisPodcastSeries031 - Luigi Tozzi

Red Line

The time frame of this mix is late 90's. It was a fun friday night with friends over at my place in Chicago :)  I've revisited this mix again, and transferred it from cassette to share with us.  More things coming, Enjoy! Mixed and currated by Mark Grusane

Toybox (Late 90's - 90min Mix)

www.thetrilogytapes.com

Richard Youngs – Hidden II
Bhairavi Raman & Nanthesh Sivarajah – Kindling
"Kalaimamani" Kadri Gopalnath – Kangalidyatako
"Kalaimamani" Kadri Gopalnath – Ragam - Tanam - Pallavi
Mull – Cadaveric Dissolution
Épicerie De Garde – Survie Épicerie (cigarette à l’unité)
Vichy Pirate – Cette Balle Qui M'a Raté
Slutet – O Ziemia! (A Vision In Two Parts)
Vanessa Wagner – (Philip Glass) Etude No. 7
"Blue" Gene Tyranny – She Wore Red Shoes
Lugubrum – Isirhe
Skogar – City Morgue
Bembeya Jazz National – Guantanamera-Seyni

TTT NTS 05.01.26

Anne Imhof - WYWG
Label: PAN
Cat.No.: PAN 150
Release Date: 05 December 2025
Purchase: pan.lnk.to/WYWG

Wish You Were Gay is a deeply personal survey presenting several new bodies of work that reflect on and further develop a number of core elements that have constituted Imhof’s repertoire from the outset. Throughout the exhibition, Imhof explores notions of finitude, reality and artifice, chance and fate, absence and presence, set against a backdrop of postapocalyptic isolation.

Wish You Were Gay encompasses all-new sculpture, painting, sound, and a series of six never-before-seen video works in which the artist revisits early material from 2001–03, a crucial moment of transition in the artist’s life and work. At that time, Imhof’s life and work were closely linked and at times indistinguishable, imbuing the present exhibition with a distinctly biographical note and touching on notions of chosen family, a reality for many queer people.

With the advent of handheld digital camcorders – which allowed the screen to be flipped for the first time, an early precursor to today’s ever-present front-facing cameras – Imhof used this nascent technology as a mirror recording device, before which she performed movements and gestures, animating and setting the scene. Using her body as a medium, alongside other makeshift means such as borrowed guitars and amplifiers, and recording songs and her voice as a means of finding it, she created art with her community friends, lovers, collaborators – engaging the raw materials of life as it unfolded. These video works convey an underlying sense of urgency, embodying force through insistence and presence, manifested in continuous rehearsal and improvisation. Over the next two decades, Imhof wove these elements – via countless mirrorings, doubles, and variations of the motifs originating from this formative period – into a profound practice of movement that places the body at its center. Raw moments are at times slowed down in a surreal manner, brought to a stillness full of tension and potential for explosive action, something that returns in her idiosyncratic performance pieces enacted through others and informs her sculptural and painting practice. 

Jam 001

Devoto