Francesca Lombardo Live In Studio Showcase - 03.11.23

https://soundcloud.com/francesca-lombardo

Friday, 3 November⋅
5:00 – 6:00pm

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Francesca Lombardo Live In Studio Showcase - 03.11.23

Midnight Light

Dubaptism NYE2015

Buy the EP here : dubaptism.bandcamp.com
Release date: 27/02/2015

Nightglows And Side Effects EP

Nosedrip b2b Orpheu The Wizard live from The Olive Grove at Love International 2025

Live from the Adriatic 2025: Nosedrip b2b Orpheu The Wizard

Welcoming one of our personal favourite's from the big apple! A positive conductor of all things deep and dreamy, NYC's @yibingg is a longtime resident on The Lot Radio with an impeccable ear for contemplative sonics, ever thoughtfully sliced and diced with a big signature smile :)

Time to hit recline and let Yibing tranquilify your mind.

Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in?

A. I’ve always been drawn to uplifting sounds, but I also love deep, percussive music and melancholic minor key melodies, which I think there’s a lot of in this mix. Hopefully a nice journey to drift into and daydream with :)

I really wanted this mix to be a sort of homage to the sound of MDC and the AU music community (as I hear it), which I connect with deeply. I find it so playful, psychedelic and beautiful. It definitely took me a while to untangle this, especially knowing it was for one of the most goated series out there… One that’s inspired me time and time again.

Personally, my favorite place to test mixes is on my bike. Maybe not the safest spot to zone out, but it’s become part of my post recording ritual. 

Q. Are there any songs in the mix that you were especially excited to share, and what is it about these tracks that resonate with you so much?

A. Atone's "Lost & Found"! I became obsessed with Tonal Ocean's Atone Special after it aired on NTS last year. Atone is, of course, an Australian project from the mind of Andrew Fitzgerald. I've listened to that mix countless times. "Atonement" is really just such a perfect record to me.  

I played "Lost & Found" last year at a festival that Doc Tom and CZ Wang curated called In The Open. It's still one of my favorite sets I've ever played and a memory I will cherish forever... I felt people really locking in during it and I was surrounded by some of my closest friends too… Music & friendship - truly nothing better than it.

Q. Tell us about the evolution of Tranquilamente Radio on The Lot Radio, you play such a wide variety of beautiful music on the show, do you approach each show with a theme of sorts or just let things flow naturally?

A. It's wild to think that I've been involved with radio in one shape or another for over a decade at this point... Through so many changes, radio in its different iterations has remained the only constant.

When I started the show on The Lot Radio almost five years ago, it was deep during the pandemic and I wanted to foster a space for more laidback, at-home listening music. The inspiration for the title of the show was the Pacific Ocean - thinking about oceans as connectors of all these beautiful ~music waves~ around the world.

I have done some themed shows over the years - I do an indie rock special every year, as a nod to my roots and to what I was playing back at KCSB, a college radio station in California where everything started. I also did a Canto-pop special a while back with some music I grew up listening to. More recently, I did a Music From Memory special that I really enjoyed, using the opportunity to really dive deep into everything that's come out from that label. I definitely want to keep doing more of that.

I find it exciting that even though the show is pretty eclectic, it’s developed a sound of its own. I definitely have a predilection for weirdo, left-field music and I love that the show can be a platform where me and my guests are encouraged to explore different sounds beyond the club. I think doing the show has also taught me and motivated me over the years to bring that sound into my sets too.

MDC.314 Yibing

The sound of Ukraine's independent music scene. Presented by Схема, a Kyiv-based collective that moves forward rave culture in Ukraine. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/cxema/episodes/cxema-1st-december-2025

Cxema w/ Sasha Tessio 011225


New SPND20 Mixtape in the collection! Welcome @lucalozano 📼

Owner, A+R, artist and designer at @Klasse Wrecks, Luca Lozano has long operated where sound, visual language and attitude intersect. With releases on his own label, Sex Tags UFO, Phantasy Sound, Hypercolour, Running Back and beyond, plus his visual universe as planetluke.com, his work has always resisted neat categories, favoring character over convention.

For this SPND20 Mixtape, Luca looks back to formative years in Berlin. New Year’s nights at Arena Berlin in 2004/05, musically the city was a melting pop of minimal, tech house and electro. Genres were undefined and there was a playfulness to the music, a wonky glacial cleanness to the funky grooves. It was an exciting and uncynical time and things felt undiscovered and exciting. It’s also where early connections with FJAAK took shape: studio visits in Neukölln, laptops full of sketches, ideas still embryonic.✨

That spirit runs through the mix. Luca revisits sounds and labels that once shaped him - acid lines, playful grooves, found again in the neglected  corners of his own record bag. Woven into a journey that feels loose, curious and alive. For those listening closely, the closing moments hold a special nod to the shared history between FJAAK and Klasse Wrecks.

A mix rooted in memory, made for movement. 🖤

SPND20 Mixtape by Luca Lozano

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.

Midnight Light

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