such a good tune and so many good memories!! anyone knows the track id?

upsammy at Praia - Waking Life '24

sub alchemical unreleased gems 

https://www.instagram.com/ccl_url
https://www.soundcloud.com/ccl_url



CCL @ The Lot Radio 10-09-2025

This is the recording from my set at Parameter 10, Public Works, San Francisco on 17 May 2025. 

The room was comically packed by the time I started (11pm) and the crowd was visibly itching to lift off, but it was so early in the night and the rest of the (stacked) lineup leant so heavily towards UK and bass-heavy music that I decided to leave the dubstep to the professionals, keep it slow and go in the opposite direction: mid 120s, wriggly, psychedelic, gurgly, engrossing, a little weird but also sometimes fun. Maybe on some level I was level preparing myself for Return To The Source in Detroit the following weekend – though ironically I ended up playing much faster and with more broken beats at RTTS than I did here. In any case, I had a blast. Been really enjoying exploring the 120-130 zone recently. Thanks to Nick for having me back, hope you all enjoy the recording.

Tracklist:

Alexi Baris - Tilde
Kaoru Inoue - Etenraku
Facta - SLoPE
Heiko Laux - Granulate One
Meat Beat Manifesto - TRS2
Emmanuel Top - Bon Acid
Kumo - Kromotron
Sun Electric - Osram 418
Ogoya Nengo And The Dodo Women's Group - Orutu Run (Lena Willikens Remix)
Mutsumi - Paris Hilton
Freaky Chakra - Get Up, Get It
Housebound - Electro Rhythms
Zersetzung - Chaos Vortex
Terrence Dixon - No More Time A3
Mordant Music - Olde Wobbly
Monolake - Digitalis
AOKI Takamasa - mnd-sng01
Exos - Hood
Clay Wilson - Osho (Jasen Loveland’s Twisted Interpretation Remix)
Shards - SHARDS004 A1
Sepehr - Monokrome (demo)
Gong Gong Gong 工工工 - Inner Reaches III 慾望的暗角三 (Zaliva-D Remix)
Beroshima - Volca Polka
Esser'ay - Forces
Xyrex - Psychedelic
Accessories to Murder - Danger
Xes Noiz - B1
Tres Demented - Demented (Or Just Crazy)
Call Super - Mothertime

Objekt at Parameter 10 San Francisco 2025.05.17

I love spending time in the forest, that's a very recharging time for me, and I find forest raves are something really special. So I was honoured to be invited as part of Eris and Maya's curation to open the festival on the Forest Rave stage. 
I loved trying to slowly build up the vibe for the day and prepare for Octo Octa and Faited's amazing dnb b2b just after my set. Thanks to the all team at Draaimolen for the warm welcome, Eris and Maya for the invite, my friends and all dancers and the ones who even stayed during the rain :)

Friday at Forest Rave, photo by Alicia Karsonopoero.

ophélie at Draaimolen Festival 2025

Dubwise atmospherics flood Guy Brewer's third RA Mix.

Hear the word "Dionysus" and you picture the Greek god of ecstasy: overflowing tables, delirious revelry, chaos. Not the austere soundworld of Guy Brewer, AKA Carrier. On the surface, the UK artist's latest alias feels almost Spartan. But look closer and the Dionysian link starts to show:  it's about shedding fixed forms and identities, to allow something more true, more alive, to form. 

RA.1011 marks Brewer's third entry in the RA Mix series, following editions as drum & bass outfit Commix (RA.269) and, later, the techno alias Shifted (RA.310). "I guess it's an effort to step away from purism," Brewer told <i>Resident Advisor</i> back in 2023. "Right now the thresholds between genres are where you find the most exciting music." 

Carrier's phenomenal debut album, <i>Rhythm Immortal</i>, delivers on that promise. Low-end pressure cloaks like foreboding shadows, punctured only by eerie, otherworldly percussion comparable only to Photek or T++. Listen to the LP in full and it feels like walking through a scene in a true-crime drama: a fog-drenched city street in the deep of night, ambushed by gusts of wind, whispers and strange noises—and it sounds totally, utterly original.

Tracing a line through dub pressure, fractured percussion and narcotic ambience, Brewer explores that same world on RA.1011. As with the album, there's a primal pulse that threads through the recording. Walls of negative space seem to hover before dissolving inexplicably, their tension intact; drums move more like the weather than rhythm. - Bella Aquilina

RA.1011 Carrier

upsammy at Solstice 2025

upsammy at Draaimolen Festival 2025

CCL b2b Yushh at Draaimolen Festival 2025

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

Something Takes Me

33.11

Carefully curated. Grown from the forest floor. Rooted in music, art and independence.

DRAAIMOLEN FESTIVAL 2026
September 4 & 5
MOB-Complex, Tilburg

upsammy at Draaimolen Festival 2025

DRAAIMOLEN

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