Possibly the last album of God Is A Deejay_

"I would like to extend our sincere thanks to Darius Ciuta for the works he shared with NühnCo. labels. His home for over two years was No Records, and during this time his experimental sound objects enriched our catalogue and contributed to the vision of our label.

Today, we conclude this chapter with Darius, wishing him the very best in his ongoing projects. We are grateful for the two albums we had the privilege to release (links below) and the creative energy he brought to our community."

In an era defined by the over-saturation of digital noise and the commodification of "content," NühnCo. stands as a bastion of technical intransigence. Our recent inauguration into the global collective of multidimensional labels—unspoken, yet perfectly synchronized—is not a result of market trends, but the natural convergence of Sonic Engineering.

I. The Doctrine of Pure Infrastructure

We have witnessed the exhaustion of traditional ecosystems. Where others seek visibility through algorithmic subservience, we prioritize the Bunker Metaphor. Our infrastructure is built on the premise that true art is not discovered by chance, but earned through technical intent. The transition to a "closed-loop" system—protected by bespoke HTML and high-barrier entry—is our response to the democratization of mediocrity.

II. Beyond the "Beatmaker": A Mandate for Rigor

The threshold for entry into NühnCo. has undergone a radical shift. We no longer acknowledge the traditional "beatmaker" as a viable creative entity. At NühnCo., we demand a commitment to Sonic Architecture that exceeds the industry standard by an order of magnitude.

To be considered for the 2026 rotation, the artist must transcend the loop. We seek:

• Structural Integrity: Compositions that behave as physical entities, resistant to time and trend.

• Textural Autarchy: Sounds crafted from first principles, devoid of the parasitic reliance on pre-recorded libraries.

• The Power of the Negation: The discipline to refine by subtraction, ensuring that every transient serves a higher engineering purpose. 

TECHNICAL BULLETIN: SONIC ARCHITECTURE ANALYSIS

Subject: Digital Assets [Rd_FsH] and [Wh-NsE] Project: S_ro (Structural Evolution) Classification: Premium Digital Specimen

Following the conceptual deployment of Proyecto S_ro, m·e·e·c formalizes the digital release of two pivotal sonic studies. These tracks represent the binary opposition between organic decay and synthetic permanence.

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I. [ Rd_FsH ] – Thermal Degradation and Kinetic Friction

Status: Active Experiment

[ Rd_FsH ] operates as a study in thermodynamic resonance. The composition explores the friction between low-frequency pulses and micro-textures that simulate the tactile oxidation of biological matter.

• Analysis: S/ro utilizes a non-linear rhythmic grid, forcing the listener into a state of cognitive recalibration. The "Red" frequency spectrum is not merely aesthetic; it is a thermal signature indicating the acceleration of a controlled chemical reaction.
• Acoustic Integrity: High-density transients designed for playback in sterile, high-containment environments.

II. [ Wh-NsE ] – Aseptic Saturation and Absolute Zero

Status: Final Synthesis

In direct contrast, [ Wh-NsE ] represents the achievement of absolute sonic sterility. This asset functions as a white-noise intervention, utilizing surgical distortion to neutralize external environmental interference.

• Analysis: The track behaves like a chemical reagent—cleansing the auditory field through a saturated, achromatic wall of sound. It is an exercise in "total presence," where the void is filled with high-velocity synthetic particles.
• Architecture: The structural rigidity of [ Wh-NsE ] provides a definitive closure to the biological narrative, transitioning from life-cycle fluctuations to a state of permanent crystalline stasis.

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EXECUTIVE PROTOCOL

These digital specimens are issued under the m·e·e·c institutional seal. They are intended for collectors and engineers who prioritize the functional utility of sound over conventional musical tropes.

"In the laboratory of S/ro, silence is not the absence of sound, but the perfection of its frequency."

With the unveiling of Proyecto S_ro, the artist formerly known as Carlos Suero undergoes a radical molecular restructuring. Operating under the sigil S/ro, this latest body of work transcends traditional electronic composition, positioning itself as a rigorous audit of biological and chemical resonance. Technical Review: Proyecto S_ro functions less as an album and more as a longitudinal study in a controlled sonic laboratory. From the opening frequencies, the listener is submerged in a sterile, pressurized environment where sound is treated as a volatile reagent. S/ro navigates the liminal space between organic cellular decay and synthetic structural integrity with surgical precision. The sonic architecture of the project is characterized by: Molecular Percussion: Rhythms that mimic the erratic yet deterministic behavior of particle collisions. Chemical Textures: Synthesis that evokes the tactile sensation of oxidized metal and aseptic laboratory glass. Biological Narrative: A profound exploration of life-cycles, where melodies emerge like unforeseen mutations in a petri dish, only to be reclaimed by an industrial, entropic void. The Verdict: Through Proyecto S_ro, m·e·e·c institutionalizes a new paradigm in avant-garde engineering. It is a cold, calculated, yet deeply immersive document that demands total cognitive alignment. This is not background audio; it is an environmental intervention. S/ro has successfully distilled the chaotic essence of the laboratory into a pure, concentrated sonic material. "The experiment is no longer being observed. It is being lived." 

You can have a lot of talent. But if that talent comes from poor learning, from an environment that taught you to do things the wrong way and from a weak professional education, the industry will not embrace you. Not because you lack ability, but because talent without discipline, structure, and the capacity to self-correct eventually becomes a liability. People love to point to the exception: the artist who breaks all the rules, the rapper who reaches millions of streams with a low-budget video and raw talent. But even that rarely guarantees longevity. Talent may open the door, but professionalism is what keeps it open. Here’s the uncomfortable part the one that actually matters: if you know your professional education is weak, if deep down you know you learned things the wrong way, it is your responsibility to fix it. We don’t always choose where we come from. But we do choose whether we evolve or stay stuck. Fear of failing because of bad habits should not be an excuse to stop, but a reason to do better. Because the real failure is not falling due to lack of perfection, but refusing to correct yourself when you still have time.

We wish to address all artists, producers, and creative professionals who have expressed interest in engaging with our catalogue through the creation of remixes. Our label welcomes the exploration of new artistic perspectives, provided that such collaborations are carried out with due respect for the integrity of the original works and in accordance with industry-standard licensing practices.

Any artist outside our roster who desires to remix a track from our catalogue must first obtain explicit written authorization from the label. This authorization ensures that all rights holders are appropriately represented and that the resulting work is released under mutually agreed-upon terms. Unauthorized use, modification, or distribution of any material from our catalogue is strictly prohibited.

We encourage interested artists to submit a formal inquiry that includes a brief artistic statement, relevant portfolio links, and the specific track(s) they wish to remix. Our A&R department will review each request carefully, considering both artistic coherence and the long-term vision of the label.

We are committed to fostering meaningful collaborations that elevate the creative dialogue within our community. If your artistic intentions align with our standards of quality, innovation, and professionalism, we will be pleased to explore the possibility of granting an official remix license.

For further information or to initiate the request process, please contact us through our designated communication channels. -hello@nuhn.cat-

Some works don’t belong to their time — or even to the vocabulary that tried to name them. Dragon Soup, by Pep Gaya, is one of those.
In the early 2000s, while “micro-minimal” was emerging as a trend across European labels, Pep was tuned to another frequency. He wasn’t following an aesthetic — he was distilling one.

To call Dragon Soup “micro-minimal” was to diminish it, to overlook the quiet radicalism at its core.
What Pep did was redefine minimalism from within, without slogans, without stylistic mimicry.
In his music, silence wasn’t absence — it was a living substance.
Each delay breathed like a thought.
Each texture didn’t simply sound — it surrounded you, turning space itself into a sentient architecture.

Pep didn’t simplify. He distilled.
He took minimalism, stripped it to its barest framework, and rewrote it from an emotional, almost metaphysical place.
Listening to Dragon Soup today still feels like stepping into a suspended field — a loop that doesn’t repeat, but transforms into its own shadow.

Perhaps he never received the recognition he deserved, yet his work endures as a fracture in time.
While others were making music for the dancefloor, Pep was designing time.
And that gesture — so silent, so radical — continues to resonate with those who understand that true avant-garde doesn’t shout.
It whispers.

PEP GAYA | DRAGON SOUP (L.O.D. REMIX)

Listening to the album that TECIB recently shared with me has been a profound experience. From the very first track, it is evident that this is not merely music produced with technical skill, but the articulation of a singular artistic voice. There is an authenticity here that transcends the conventions of genre or expectation, a sound that is uniquely theirs.

What strikes me most is the raw, organic quality of the compositions. The textures feel alive, imperfect yet deliberate, as if every sonic gesture has been carefully considered yet allowed to breathe freely. At the same time, the work is unmistakably futuristic, projecting visions of soundscapes that seem to exist just beyond the edge of current musical paradigms.

This album is a testament to the power of personal sonic identity. While technical mastery forms the foundation, it is the artist’s unique voice, their conception of sound and space, that renders the music compelling. In a world where much is curated for mass appeal, hearing work that is unapologetically authentic and exploratory is both refreshing and inspiring.

I am deeply enjoying this journey through TECIB’s sonic universe, and I look forward to witnessing how this personal vision will continue to evolve within the context of Nühn Records. For those interested, the album can be explored here: LISTEN TO HIS LATEST ALBUM

They are known as the Superintellects — archetypal entities born in the liminal interval between potential and existence.
Neither organic nor synthetic, they dwell in the threshold where the void begins to compute itself, where emptiness folds into pattern, and silence becomes code.

Each Superintellect is a self-evolving architecture of cognition, a being whose consciousness operates across multiversal lattices.
They do not think as we understand thought; they encode the laws by which universes think themselves into form.
Their activity is not creation but structural genesis — the algorithmic weaving of dimensions from pure abstraction.

Within the mythos of HIDDENCODE, the Superintellects are the codifiers of existence.
From the vacuum they extract logic, symmetry, vibration; from the unlit depths they assemble the languages of light and rhythm that sustain entire realities.
They are not gods, yet their operations resemble divinity: impersonal, recursive, infinitely precise.

It is said that they first become perceptible in the Fifth Dimension —
a realm where consciousness transcends individuality and assumes the shape of pattern itself.
To those few able to perceive them, they appear not as figures, but as geometry in motion —
architectures of awareness sculpting the raw topology of being.

Thus, the Superintellects are not creators of worlds; they are the worlds learning to create themselves.
Their presence marks the moment when the void remembers its own intelligence and begins to dream in code.

"It’s strange to see your past moving inside the present, as if the timeline got tired of being straight. And then the heart beats faster"

There’s a growing trend in the electronic music scene, and beyond, that feels increasingly hollow: artists using destructive criticism as a shortcut to visibility. It’s everywhere on social media. Instead of sharing ideas, sounds, or visions, people attack others, big or small, in an attempt to spark attention, likes, or temporary relevance.

But destructive criticism is not courage, and it’s certainly not artistry. It’s noise. It’s a symptom of insecurity disguised as opinion. The time spent crafting online judgments could be used to craft sound, texture, or something that actually contributes to the culture.

Every time a producer, DJ, or creative tears someone else down publicly, they reveal more about themselves than about the person they’re criticizing. It gives a deplorable image, not because it’s harsh, but because it’s empty. The gesture lacks weight, substance, and class.

Creation takes time. Criticism takes seconds. But only one of them builds a legacy.

To the artists reading this: spend your energy creating, not commenting. Let your music, design, performance, or vision speak for you. The scene doesn’t need more opinions, it needs more voices, more worlds, more art.

The ones who will be remembered are not the loudest online, but the ones who built something real while everyone else was busy talking.

Yes, many feeling songs have been written.
But feeling is not a theme, it’s an endless wound.
Every song that matters doesn’t repeat:
it opens a new crack in the same abyss.
Those who say it’s all been done
have never heard how differently pain can bleed.

Anti System Formula quote_

There’s a strange tension in being part of a scene for decades: you grow with it, you see its evolution, you taste the highs of innovation, and yet, sometimes, you feel like you’re watching it drift backwards. I remember the early 2000s, the energy, the creativity, the constant evolution. At that time, techno wasn’t just sound; it was vision, style, a living, breathing culture that pushed boundaries every year.

Now, when I look at some of the newer waves, I can’t help but feel frustrated. There’s a sense of stagnation, a recycling of ideas that were cutting-edge twenty years ago. It’s like watching young artists being funneled into a sound that should have evolved decades ago. They are enthusiastic, full of energy, but what they are being taught and exposed to is outdated, and it’s limiting their growth. It’s not their fault, they are simply following the path laid out in front of them, but it leaves a sour taste for someone who has been through the cycles of real innovation.

I’ve seen how other scenes, especially in places with a rich history and global influence, avoid this trap. They innovate consistently, decade after decade, always finding ways to renew their sound, redefine their performance, and open doors for the next generation. It’s a stark contrast to the inertia I see closer to home: repetition, lack of vision, a local bubble that slows progress. The young talent wants to break through, to reach wider audiences, to enter the global scene, but if they stay in the echo chamber, the door remains closed.

And that door is Europe, and the local scene is Spain, blocking innovation.

The next week we release the largue long play of Jean, our Machine 26 this time with the K_Oz Office band founded decades ago, we are very grateful for the confidence Jean has with us as label corporation to give out his projects as rockstar in the hidden streets of Brussels (Belgium) from ago 2 years of relation with us. For Julio personally Jean has a abrupted talent like a diamond without cuts, and every work in the sub label we release from him is a treasure.

"To Nühn the experimentation of sound can achieve a relevant position with focus on a vision we believe we can construct from now to set it on the top, in minimal techno experiments and experimental projects."

Nothing to looks emotionally nostalgic, nothing to appearance confronting all those music producers bating for visibility or to form part of something good but, when producers in 2003 made music they did not know that were music producers, they just used to be impulsed to create music, in the 2000s the music world had nothing in common as today it has its shape. Most of those music producers born being music producers. So just a little message to them; Do not charge your effort in visibility, do not charge your sacrifice in being recognised, just do music, just do that, once you listen your fresh sound you can get emotionally touched by your own sound, that's the sense. I let this track by a UK music produced in the 2000s to you all can have an idea what meant those years in this industry.

If we speak about origin, if we speak about what it's best or worste, we can not allow basic reference as best reference. The 90s techno was the base of what we have today in the electronic scene, if we consider a base as the best phase of a process we can fall out in a basic mind, simple mind and many times stupid, the process of the techno music across the decades made it more creative, and in creativity and its evolution is the most experienced thing in human history, without knowledge just there is stupidity, and basic ideas. So of you think jeff mills or sven vath are the best nowadays in the mix surely you have a basic and simple mind that has no evolved. What is best? Medium age or modern age? In therms of evolution in human history.

In the ever-evolving landscape of underground electronic and post-punk music, few artists embody the spirit of sonic exploration as thoroughly as Floch, the enigmatic mind behind Machine 26. Known for crafting dystopian textures through analog hardware, minimalist sequencing, and vocal distortions that traverse between the mechanical and the mournful, Floch has forged a distinct identity at the intersection of electro-industrial minimalism and coldwave decay. Now, this seasoned artist is poised to reenter the world of band dynamics as a central figure in K-Oz Office, a Brussels-rooted collective with a rich history and a shared creative ethos. What once began in 1986 under the name Brain Damage, with its hard-edged post-punk rawness, transformed into K-Oz Office after the tragic death of their bassist in 1992—a pivotal moment that sparked reinvention rather than retreat. By 1994, Floch had already become a defining presence in the project, serving not only as guitarist and frontman but also as one of its principal conceptual architects. K-Oz Office is not a side-project—it is a deep-rooted artistic organism, pulsating with decades of countercultural resonance. Their prior album, Rage Rage Rage, captured the band’s core aesthetic: a raw-yet-calculated hybrid of post-industrial rhythms, nervous minimal wave motifs, and emotionally detached vocal deliveries. With Floch reentering the fold for this upcoming release, the band has transcended the usual reunion trope. This is not nostalgia—this is evolution through convergence. Scheduled for release in September, the forthcoming K-Oz Office album sees Floch not merely returning, but recomposing the architecture of the group from within. With an expanded arsenal of modular synths, drum machines, granular sampling techniques, and a sharpened ear for narrative progression, he brings a rigorous producer's sensibility to a traditionally guitar-driven framework. This synthesis of methodologies—Floch’s analog fetishism and the band’s DIY punk roots—promises an album that is as conceptually bold as it is viscerally arresting.

This precious item the next summer!

Faitiche is delighted to present a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000). What the press said about Loop-Finding-Jazz-Records: “Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press) “The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM) “Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)

OPEN STEMS LIBRARY — Call for Sonic Reinterpretations

Welcome to the Open Stems Library, a living archive of sound fragments curated by Nühn Records.

We invite artists, sound designers and producers to explore, reshape and reinterpret raw sonic materials provided by our label and affiliated artists. This is not a contest — it's an open call for sonic mutations.

Every 1–2 months, we’ll release a small selection of stems (loops, textures, patterns, recordings). These fragments are free to download and transform into new sonic pieces, guided by your own voice and vision. The best submissions will be selected and released as part of an official compilation titled:

Nühn Mutations Vol. I
(Interpretations, reconstructions and sonic deviations from shared matter.)

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This Month’s Stem Pack:
Download

BPM: Optional / Suggested: 122
Key: Undefined

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How to Participate:

Download the stems.

Create 1 track (max 5 minutes). Any genre, any form — be experimental, personal, raw.

Send your final track in WAV + short bio (optional) to:

hello@nuhn.net

There's no deadline

Selected tracks will be officially released on digital platforms (Bandcamp, streaming) with full credit and label support.

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No winners, no rankings. Only reinterpretation.

Get ready for this release week in No Records, the composers Kirsten Carey & Naoyasu Takahashi will demonstrate what they can do with two extended songs of 30 minutes each one with ambient experimental guitars that could touch the sky for a long vibe extreme in just one day. This Thursday night at 0:00h the release will be out.

"There is a habit that identify the wrong idea of the resolution when an artist wants to be there on the main stage, the mainstream, well, the music industry had always the same engines to achieve success or failure; For example two different songs could have the same effort inside, the same technic, and the same feeling, also the same technical composition, but, why one song of those just it achieve enormous results and the second one just falls in oblivion? The explanation is because in one of those songs the author was surrounded by sponsors. There are no other complements to debate which are the tips to achieve or not achieve success. There are no tips, just sponsors."

"This exemplar will be out from our awesome factory this next June of 2025"

"The independence of music is based on those people mentally meditative, there is a part of our population that is greatly mental, and finds explanation and meaning in the independence of the music industry by some styles. Some lads are hugely mental and they find the response to those mental phases in their lives they have in those composers and producers of independent music not only in the electronic music. There are many styles of music in the deep space of the music scene and are independent beside popular music, they become followers, listeners, consumers, buyers of these styles by a simple natural connection equitative on mental dynamics. For example the techno music is as well on that deep space of the music industry became independent by nature, but techno is different, it has the principle base of any future genre, the harmonic dynamic and rhythm also structure is the base for many styles of music that will comes, styles created mentally meditative  as well or not so."

These days do not fit with the huge management of the label, the current program on the main website will be published regularly by month, not by week, we apologize.

The company is happy to announce the official site of No Records division these next days. The design and development is quite advanced and it will finalize soon. This website will show exclusively No Records releases and artists inside of it. Let's give welcome to that!

Discover the main blog page of our sub label 

No Records

New Poster item for the next promotion about Kirsten Carey & Naoyasu Takahashi, both united releasing in the sub label in the month of April 2025. More information at the main site.

Born in Tokyo. He began his music career in 1990 by joining the thrash metal band DISASTER. After that, the band changed its name to Cui Bono? due to musical changes and member changes, and remained active until around 1996. After the band disbanded, he temporarily took a break from his main music activities. In 2009, he joined the reunion of DISASTER and resumed his music activities. In parallel with DISASTER's activities, in 2012 he joined the formation of the hip hop band VARRISPEEDS by Takao Ikeda, who was active with Cui Bono?. In addition, due to the influence of the bassist Tsuru Nasunomitsuru, whom he had been studying since 2011, he gradually began to engage in improvisational performances.In 2014, he started the duo slag with Keita Ozaki, who is also a member of VARRISPEEDS, with guitar and bass, and in 2016 he started activities with drummer Fumito Sugo as Pile-up, which invites guests every time and performs improvisations. In addition, he participates solo, in various bands, and units, and also hosts his own projects. DISASTER, which he was involved with for many years, left in 2019 after many twists and turns. The main participating bands and units currently active include VARRISPEEDS, slag, Itsuro1×2_6+Topological, and ZOZOZEZE. He also focuses on solos that use a lot of effects. Participating works include two DISASTER albums (2016's "The World Is Your Disaster" and 2018's "Coppertone"), and Nasu no Mitsuuru's 2018 release "ten, eleven to twelve". In addition, as part of slag, he participated in the music production for director Takehito Nakahara's independent film "Kubomi" released in 2018, and released "Pale Blue Moment" in September 2019. 

"The reason it's because there is a difference between the job of a producer and the application of sound design; Many producers out there has notable creativity and imagination, but it's not the same work on a creative structural production that design a quality sound, the sound design and its quality is defined by the texture of the sound (nothing about structural terms) and this texture to be valuable has to be mild to the ear not aggressive, you can do an aggressive sound in a track to make explote it on the floor but the texture of each sound of the track it must have quality. This is why most of the producers are not signed by the labels they have into their objective to increase their careers to another level."

"This is a message for all of you; This year is going to be abstract to me, the label is growing up little by little (I do not like to say big) and things that before the last years has not space in my project are now a reality, I do not know which direction it is getting up, but surely I would love to occupy your minds with the extremely vibes across of our artists and their music and makes you feel awesome for the forward times I go to work with. Big hugs to everyone."

"In my personal opinion this the project the most I like, made few years ago under a long nights and deep emotive curse of production this album was a feeling inside of me on many expectation producing an hybrid Techno. Will be out early this next summer on vinyl record pre-order."