IN CONVERSATION WITH NLI

Interview by Samo Šajn

NLI is a London-based DJ known for her dark, industrial sound and unconventional approach to techno. After emerging onto the scene in 2025, she has quickly built a following within the underground while running her own label, ADHESIVE Records. Ahead of her new EP, Machine Language, we speak to NLI about her sound, creative process and the future of techno.

Your new EP, Machine Language, explores the relationship between humans and machines. What made you want to explore this idea?

All of my work fundamentally goes back to this idea. I’ve always been fascinated by science, technology and philosophy, and I think about the purpose of humans a lot, which really comes out in my music. I think we’re living in such an interesting time at the moment, where technology is becoming an increasingly more vital presence in our everyday lives, which I’d say scares a lot of people because everyone is talking about it. I think the discourse on AI, technology and its impact on our lives is becoming increasingly more one-sided and negative. My music offers a more nuanced and optimistic take on it. I want to contribute to the conversation in my own way.

The EP touches on death, rebirth and AI. Why were these themes important to you for this release?

I think that the discovery of AI has started a new chapter in human history, and it’s so exciting to be a part of it from the very beginning. We know that throughout history, radical change has, on the one hand, been the cause of anxiety and a feeling of uncertainty, but also hope and innovation. We saw this occur in the early days of modernity in the same way we see it now. As an artist, I engage with this through my practice. Writing music in response to change in society is my way of processing and understanding what is happening around me. It’s also a way for me to connect with my audience, encourage conversation and offer my interpretation of the world through sound.

There’s a strong feeling of tension and discomfort throughout the EP. What attracts you to darker emotions in your music?

Well, I’m quite a dark and unsettling person!! Jokes aside, atmosphere is extremely important to me in my work. Whenever I start on a track, I have a very specific space in mind that I would like to immerse the listener in. I think that atmosphere and space are the flesh and blood of a track; it’s the world that the musician builds for the listener, it closes the gap between the two and enables a much deeper connection. At the moment, we find ourselves living in very uncertain times, and I think that post-capitalist society really alienates people from their own thoughts. We’re living in a constant state of overstimulation where we’re being sold artificial happiness, materialism and unsustainable lifestyles. Spaces where we can just be ourselves, reflect on the world around us and make human connections, where our anxiety is alleviated by the feeling of being understood, are becoming increasingly more rare. This is exactly what Machine Language offers to the listener: a space where you can reflect and reconnect with a world that feels increasingly more alien and artificial.

You often create unusual stories and ideas around your releases. Where do these concepts usually come from?

Honestly, I get asked this question a lot. My brain is a wild place! I’ve always made strange connections and made sense of things that have previously made zero sense to everyone else. I love modern and contemporary art, critical theory and reading about new ideas. I’m drawn to the strange and obscure, both in music and society more widely. I started out in the underground as an artist, where I was fortunate enough to meet some of the greatest minds around. The creativity and support I’ve been given in that scene has been incredible. I’ve truly been able to evolve as a musician and creative, gaining support for my crazy ideas and bringing them to life for an audience who were excited by them. Underground culture has always been a huge inspiration to me.

‘The Abyss’ was inspired by the idea of terminal lucidity. What about this concept inspired you to make a track?

You know the surge of clarity you get after staying awake for an extended period of time? The Abyss was the result of that. I think I stayed awake for two or three days when I wrote it. I think that we’re currently going through a major reset within techno. I’d say more and more people within the community are unhappy about the direction it has taken in recent years. The rise of TikTok techno and hardcore ‘techno’, or whatever it’s called these days, has really done a lot of damage to the scene. Not only has it purged the scene of intellectuals, but it has also displaced a big part of the actual techno community. Over the past few years, we’ve witnessed the destruction of grassroots venues, techno collectives, labels and underground artists. It seems that the industry machine has found a way to monetise the scene that we all love and adore, which unfortunately means the end of techno as we know it. While the damage is permanent and irreversible, the techno diaspora is still around and is starting to react to this. I think we’ve all had enough.

Your sound has changed quite a lot since your first releases. How would you describe the direction your music is taking now?

I wouldn’t say my sound has changed. I think it’s important to differentiate between style and sound. While my music doesn’t conform to a specific sub-genre of techno and offers a diverse interpretation of techno, it’s all very true to my sonic identity as an artist. I make music for pulsating backrooms and abandoned warehouses where my vision for techno comes to life through the members of my community. My sound is very much defined by underground culture and its values of authenticity, innovation and experimentation; it’s a unique blend of scorched techno futurism, neo-industrial and experimental club music. I’m in a place at the moment where I feel very grounded and connected to my audience. Over the past few months, I’ve connected with them on a deeper level, which has resulted in an even more personal and sonically intimate EP.

You’re playing Junction 2 and making your debut at Tresor Berlin. What are you most looking forward to about these shows?

Connecting with the crowd, definitely! It’s such a privilege to be able to play on these stages and share my music with new audiences. Junction feels very special as it’s on home turf. The British techno community will always be close to my heart, and I truly enjoy playing to the UK crowd. The energy is always through the roof, and returning to London after my underground days is, of course, an unforgettable experience. That scene has nurtured and supported me since day one! Tresor is obviously in Berlin, which feels a bit like treading on holy soil for us in techno. Being given the opportunity to play in a venue that carries so much historical, social and cultural significance is a milestone in any techno artist’s career, so it’s, of course, one of the highlights of 2026 for me.

You also run your own label, ADHESIVE. What made you want to create your own platform for your music?

I founded ADHESIVE Records with the vision to challenge, subvert and push the boundaries of modern techno. My label focuses on releasing cutting-edge music by some of the most innovative musical minds in the game. ADHESIVE releases are aligned with our dystopian vision for techno, and our unique sound is characterised by radical experimentation and forward-thinking innovation, which is something that I felt was lacking in the techno scene as many labels grew increasingly more comfortable with the music that they put out. While there are many great labels out there that release exceptional music, we felt that many labels didn’t quite push the boundaries of techno, and a lot of the techno that was released was good but monotonous. I think the dangers of the comfort zone aren’t only applicable to artists but also to labels. We were conscious of not falling into the comfort trap when it comes to signing music! We enjoy taking risks. I’m sure the establishment has an opinion on this, but at the end of the day, we have ears and we can hear when something hasn’t been sidechained correctly. We’re really good at what we do.

Techno gives artists a lot of freedom to experiment. What excites you most about the genre right now?

I wouldn’t necessarily agree that modern techno gives artists a lot of freedom to experiment. I’d say experimentation is welcomed as long as it’s done in a way that generates revenue, sales or streams. As someone who has been in the industry for a long time, it’s quite upsetting to see how techno artists are facing crushing pressure from all directions to stay afloat. As sad as it may sound, innovation is not profitable, and many emerging artists experience the cruelty of industry capitalism early on, where they have no other choice but to fall in line and play it safe to even be considered for a booking, release or whatever it is they’re looking for. So at the moment, the new generation of artists excites me the most about the genre. Those artists who are sidelined because of insufficient following or streams, those who have chosen to fight for their vision and integrity, and those who refuse to conform to industry standards. These artists are the only thing in techno that we should all be excited about at the moment, because without them, we’re all doomed.

After listening to Machine Language, what do you hope people take away from the EP?

I wrote Machine Language with the future in mind. We’re living in a very dark world at the moment. I would wish for this EP to encourage the listener to reflect on the world around us and where we are going from here as a species. Machine Language asks a lot of uncomfortable questions, such as what makes us human in an age of machines, what role we have in society now that AI replaces us where we are no longer enough, and why we are so against technological advancement when we are the ones that are creating it. Are we against AI because it is better than us in some ways, or are we just against our own deficits? I think a lot of the negative attitudes towards AI and technology in itself come from a place of anxiety, where we’re scared of being replaced. In the same way we’re afraid of being replaced in any area of life, whether work-related, personal or social, we all fear being left out and alienated from our social network. Machine Language explores the idea of developing a healthy relationship with machines and being a bit more tolerant towards them. It’s about the potential of coexisting in harmony, not only with machines but also with each other.