NLI is a London based producer and artist who places creative integrity above everything else. She only takes on projects that fully align with her artistic vision – completely uncompromising when it comes to creating something she can truly stand behind. For her, art comes before convenience, before expectation, and before anything that would dilute her intention.
Originally trained as a piano virtuoso, she later found her way into techno – a shift that at first glance seems worlds apart. “I would say that from a purely musical perspective, techno is the closest to classical music out of all the electronic genres,” she explains. And suddenly the connection makes perfect sense.
She has now released her debut album Initiation on her own label, Adhesive. The sheer energy of the tracks – the restless beats, the sense of a parallel world – feels like something not meant to be universally accessible. And that’s intentional. She is looking for the like-minded, for the ones who resonate. And as she explains it herself: “If we think of classic techno as modernist, fractal techno would be the equivalent of post-modernist. It breaks away from the established boundaries of what we know techno to be and sound like; fractal techno is experimental in nature, both sonically and conceptually.”
The result is Initiation, a deeply personal album – a kind of sonic autobiography in which NLI traces the chaos of her entry into London’s rave scene, the struggles many young artists face entering the industry, and the pressure of creating while keeping up with the constant demands of social media.
photography by Maya Mcdoug
Hey Nellie! Congratulations on your debut album! How does it feel to finally share it with the world? (smiles)
Thank you very much, it feels incredible but also a tad nerve-racking! My music is so personal to me and this is the first time that I’m speaking about my work publicly, it feels as if I’m putting my entire soul on display; but I’m of course so excited to be releasing Initiation next month! I’ve enjoyed such incredible support from my fans and followers so it feels really special to be sharing this album with everyone soon.
You often describe your sound as “fractal techno.” How would you explain your sound to someone who isn’t familiar with this world of music?
If we think of classic techno as modernist, fractal techno would be the equivalent of post-modernist. It breaks away from the established boundaries of what we know techno to be and sound like; fractal techno is experimental in nature, both sonically and conceptually. While it retains the core characteristics of techno, fractal techno steps into new musical territory where it deconstructs techno as a genre through experimentation, synthesisation and emphasis on social context. I sometimes like to joke that my music sounds like the soundtrack to the end of the world but that’s perhaps not too far off!
Growing up as an early piano virtuoso, and later turning towards noise and industrial textures — do you see a connection between those two worlds in your current music?
Culturally speaking, I think we can agree that the classical world is extremely snobby but so is techno! I would say that from a purely musical perspective, techno is the closest to classical music out of all the electronic genres. I know a lot of Johann Sebastian Bach’s work has this driving, repetitive pattern, which can be likened to techno! I played a lot of Bach in the past so maybe that was an early sign that I was always meant to end up in techno!
“Comfort makes you lazy and laziness often leads to arrogance, which is where your decline as an artist begins.”
The tracks on Initiation carry both, personal memories and social commentary. Do you think music has the power to change something in society, or is it more about offering reflection?
I think those two go hand in hand; I would say any change begins with reflection or thinking of any kind. Like any art, music reveals truths about the human experience and the society we are a part of. In that way, I don’t necessarily think music carries power to change something, it does that all by itself; that’s something that’s completely out of our control.
The track Burnout reflects on how both algorithms and artistic routines can put heavy pressure on musicians. How do you deal with these demands yourself?
To be completely honest, it does get quite intense at times. I also think that this is something that is not spoken about enough and discussions on this topic should be encouraged more within the industry. I personally love what I do more than anything in the world, which means I get to do for a living what I would normally do in my free time, but there are of course moments when exhaustion just hits, and my brain starts shutting down. That’s when I put boundaries in place for myself where I actively decompress in silence, switch off my phone and just sleep.
One of the tracks I felt very connected to is Anthropomorphism. Can you share the story behind it? (smiles)
Anthropomorphism reflects on modern anxieties surrounding the rise of AI and the human experience in an age of machines. As we all know, there’s a lot of debate currently surrounding AI. Some experts have said that there is no limit to how advanced it can become and warned us about the dangers associated with it, others praise it based on its potential to improve our everyday lives. This made me think of how humans have engaged with the idea of God throughout history; the divine was something so powerful in their mind that it scared them. The vocal sample used in the track recounts the various names that have been used to describe God in ancient languages including Sumerian and Aramaic, drawing parallels to modern-day humans trying to understand the almost God-like nature of artificial intelligence.
“I sometimes like to joke that my music sounds like the soundtrack to the end of the world, but that’s perhaps not too far off!”
You turned down major label and brand deals to launch your own imprint Adhesive. Why was independence so important for you, and what kind of freedom does it give you as an artist?
I value both personal and professional integrity above all else, which is why I will only ever take on projects that are entirely aligned with my vision as an artist. Authenticity and honesty are extremely important to me, and I could never compromise on that.
And what challenges come with it?
Watching others shoot themselves in the foot.
The Deconstruct Reality Project is launching this winter. Can you tell us more about that?
I would very much like to encourage more conversation within the techno sphere and offer a platform that brings like-minded people together who want to do some good in the music industry. My label Adhesive was founded with the vision to challenge, subvert and push the boundaries of techno, which is something that is not limited to our releases. I’ve met so many interesting and genuinely passionate people that share my vision in this regard and we’re very excited for the upcoming launch of Deconstruct Reality. I think it’s going to be massive!
You often speak out against misogyny, bullying and exclusion in the creative industry. Do you think techno can still become a safe and inclusive space for everyone?
I’m a realist if anything, which is why I think that’s a bit too utopian of a thought. I would say it’s highly unlikely for techno to become a fully inclusive space for everyone unfortunately, but it could definitely be made safer than what it is today. I’ve always been a strong believer in education and blame a lot of problems in the music industry for a lack of it, which is why our Deconstruct Reality project will not only work to spread awareness around issues such as exclusion and misogyny, but also get industry people with expertise and/or experience on the subject to offer a nuanced and balanced perspective to our audience.
“Like any art, music reveals truths about the human experience and the society we are a part of.”
You once said: “Being fearless with my creativity both musically, visually and aesthetically has been fundamental to me… when this process of renewal is in fact crucial to musical development.” I really love that thought. But I wonder — if you ever reached a point where you felt comfortable in your sound or in your life for a long time, would you also accept that, and not feel the need to change?
I think comfort in general is quite dangerous, especially to the creative mind. Comfort makes you lazy and laziness often leads to arrogance, which is where your decline as an artist begins. I’ve seen it happen to so many promising young artists, who found a bit of success early on and quickly became their own worst enemy. As a label owner, that’s definitely a red flag I look out for when signing new artists because it usually indicates a lack of vision, self-awareness and ambition to maximise their potential as artists.
Finally, what is the most important thing in life to you right now?
The most important thing in my life is always my near and dear ones! I don’t spend nearly enough time with my family (but I do WhatsApp with them every day!!) or friends outside of music so at the moment I really prioritise spending quality time with everyone. My brain is ‘on’ 24/7 and I have a million projects on my mind at any given time; I’m fully aware how exhausting it must be for people outside the industry so I’m making a conscious effort to find a better work/life balance right now. (smiles)
Thanks so much for sharing your world with us!
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www.instagram.com/nli_music
