God Is A Deejay is presented as a creative persona within the Nühn universe

Introduction and context

God Is A Deejay is presented as a creative persona within the Nühn universe—one that channels the more radical, borderline abstract impulses of the label’s aesthetic. The first installment of the Untitled Works series offered six tracks of vertiginous, kinetic energy, described on the Bandcamp page as “the recycled sound area of past old experimental rave … six tracks in vertiginous and constant moving through the last decadence of Drum & Bass remembrance music.” Nühn (Ghostworker)
With Untitled Works II, the expectation is that the project deepens this trajectory: not merely revisiting heavy-drum frameworks, but pushing them toward the extreme, the dislocated, the unsettling—while retaining a high-fidelity, intentional studio craft.

Given that Julio Gutiérrez (Nühn) is himself the founder and guiding force behind Nühn Ltd., the imprint and its sub-labels carry a strong “lab” ethos: each release is as much a sound experiment as it is a dancefloor statement. The forthcoming album thus stands as both a continuation and a refinement of his explorations.

Sound and structure

From what we know of the first volume, Untitled Works II likely offers tracks that are shorter in form but intense in impact: the previous six tracks ranged around the 4–6 minute mark (4:17 to 5:44) and were conceived as “non-pop music, reasonable mind work.” Nühn (Ghostworker) This suggests that the new album will resist easy categorisation and mainstream structure, favouring instead modular, fractal design.

Rhythm and metric architecture: At its heart is drum & bass—fast, urgent, propulsive—but filtered through an experimental lens. Expect breakbeats that are stretched, fragmented, masked by delayed echoes, low-pass sweeps, and sudden amplitude drops. The original text: “study of dynamic, low pass, and delayed strong hits of bombs. Playing the voices, on distorted voxes/eq.” Nühn (Ghostworker)
In Untitled Works II the impulse will be to take those “bomb hits” further: perhaps approaching rhythmic abstraction, where the beat becomes an object in motion rather than a simple groove. The bass will likely rumble beneath, sometimes flattening into texture rather than providing a conventional hook.

Tonal and textural domain: Gutiérrez’s work under Nühn tends to revel in shadows and fog: layers of hiss, subtle modulation, voice samples distorted beyond recognition, ambient decay, and high-contrast transitions. The description of the label’s sound is telling: “a space you enter. A living architecture of sound suspended between shadow and ether.” Nühn (Ghostworker)
In practice, that means Untitled Works II may open with a track that introduces a field of noise or a reverberant drone, then launches into breakbeats at roughly ~170–175 BPM (or perhaps pushing faster), the “drum & bass” reference being more a starting point than a boundary.

Harmony and melody: My expectation is that melodic content will be minimal, or at least submerged. Any tune will likely emerge as a ghost—an echo trickled through filters, perhaps a sample warped, reversed, or grammatically fractured. The emphasis lies more in timbral shifts and micro-rhythms than large chord progressions or vocal lines. Indeed, the use of “voices” is described more as an instrumental layer: “distorted voxes/eq.” Nühn (Ghostworker)
Thus the album may succeed insofar as it creates emotional and visceral impact via texture, motion, and density rather than via conventional harmonic or lyrical development.

Thematic and emotional resonance

While “dancefloor” is the default setting for drum & bass, Untitled Works II appears to aim for a more cerebral occasion: listening in a dark room, perhaps at high volume, immersing oneself in the aftermath of the beat rather than simply riding it. There is a paradox here: the music is physically demanding (fast rhythms, bass pulses) yet intellectually distancing (abstract structures, low-pass treatments, de-centred voices). This duality yields a kind of sonic vertigo—a walk along the knife-edge of energy and dissolution.

The previous installment was presented as “the last decadence of Drum & Bass remembrance music.” Nühn (Ghostworker) The phrasing suggests both an homage and a critique: Gutiérrez seems aware of drum & bass’s journey, and now uses those tropes as material to decompose, re-imagine, and re-engineer. Thus Untitled Works II may carry a reflective dimension—acknowledging lineage while destabilising it.

Emotionally, one might expect sensations of tension, claustrophobia, sudden release, and disorientation. Moments of quietude will likely punctuate the assault, offering breathing-space before plunging again. In that sense, the album may function as both soundtrack and ritual, inviting the listener not just to move but to submit to the architecture of sound.

Comparative placement and significance

Within Nühn’s broader oeuvre, this release continues his exploration of alternative electronic, noise-ambient, experimental realms (see, for example, his previous LP under God Is A Deejay, Confortable (2023) which was more in the noise/ambient field). Nühn (Ghostworker) But now there is a pivot back to rhythm—specifically drum & bass—for which Gutiérrez applies his learned “lab” techniques (texturing, modulation, distortion).
In the wider experimental electronic sphere, the project fits among artists who push dance-oriented idioms into abstract territories: think of the way some producers have taken jungle, D&B or breakcore and turned them into sonic art pieces. Untitled Works II appears poised to occupy that same intersection.

Because of that, its significance lies in two registers: for devoted listeners of Nühn Records / No Records, it deepens the label’s identity; for the broader scene, it contributes a version of drum & bass that is less about euphoria or club-chant than about immersion, reflection, and sonic demand.

Anticipation & practical notes

Since the album is announced for next month (you mentioned “sale within a month”), anticipation should be calibrated accordingly: this is not casual background music—it asks for attention, and likely benefits from listening in a focused setting (good headphones or a high-quality sound system).
Given Gutiérrez’s mastering and mixing work at his Scala Studio lab in Girona (as noted in prior release information) one can expect high production standards: clarity even amid noise, depth of low end, and smart spatial design. Nühn (Ghostworker)
If I were to offer tips prior to release:

  • Approach the album with open ears and minimal distractions.

  • Listen first through headphones or a system with strong bass control—some tracks may dwell in sub-bass realms.

  • Consider listening late at night or in a quiet room: the material may reveal details of texture and micro-movement rather than immediate hooks.

  • For DJs or producers: this album likely contains modules or ideas worth deconstructing (delay, low-pass sweeps, voice modulation) for remix use or inspiration.