Audio Obscura’s film sees the Detroit techno pioneer reinterpret Rembrandt’s 1642 masterpiece through original music and dance at the Rijksmuseum, premiering on October 21, 2026, with public screenings from October 22 to 25 during ADE.

Øneheart moves beyond the atmospheric sound that defined him, opening up to new genres, shifting influences and a side of himself kept hidden for years.

He came out of punk, where saying no is a discipline, and then spent forty years declining to fight anything from outside. Virus went on air in Rome in 1993 — eight until midnight, every night, eight years — named for what enters a system unnoticed and changes it from inside. KEY Vinyl runs the same way: he turns down more records than he takes and sends honest feedback with every rejection, because a door was closed on him once in Berlin and he was told the DJ doesn't know you. He left Rome at the moment the city stopped letting him grow. Everything he has made: the radio, the label, the fifteen-hour closings is a way of getting back to the side of the booth he came from.

At Stone Techno Festival 2026, Amotik played b2b with Lea Occhi, bringing a track they had made together in a single afternoon to a crowd hearing it for the first time. For someone who has spent the past decade working largely alone, it felt like a small departure from the system he had built around himself: his own label, his own release schedule, sets stripped to five or six sounds. A technical constraint became a method, then a philosophy. Through AMTK+, he eventually opened that system outward, becoming a curator of other people’s music too. Anil Chawla has spent his career protecting a very particular part of the process: the moment when the music still belongs entirely to him, before it has to become anything for anyone else.