Living Room Music

About Living Room Music

Living Room Music is n8k99's electronic music podcast — composed, mixed, and mastered at home, most of it in the small hours. Each episode is a single continuous set that moves wherever the night pulls it: psytrance and acid hypnosis, dub techno and cavernous delay, downtempo and ambient comedowns, bass you feel more than hear. No guests, no talk — just the sound of a living room that doubles as a studio, the gear warming up and the hands remembering what they were for. New episodes most weeks.

Publisher

n8k99

Category

music

Language

en

Explicit

No

First episode

21 Jan 2022

Latest episode

18 Sept 2026

Latest episodes

193 episodes in the feed.

1. 

   18 Sept 2026

   Episode 191: Secrets & Lies

   This is the first one where I set out to record a full LP for the show. Two sides, forty-four minutes and forty-six seconds, and I went at it sort of like Bitches Brew except as a solo producer. Every other episode has been a half hour that goes where it goes. This one has an A side and a B side that were made eight days apart and were always meant to be two halves of the same object. Side A started on Labor Day and I only got sixty-four bars down before it was time to leave for the union hall. That was the IATSE 115 celebration in the AVL warehouse, which is gigantic — food the members cooked, a Stagehand Olympics that one of our riggers won, and a jam room that nobody much used because everyone was outside watching the free labour. I took my trumpet and played in there anyway, and it turned out to be the warm-up for the rest of the day. Then I took a long nap, woke in the middle of the night out of a dream with a motif still running, and finished the whole side before morning. I connected the Crimson II kit and drummed fills and grooves over the drum track I had programmed. I played guitar. I played trumpet. I played keys, in lots and lots of layers. It is one song. There are parts that are obviously different sections, but it is one song. Side A sits at sixty beats per minute and reads A minor. It opens in E minor and stays there a good while, moves through A minor in the middle, and goes out through D major. Eleven tracks I played, and exactly one borrowed loop on the entire side. Side B is the other thing I have been chasing — jam-feel trip hop jazz, which I think is legitimately the kind of music I want to be making. Eighty-five beats per minute, B flat minor, fifteen tracks, and all of it is me except the kick drum. Ten loops on that side and every one of them is a kick, stacked under the floor to hold the grid while I play over it. Everything with a pitch is mine. There is a Steinway carrying most of the harmony. It comes in on B minor, goes through E flat and B flat, settles into B flat minor and leaves on F. Put the two sides together and the record walks off the sharp side of the piano onto the flat side, with that B minor at the top of the second half as the hinge. Sixty on one side and eighty-five on the other, which is the clearest tell that these were two sessions and not one. When I had Side B up on the playback and set for mixing there were a couple of sections that got me very close to gooseflesh. That is the whole reason to keep doing this. Forty-four forty-six. Secrets and lies.

2. 

   4 Sept 2026

   Episode 190: That Old Bristol Groove

   I wanted a solid drum and bass groove and I wanted it to hold for most of the half hour. Thirty minutes at 170, and the only ups and downs are energy breaks, places to breathe before it rolls again. The picture in my head was DJing a properly active dance party, the kind where people came to get down and do not need pop hits recited at them. They need rhythms and basslines rolling through, and that is what this is. The melodic parts are there for flavour, some cerebral bits to think about while you follow your feet. It was a single afternoon. More than once during production I set a thirty-two bar marker cycling and just let it go round and round, not working, just feeling the groove. There were numerous places where I could not keep my feet still or keep my face from smiling. I was not thinking about anything else while I made it, not the books I have been reading, not the machines. It was a fun afternoon making something I would love to watch people groove to. Not yelling and screaming. Just grooving along. Here is the part that is different about this one. Thirty-two tracks, and nothing recorded in from outside, no horn, no real piano. Thirty-four Apple Loops, which for this show is unheard of, since most episodes borrow one or none. But every one of them is a beat or a fill or a riser. The loops were strictly for the drums, stacked and combined so it stays interesting and never goes to raw repetition. Everything with a pitch is mine. The bass and the melodic parts were the fun of it, layering different synths together, an FM bass under a modular sequence under an organ, to get textures and tonality wider than any single track could give me. There is a vinyl crackle running over the whole thing that I put there on purpose. It reads as E minor, same key and same tempo as 188, so call them siblings. But it opens in E major and stays bright for six minutes, the room filling before the floor commits. Then it settles into E minor from ten to twenty, and from twenty-two to twenty-seven it goes to A minor and gets more certain of itself than anywhere else on the record. That is the stretch where nobody is thinking anymore. The last two minutes come home to E minor. It feels very Bristol old school in places, with some English dubstep from before the brostep years and just a little bit of tearout in it. Thirty minutes and eight seconds. That old Bristol groove.

3. 

   29 Aug 2026

   Episode 189: Blackness

   This one started on the actual piano. I plucked out a chord progression in F major, sitting at the real instrument, and then carried it into the studio to make it slow and distant. Thirty-two beats a minute with the grid switched off, which is slow enough that it stops being a tempo and turns into weather. Moody and introverted, and I mean that about the playing, not about me. It is part of a meditation I have been having about hibernating through the Florida heat. Some biological sluggishness has had hold of me all summer — the sleep comes at strange hours and in strange amounts, and the days go by at about the speed this record goes by. I was not trying to describe that. It just turned out to be what was under my hands. The piano is the whole record; everything else is underneath it. Several soundscapes, all of them made out of voices — choir phrases, vocalise, a vocoder — none of them singing anything, just breathing under the chords. Then the rooms, which are enormous. One of the reverbs is an eighteen-and-a-half-second castle lobby. That is what makes the picture dark, and that is where the title came from. Here is the part I did not expect. I played F major. The record reads A minor. Nothing changed the notes — a tail that long smears every chord into the one after it until the tonic is no longer the loudest thing in the room, and what survives is the darker reading of the same handful of pitches. The room transposed it. Blackness is not a mood I applied afterward; it is what the reverb left standing. It moves more than something this slow has any right to. A minor at the top, six minutes over in C, back to A minor for a long stretch, a strange bright turn into D major around sixteen, and then A minor again from twenty to twenty-six, sitting there getting more certain of itself. And then the last two minutes go out in C major. A record called Blackness that finds the door on the way out. I did not plan that either, and I am not going to fix it. Nothing borrowed on this one. Five tracks, no loops, nothing recorded in from outside — just the piano, the voices, and the rooms. Twenty-nine minutes and fifty-six seconds, and it stops four seconds short of the half hour, which feels about right for a thing that never quite wakes up.

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Apple Podcasts (US)

5.0 / 5

1 ratings

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Guest appearances

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