About HÖR

HÖR

HÖR is Berlin's most recognizable electronic-music livestream platform: a nonstop DJ broadcast from a hand-built booth in Kreuzberg, famous for its white-tiled room, fish-eye camera and single neon light. Launched in August 2019 by Ori Itshaky and Doron Charly Mastey — the DJ duo TV.OUT, freshly arrived from Tel Aviv — HÖR became during the pandemic years a crucial outlet for DJs, collectives and emerging artists worldwide, and a daily ritual for global dance-music audiences. The format is minimal and instantly iconic: one DJ, one booth, one hour, broadcast live to the world — the raw underground energy of Berlin's club culture, distilled into a stream — the minimalist booth as the anti-spectacle, the music as the everything — no crowd, no lights, no production, just the set — the anti-Boiler Room, the booth as the statement — the minimalism as the maximalism, the room as the brand — the less the booth shows, the more it means. In 2026 the platform was acquired by 99Solutions, opening a new chapter for the Berlin livestream institution.

Overview

HÖR is not a radio station in the classical sense — there is no FM frequency, no DAB+ slot, no licence from a media authority. It is a livestream platform: continuous DJ sets broadcast live from a small studio in Berlin-Kreuzberg, distributed via the web and YouTube. The visual format is the brand: a fish-eye view of the DJ over the turntables, a single neon light to the left of the screen, the now-iconic white-tiled background. Screenshots of that room are instantly recognizable across the internet's music corners — the white tiles as the logo, the booth as the stage, the fish-eye as the signature. Certain parts of the internet know that white-tiled room immediately: that one DJ stream in Berlin.

The programming focus is underground electronic music: techno, house and their countless subgenres, played by DJs and live acts from Berlin's scene and from around the world. The schedule originally ran Tuesday to Friday; during the Covid lockdowns, when demand exploded, Mondays and Saturdays were added — the week filled, the stream never sleeping. A typical day's stream sweeps across continents: Europe in the afternoon, New York as it wakes, Asia in the evening — the global dance floor, time-shifted by timezone, the white-tiled room as the constant — the booth that never changes, the DJs who always do — the white tiles as the constant, the turntables as the variable — the booth's geometry, the DJ's freedom — the fixed frame, the infinite music, the HÖR formula — the booth as the canvas, the DJ as the painter.

History

Charly Mastey and Ori Itshaky moved to Berlin in early 2019 from Tel Aviv and began the stream in August 2019 — in a climate when the future of independent radio in Berlin was uncertain: the city's beloved Berlin Community Radio had shut down the year before, simply for lack of money. The two founders saw opportunity in DJ streams: through their own network from throwing parties and DJing as TV.OUT, they began platforming people they knew personally and grew from there. The stream was connected to the club but fundamentally different: music that could work on the dance floor but also at home.

The pandemic made HÖR. When Berlin's clubs closed on 13 March 2020 — the city's entire nightlife officially shut, some 9,000 employees and tens of thousands of artists without work — the platform became the city's at-home club experience: the audience spiked, fan letters arrived from around the world thanking the founders for keeping the culture alive, and HÖR joined the United We Stream initiative, the Club Commission's digital club landscape bringing Berlin's techno temples to the world's living rooms. By the time the clubs reopened, HÖR had become one of electronic music's most recognizable digital platforms — the white-tiled room as the symbol of lockdown-era club culture, the stream as the proof that the culture could survive without the club — the lockdown's lesson, the platform's legacy — the culture survived, the stream proved it, the booth remembers — the pandemic's monument, in white tile and fish-eye — the stream that kept the culture alive, remembered — the white-tiled monument to the lockdown years, still streaming.

The rapid rise brought controversy. Over the past two years the platform faced intense criticism of its moderation policies and public positioning regarding Israel and Palestine; artists publicly distanced themselves, cancelled appearances or requested set removals — a reputational crisis within parts of the underground ecosystem. In 2026, 99Solutions acquired HÖR — a new chapter for the platform, under new ownership.

Programming

The programming is the format: live DJ sets, one after another, in the fish-eye booth. There are no presenters, no news, no jingles — just the DJ, the decks and the hour. The curation is the editorial voice: who gets the booth is the statement. Emerging artists get visibility far beyond traditional club circuits; established names play the white-tiled room as a rite of passage. The sets live on as videos — the archive as the library, the livestream as the moment, the YouTube channel as the history of the booth. During the lockdown era the programming expanded to meet demand; the daily ritual of tuning in became, for many, the replacement for the club night — the stream as the communion, the chat as the dance floor — the lockdown's club, the audience at home, the ritual intact — the tune-in as the new going-out — the lockdown's nightlife, the stream's promise, the culture's continuity — the tune-in as the act of faith.

Organization and Ownership

HÖR was founded in 2019 by Ori Itshaky and Doron Charly Mastey — the duo TV.OUT, the party-throwers turned broadcasters. In 2026 the platform was acquired by 99Solutions, as reported by Deep Tech Magazine — the Berlin livestream concept passing to new ownership after seven years of independence, a new chapter for the white-tiled room. The founders' background shaped the platform's artist-first ethos: rooted in the local community, grown through personal networks, the stream connected to the club but fundamentally its own medium — the music that works on the dance floor and at home, the founders' founding insight — the stream's double life, the booth's double duty — the club and the home, the dance floor and the living room — the booth's two audiences, one stream. Detailed financial and corporate figures are not publicly confirmed in the sources consulted.

Digital Presence

The digital presence is the product: HÖR lives at hoer.live and on YouTube, where the sets are streamed live and archived. The white-tiled booth is one of electronic music's most shared images — the screenshots as the marketing, the fish-eye aesthetic as the identity, the neon light as the punctuation. During the pandemic the platform demonstrated what a livestream could be: not a replacement for the club but a new medium, with its own rituals, its own audience, its own visual language — the daily tune-in as the new door policy, the chat as the new cloakroom — the livestream's own rituals, the platform's own language — the fish-eye, the neon, the tiles, the HÖR look — the visual identity that launched a thousand screenshots — the white tiles as the meme, the booth as the icon. The acquisition by 99Solutions in 2026 sets the terms for the next chapter: the booth remains, the tiles remain, the stream goes on.