quête:self self

From the Southside of Glasgow now the south side of Berlin, previously most notably The Burrell Connection, but also Alfie and DJ59, is now fully under the alias Dream_E. Kicking off the self-titled vinyl and digi imprint with a mix of Breaks, House & Techno, "Crushed" follows in hot pursuit of the acclaimed "Dreams On 22" Ambient / IDM album released last year on Pace Yourself and a number of releases via longtime fellow deejays, Craigie Knowes. A donation will be made to The Encephalitis Society following each release.

From the many musical lives of artist Glenn Donaldson emerges The Reds, Pinks and Purples, a project that sifts out the purest elements of pop music and in the process chronicles the point of view of an assiduous San Francisco-based songwriter. The Reds, Pinks and Purples’ third album, called Uncommon Weather, is both an elusive portrait of San Francisco––during one of its fluctuations as an untenable place for musicians and artists––and also a self-portrait, however inverted, of a songwriter who has dispatched another treasured collection of timeless sounding DIY-pop songs.

How The Reds, Pinks and Purples arrived here is a story with many roots, the most consequential of which is perhaps the musical aftermath of his earlier band, The Art Museums, whose brief tenure in the late ’00s coincided with an explosive period of the Bay Area rock scene and was followed by a hermetic musical period of Donaldson’s. Disenchanted with the dissolution of his band, Donaldson averted the DIY-pop sound with an instrumental, conceptual project called FWY! but meanwhile started a habitual songwriting practice, sharing nascent songs with friends in an email exchange. In 2013–2014, The Reds, Pinks and Purples took shape as the moniker for Glenn’s most direct expressions in the DIY-pop mode, enabled by this new disciplined output. By then, San Francisco was already a changed place. The tragic loss of his former bandmate in Art Museums was another source of discontinuity and rupture. You can hear in The Reds, Pinks and Purples’ earliest songs this grappling with life, anxiety, and atrophying subcultures. For an artist with an overriding interest in the aesthetic principles of discrete musical genres, this turn toward his immediate world for subject matter was a major shift, setting The Reds, Pinks and Purples apart from Donaldson’s other musical ventures.

Preceding the release of Uncommon Weather was the Reds, Pinks and Purples’ 2nd album, one of the record buying joys of 2020, You Might Be Happy Someday, and, earlier, their first proper full length Anxiety Art, a title that might nod to the classic Television Personalities song “Anxiety Block.” Donaldson’s music continuously reckons with the influence of Dan Treacy, whose own forays into drum-machines, echo, and reverb in the early 1990s is an important reference point for The Reds, Pinks and Purples’ musical template. Paul Weller, Robert Smith, and Sarah Records also come to mind. But, as important, Donaldson sees his projects as visual expressions too, often blurring the lines of records and physical art objects. They could just as well be “art multiples” as well as records. The pattern for Reds, Pinks and Purples’ records is to document San Francisco’s Inner Richmond district in photographs: the muted, pastel colours and unpeopled compositions unfold in a series of images that read like counter-melodies to Donaldson’s distinctive voice, a vocal tone that always complements the colours.

Self-recorded and mostly self-performed, Uncommon Weather features pinnacle versions of songs Donaldson has honed since the beginning of the project. The album arrives with grateful timing, quick on the heels of You Might Be Happy Someday, and alleviating, for a brief window at least, whatever it is that keeps us coming back to this elemental music. Donaldson imagines his listeners are just like himself: fascinated and addicted to the spiritual power of uncomplicated pop classics. Anthony Atlas

Wackelkontakt are the trio that currently spearheads the Jerusalem scene, playing music that's precise yet eclectic, cruel and abrasive even when vulnerable. An unholy mixture of trap, industrial, experimental and power electronics. Wackelkontakt have already made a global mark with the sensory overload of their live multimedia performances and the scintillating presence of frontwoman Tomer Damsky AKA MC Slice, backed by Eyal Lally Bitton (electronics, visuals, scenography) and Marco Milevski Tomasin (drums and electronics). Wackelkontakt's wildly eclectic approach, bound by an impossibly consistent sound, is a direct result of the band living a minute away from The Old City's Damascus Gate and recording in the ultra-orthodox neighbourhood of Me'a She'arim; Jerusalem is present in the music, not in the shape of touristic exotica but in a sense of conflict, paranoia and isolation. The lyrics are equally contradictory, schizophrenic and chaotic. Emotional manipulation clashes with a desire to shake and be shaken, to allow oneself to become sucked as far as possible from self-loathing. When self-reflection arises it is bitter, ridiculous, pathetic, interweaving with philosophical texts lifted directly from the likes of Deleuze & Guatarri, Foucault, Artaud, WJT Mitchell and others.

Hailing from Brownsville, Brooklyn Taphari got his start in the underground queer clubscenes of Bushwick. His live performances are explosive dance parties and an aggressivecall to action. Truly charismatic on stage, music is Taphari's most efficient means ofcommunication. He writes of his struggles as a young loner from the hood seeking asylum inlaughter, queer expression, hip-hop, and the internet. On 'Blind obedience' we find Taphari on a journey of self-actualization, transcending suffering through the power of self-love and authentic musical expression. this hard-hitting,confident debut centers the skilled rapper's syllable hopscotchover mutating beats. staying in a lane he's forged himself, therap alien's rage is explosive out the gate. on lead single "Table42" featuring seasoned rapper pink siifu, taphari sings of lostlove and the end of the world over drum 'N Bass beats. "Backsoon" featuring label mate Benét is a generous breath from thiskinetic collection of bangers.

After signing to the Toolroom in 2018, Friend Within is finally ready to unveil his debut album titled ‘Hope’ with four of the standout tracks being compiled for this 12 inch sampler. An established producer in his own right, having worked with countless DJs and producers over the years Friend Within has come full circle with his debut album ‘Hope’. Written during lockdown in 2020, it is a collection of his finest tunes to date, packed full of club bangers and dancefloor fillers leaving little room to disappoint.

Released back in 2020, the first single to the album ‘For You’ is a self-assured classic house track with no need for an introduction, maintaining the albums theme of absolute bangers. Despite it being one of the more chilled out moments on the album, ‘Love Goes On And On’ cements its place as a straight up house banger. Next up, A-Trak makes an appearance as the pair collaborate on 'Know Each Other', upping the ante from their previous 2019 hit ‘Blaze’. Going from strength to strength, the late night, feel good nature of the song speaks for itself and is a definite high point of the album. Finishing things off is instant dancefloor classic, 'Rola', an uplifting Disclosure esque record sprinkled with subtle hints of Friend Within magic for good measure.

Although the album leaves a sense of longing for live music again, it gives hope that better times are yet to come. Hope is destined to soundtrack and define nightlife post pandemic, known the world over as a classic debut by one of the most exciting artists of this decade.

Die weltbekannte Band aus Island ist mit ihrem elften Studioalbum, dem hoch emotionalen "Mobile Home", zurückgekehrt und veröffentlicht damit ihr erstes Album seit 2018. Das Kollektiv beweist einmal mehr die Meisterhaftigkeit, seine künstlerischen Grenzen zu erweitern, indem sie eines ihrer ambitioniertesten und kraftvollsten Alben seit Jahrzehnten veröffentlichen. Für ihr neuestes Album holten sich GusGus die VÖK-Sängerin Margrét Rán zur Hilfe, um ihren Stil zu erweitern und den Sound des Kollektivs so frisch wie immer zu halten. Das 9-Track-Album bietet eine Mischung aus elektronischem Rock, Ambient, Darkwave, Downtempo und Synthpop. GusGus besser denn je!

World-renowned group GusGus have returned with their 11th studio album, the highly emotive Mobile Home, marking their first album release since 2018. The collective once again prove their commitment to pushing their artistic boundaries as they release one of their most ambitious and powerful albums in decades. For their latest record, GusGus call on VÖK’s lead singer Margrét Rán to help expand their style, keeping the collective’s sound as fresh as ever. The 9-track album features a concoction of electronic rock, ambient, darkwave, downtempo, and synthpop.

After announcing a new album in October 2020, GusGus wowed fans with their first single “Higher,” offering a first taste of how VÖK’s impactful vocals mesh seamlessly with GusGus’ intelligent and powerful electronic production. “Higher” was soon followed up with the darker, downtempo “Stay The Ride” and the bright and energetic synth work on “Our World.” The three captivating singles each received equally remarkable music videos courtesy of founding members Arni & Kinski, the directing team known for working with the likes of Sigur Rós, Kiasmos, Ólafur Arnalds, Of Monsters and Men, and more.

Every track on Mobile Home doubles as a window into a futuristic dystopian world that has been overtaken by machines. A nod to the rise of technology and ever-growing uncertainty surrounding automation, the album explores themes of solitude, rebellion, science fiction, hedonism, pleasure, and anger. Swirling within this world is a disconnected, aching soul who is on the verge of slipping into complete dementia. Forgotten purpose and goals but continues to be driven by the hedonistic default program of material consciousness; sensually self-indulgent and engaged in the pursuit of pleasure alone. In Mobile Home, GusGus challenge themselves like never before, resulting in a wonderfully chaotic reflection of the ongoing war between soul and machine.

With Mobile Home, GusGus show the quality and sonic diversity of the singles pervades throughout the full LP, while preserving the melodramatic themes that tie its 9 tracks together. “Simple Tuesday” showcases the group’s aptitude for blending contemporary electronic production with pop sensibilities while keeping an optimistic tonality at the forefront. Meanwhile, “Love Is Alone” and “Original Heartbreak” offer a slower, more pensive take on synthpop, and evoke feelings of solitude and deep melancholia. “Silence” and “The Rink” boast some of GusGus’s more experimental production, each alternating between radio-ready vocal verses with inventive and exciting synth elements. GusGus closes Mobile Home with “Flush,” an instrumental score that leaves the listener riding high as they finish the LP.

The first release in what will be an ongoing three-part series, Part I features nine tracks for bass guitar and tenor saxophone. Part II, an exploration of a slightly larger, more sonically diverse musical world will feature string quartet and voice. Finally, Part III will collaborate with choreographer Siobhan McKenna, who alongside Nick will develop a percussive movement work that seamlessly intertwines with the musical work.

“My aim is to create music that is sonically and musically atypical whilst still belonging to an accessible contemporary scene. Each project, album or ‘part’ will set out to explore a single ensemble or group of instruments. In the case of Part I, that ensemble is hollow body bass guitar and tenor saxophone. “ - Indigo (Nick Roder)

The Indigo project itself was inspired by Saxophone & Bass Guitar by Sam Gendel and Sam Wilkes, which prompted Nick to write an album of music for the same type of ensemble. Having only just purchased a bass guitar for a different project, the instrument was still very new to him.

“I was curious to see what I would write with my self-imposed rule of not being able to overdub material, and further, how my limitations as a relatively green bass guitarist would influence the writing of the material. A strong focus on harmonic movement and melodic material was where I eventually found my happy place.”

The result is a phenomenal debut. Burrowing into the space between it’s sparse instrumentation and dulcet tones, Part I is the realisation of a minimalist and concise vision of what a symbiotic relationship between two instruments can yield.

About Indigo
Indigo is the moniker and ongoing project of Melbourne-based composer and arranger, Nick Roder. The Indigo project was conceptualised in 2020 and focuses on deep sonic exploration of little-heard ensembles in a contemporary space.

Since 2018, Nick has been composing soundtracks for video games including The Invisible Hand, Roadwarden, N1NE: Splintered Mind, This Dead Winter and Miska. Nick has also played in art-rock ensemble, Tulalah, exploring sonic textures, combining contemporary jazz/rock with chamber sounds. The modular ensemble released The Flood (Equinox Recordings, 2015) and The Question (Independent, 2017).

Anne-Marie’s second studio album, ‘Therapy’, is the official follow-up to her multi-platinum and four million-selling 2018 debut, ‘Speak Your Mind’ the UK’s biggest-selling debut release of that year. An artist whose everywoman candour and knock-you-down vocal range has reverberated across the globe, ‘Therapy’ is a collection of songs that embody Anne-Marie’s characterful artistry, self-effacing attitude and beautiful honesty; attributes that have not only catapulted Essex-born Anne-Marie to platinum status in the UK to the USA and everywhere in-between, but ones that have seen her reign supreme a fearless Gen Z role model.



With the full tracklisting yet to be announced, Mind Charity ambassador Anne-Marie is delighted to confirm that ‘Therapy’ will feature her already-released UK Top 3 and Gold-selling ‘Don’t Play’ with KSI and Digital Farm Animals; recent feel-good Nathan Dawe and MoStack collaboration ‘Way Too Long’; as well as Niall Horan collaboration, ‘Our Song’, which the pair wrote with Phil Plested and TMS (Lewis Capaldi), with the latter also on production.



An album of candour and vivacity in equal measure, Anne-Marie wrote ‘Therapy’ with Max Martin (Ariana Grande, Taylor Swift), Kamille (Little Mix, Headie One), MNEK, Raye, TMS, Blake Slatkin (The Kid Laroi, 24kGoldn), Ed Sheeran, Nathan Dawe and Plested (Lewis Capaldi) – production comes from Mojam (Aitch, Fredo), Fred Ball (Rihanna), TMS and Blake Slatkin.



Anne-Marie has become one of the globe’s most successful pop stars since hear breakthrough in 2016. An artist with over five billion streams to her name, in her home market, she has secured 1 x platinum album alongside five Top 10 singles to date. And 2021 has seen her continue her winning streak, too – her January release ‘Don’t Play’ spent twelve weeks inside the Top 10 in the UK’s Official Singles Chart and has subsequently become the biggest song of 2021 so far by a British female artist (OCC). Not to mention her prime time debut as the new, and winning, judge on talent show, The Voice, earlier this year.



Rewind to 2020 and alongside charitable work and recording, Anne-Marie released her first-ever documentary titled ‘How To Be Anne-Marie’, exclusively with YouTube. Shot in her home county of Essex at a time when her years’ plans were turned upside down due to the pandemic, Anne-Marie took us back to where it all began. In the hour-long film, we saw her recounting her difficult school years, the close bonds she shares with her family, fans and friends, as well as the plights of stardom that she candidly spoke about with her peers, Little Mix.

Forged in the cavernous labs of Indianapolis, the XK3 EP by producer D.Strange, dives into the metallic underworld of alienated shadows to create brutal, icy electro. The submerged acid-tinged opener, "Sonic Recoil" ascends with a snarling pathos of trap hats that pierce through the looming fog of the club. "Negative Center" haunts in cunning dexterity and grooves with a jacking pace of brooding momentum. Somewhere in the maze of resonance droplets, cascading hats, and the ominous synth pads, the track "A Black Liquid Filled My Lungs" hypnotizes in its atmospheric acid electro hybrid. Right out of the gate, the self-titled track "XK3" punishes with off-beat synth shards and glitchy, mechanical snares that snap in anthemic propulsion. While "Ghost of Kashif" weaves itself in esoteric, yet evocative, soundscapes with an absolutely grooving, club menacing fashion. Rounding out the release, fellow Indianapolis producer Noncompliant contributes a cruel electro sub-heating take of "XK3" to help warm the boreal landscapes of the EP.

“They were one of those bands that were a prequel to what the future was becoming. Feminism, human rights, animal rights, environmental
protection, gender issues... Spitboy was singing about these issues
30 fucking years ago.
I’m so grateful to have witnessed it.” - Billie Joe Armstrong “Spitboy are one of the most
important punk bands to have ever existed. To me, an angry 20-year-old in London, discovering them felt like the first time I truly identified with a band’s politics and agenda.
One of my all-time favourite albums (then and now) was Penis Envy by Crass. No lyrics
had ever touched me the way this album had--until Spitboy entered my life. My people. My radical feminists. My punk scene. Where I have lived and belonged for over 30
years.” -Vique Simba

The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.
‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.
Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!
Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.
Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

In January 2019, at the invitation of fiddler Hans Kjorstad, Alasdair
Roberts travelled from his home in Glasgow, Scotland to Oslo,
Norway, where the two men convened with five additional
Scandinavian musicians at Riksscenen, Oslo’s centre for
Norwegian traditional arts and music. Thus newly-formed, the
group worked on arrangements of songs - self-written and
traditional - from Alasdair’s back catalogue, in preparation for
performances at Riksscenen as well as at ALICE in Copenhagen,
Denmark and the bucolic western Danish island of Fanø. The
group was named Völvur (The Seeresses), a reference to the
ancient Icelandic apocalyptic text Völuspa (The Prophecy of the
Seeress).
In January 2020, Völvur visited England and Scotland, to perform
with Alasdair Roberts at Cecil Sharp House, London and at
Platform, Glasgow, the latter as part of Celtic Connections festival.
The group had new material - freshly written songs by Alasdair
and several traditional Norwegian songs sung by Marthe Lea - and
over a couple days at Sam and Rachel’s Studio in Hackney, laid
down the music which now flows forth as ‘The Old Fabled River’.
The musicians who make up Völvur - Marthe Lea, saxophone,
clarinet and voice, Fredrik Rasten, guitars and voice, Andreas
Hoem Røysum, clarinet, Egil Kalman, bass and electronics, Jan
Martin Gismervik, drums, percussion and the aforementioned
initiator of the project, Hans Kjorstad on fiddle - are a busy and
artistically inquisitive group, involved in a diverse range of projects
with a wide variety of musical interests, from folk and jazz to free
music, modular synthesis, microtonality and beyond. They make
an ideal pairing for such voyages in the alchemical world as
Alasdair pursues in his own music.
On ‘The Old Fabled River’, Alasdair Roberts og Völvur meld their
worlds: fiddle and vocal styles formed in the Norwegian valleys
blending now with exploratory clarinet, saxophone and metallic
bowed guitar drones, now fashioned into baroque folk
arrangements. In one case, instrumental accompaniment is laid
aside, as three voices locate a questing fullness harmonizing
together.

Hot on the heels of releasing indie/dance single ‘Treat You Right’, The Jungle Giants reveal their highly anticipated fourth studio album Love Signs. It will feature their trademark alternative dance-pop hooks that veer from dissonant to euphoric. Love Signs was written and produced solely by Sam Hales and features previous singles ‘Treat You Right’, ‘Heavy Hearted’, ‘Sending Me Ur Loving’, and ‘In Her Eyes’. Not only was making this album “really self-affirming” for Hales, it’s also shaping up to be The Jungle Giants’ most successful. With a recent ARIA Nomination for ‘Best Song Of The Year’, multiple platinum and gold singles, alongside back to back Top Ten entries in triple J’s Hottest 100, this album is shaping up to be one of Australia’s best releases this year.

Romantic Images, Molly Burch’s third album, marks a distinct evolution for Burch, both emotionally and sonically. Recorded in Denver with Ten - nis’ Alaina Moore and Pat Riley producing, the collection celebrates the timeless delights of a well-crafted pop song, flirting with Blondie, Madonna, and even Mariah Carey as it forges a joyful soundtrack to liberation and self-discovery.

Burch deliberately worked with more women collaborators than ever before on the album, and the results are transcendent, reveling in the passion and the power of the divine feminine. The collection prioritizes ecstasy and escape, and Burch’s commitment to collective catharsis in her lifted, airy delivery manages to exude both thoughtful introspection and carefree abandon all at once. The shadow still lurks on the album, to be sure, but the light ultimately wins, and the result is an intoxicating collection all about coming into our truest selves.

NewDad emerged from Galway at the beginning of last year, self-releasing their first string of songs. The ‘Waves’ EP is their debut EP and features the BBC 6Music A-list singles “I Don’t Recognise You” and “Blue”.

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

Five-time ARIA award-winning producer, songwriter and artist, Nick Murphy announces the highly anticipated new album from his Chet Faker project, Hotel Surrender. In a return to making music that simply felt good, Nick Murphy revived his acclaimed billion streaming Chet Faker project in October 2020 after a six-year hiatus. The culminating result is Hotel Surrender: a self-produced, self-written 10-track LP that reintroduces the swaggering bass lines and electrifying melodies that made fans fall in love with Chet Faker the world over

Wooden Shjips, as it is today, started in 2006. The band self released a 10" and 7" that year and started playing shows shortly thereafter. Prior to 2006, Wooden Shjips was an experiment in primitive and minimalist rock. After it imploded, Ripley Johnson, guitar and vocals, assembled the current lineup of Dusty Jermier on bass, Nash Whalen on organ, and Omar Ahsanuddin on drums. West marks the first time the band recorded in a proper studio, as well as the first time with an engineer (Phil Manley). All previous recordings, either self-released, for Holy Mountain, or Mexican Summer were done more piecemeal in the band's rehearsal studio. West was recorded and mixed in six days at Lucky Cat Studios in San Francisco. It was mastered by Sonic Boom at Blanker Unisinn, Brooklyn, with additional mastering by Heba Kadry at The Lodge in New York.

Schmer brought these two together to battle it out for Schmer019: Snazelle vs Loveland : Get this special 6 track maxi EP of pure techno and YOU will be the winner.




Brooklyn based techno producer and Snazzy Fx boss. Much of the hardware Dan uses in his productions and live sets was designed and built by him. His focus as an artist is on electronic music as a vehicle for achieving transcendent states. This comes out in his sets as a respect for both the funky and hypnotic aspects of dance music. As a DJ and live act, Dan has performed throughout Europe and is a regular fixture in NYC.

2018 saw Dan release the "Exposure to a Steady Stream Ep" on Jacktone records. Fact Magazine included the track " Broken Saucers" in their best of September round-up.

In early 2019 Nina Kraviz and Dan released their collaboration "u ludei est pravo"on the trip compilation "Happy New Year! We Wish You Happiness".

In August, Schmer released his newest EP, "Swarm Draze".


Jasen Loveland is a mercurial force about whom little is known with any certainty. Much of Loveland’s life and exploits are shrouded in an opaque and often contradictory mythology that includes many other characters who may or may not be Loveland himself. Born sometime around 1950, Loveland seems to have been operational within the dance music community for decades, allegedly interning for Giorgio Moroder in Munich after finishing a medical degree in the 1970s. It is rumored he was the individual who did the actual synth programming on “I Feel Love”, however this was never confirmed. Documentation of Loveland’s past was further obscured by a “studio fire” while operating out of Chicago in the mid-1990s that destroyed all of Loveland’s memorabilia from the past, except for a handful of lo-resolution, poorly-scanned photographs Loveland (an early user of Hyperreal.org and the #mw.raves listserv) had emailed to a friend. Fortunately, Loveland was able to save his two favorite synthesizers, a battered Roland TB-303 and it’s demented sibbling, the MC-202, but the rest of Loveland’s equipment, and the documentation of his past, was lost in the blaze, leaving Loveland homeless for several months. Regardless of the veracity of his tales, Loveland’s music speaks for itself; the intense, maniacial vibes that pervade the ouvre are undeniably suited for the most far-out, dancefloor head trips, thus making it only a matter of time before he joined the Interdimensional Transmissions family.



Most recently, Loveland has been presenting DJ-style musical performances under the name “Loveland & Friends”, which has become an umbrella term for all projects related to his work, including JL-303, DJ Curtis Chipp, Chip Curtis, MIDI Master, Remote Perception, The Limit, Acid Musik Department, The Gaze, Ace of Fades, East German Chemistry, The Universal Vision, Clonus, Gamma Polaris, R.O.M. and DJ Kline, and Da House Band. Many of these, such as the DJ Kline project (with Prof. Dr. Alice B. Kline, a self-described “unremarkable scientist” and researcher at CERN), seem to be collaborations or ghost productions, although even this is not clear. In fact, the only confirmed Loveland collaborations are LW Productions (with Clay Wilson) and Pervocet (with Patrick Russell), the latter presented as a 12” by Interdimensional Transmissions, Detroit.