Since the mid-1990s, Guy Brewer has danced in the shadowlands of electronic music. From early explorations in drum and bass, his innovative contributions quickly gained recognition, leading to now-iconic releases on some of the genre's most respected labels. Yet, intrigued by new artistic horizons, Brewer slowly gravitated towards the sound and spirit of techno, culminating in 2011 in his initiation of the Shifted moniker and his pioneering Avian label. Since then, under a myriad of aliases, he has ventured deep into techno's various sub-genres, gaining recognition for his work in minimalism (Pacific Blue), rhythmic noise (Covered in Sand), and drone and feedback (Alexander Lewis). The continuing evolution of Brewer's artistry has now culminated in the creation of Carrier, transcending conventional genre boundaries and signalling a shift toward a more expansive and unrestricted mode of expression. First of all, thank you Guy for taking the time to answer our questions. We’re super excited to have you play for Patterns of Perception again, but also under your new alias Carrier. You have been known as an artist with many guises, namely Covered in Sand, Alexander Lewis, Pacific Blue and of course Shifted, with each moniker representing a different facet of yourself. What is the concept behind Carrier and what does it represent to you? Well, Carrier is a little different as most of the others you mentioned were certainly side projects that branched off from Shifted. Carrier is not a side project: it’s my main focus moving forward and is completely disconnected from everything that’s come before. Although of course because it's me there are certain threads that bind it to my earlier work in terms of production. For me, it represents a fresh start personally, creatively, aesthetically. For a while with Shifted I felt like I was repeating myself and just doing what was necessary to maintain the status quo. There’s nothing exciting in that, nothing artistically interesting ever came staying in one’s comfort zone. In terms of sound I wouldn't want to say what it's about really as it draws on a lot of different influences. I just don’t want to be hemmed in, and restrained. For me electronic music is always at its most interesting when it’s kind of undefinable, when you can hear it pulling on many different influences. How did that feeling of repetition and constraint lead to your starting Carrier as your new project? A few things led to me starting the project. Firstly I moved away from Techno’s epicentre in Berlin and settled in Belgium. I think being removed from the “scene” and having creative headspace without it being polluted by external factors I quite quickly realised that it was time to move on and do something else. This point was definitely solidified by the pandemic. I wrote the final Shifted LP “Constant Blue Light”, which perhaps with the benefit of hindsight could/should have been released under another name. Everything was on hold so there wasn’t any of this pressure to keep up a release schedule simply to keep my diary busy. I could do what I wanted, finally. Anyway, during this process I started to think long and hard about what I wanted to do and what I wanted it to say. I wrote a lot of music and slowly an outline of what Carrier represents started to form in my head. This culminated in Lazy Mechanics, which came out on The Trilogy Tapes at the start of 2023. And, indeed, you’ve already had 3 releases in a relatively short period of time, with each release progressing into a more glitchy, atmospheric and almost abstract approach to techno. How are you evolving this concept and what are you working on next? I just want to keep surprising myself. There’s certain things that Carrier pulls on, but I don’t want to over-specialise and find myself accidentally boxed in again. If people say one record is a clear reference to say… , 90’s drum and bass, then the next record should kick against that and do something different. Shifted was known for its relatively tough yet hypnotic and delicate sound. How would you describe the sound of Carrier and what is influencing it right at the moment? I wouldn’t want to define it rigidly. However there are various periods in electronic music’s history that I find inspiring. As I described earlier, it’s about the blurring of lines between genres. For instance when people like Basic Channel were merging Techno with strains of reggae and dub, when labels like Metalheadz or Reinforced were fusing jazz, funk, techno and dub and coming with music that simply sounded like the future, or more recently when strains of noise and ambient started to find influence in Techno music, and vice versa. Just a few examples to outline my point. It’s when things become messy and the lines are no longer clear. That’s where the excitement comes from for me, not when it becomes inward looking and distilled down to nothing. It’s when things become messy and the lines are no longer clear. That’s where the excitement comes from for me, not when it becomes inward looking and distilled down to nothing. Carrier allows you to explore some creative freedoms that you couldn’t as Shifted? I think that my previous alias simply felt weighed down by all the residual bullshit that it had picked up over the years. The records I felt weren’t good enough but put out anyway, that shit remix I did because I needed the cash, the shows I should have refused. They all contribute to a feeling around the project. I could have done this as Shifted I guess, but all this baggage would still be dragging along behind me, and honestly it would be nigh on impossible to change people’s perception of what I'm about. What excites you most about playing as Carrier, as opposed to Shifted? The lack of expectation and freedom to define myself on looser terms. Where do you get your inspiration and/or what inspires you about the scene these days? I think right now it feels as though we are sitting on the edge of another important shift in electronic music. The borders between genres are becoming less defined and you are starting to hear more of this interesting cross-pollination I’ve described above. A lot of people have complained a lot about the upward shift in tempo we’ve seen over the last years, and while there’s no denying it’s spawned some atrocious music, it’s also been responsible for some important innovations, and pushed us into territory that’s not been explored (at least not recently). I think things are quite exciting and fertile right now, and we have art coming from a far more diverse pool of talent. As much as certain things can feel rather bleak for an artist now, there’s also a lot that I’m excited about. And, finally, what does the future hold for Carrier and/or Shifted? Shifted is 100% over. RIP. Right now I’m about to put out another Carrier white label on my own label, finishing another EP for someone else, working on a live show and slowly putting aside music toward an album project that I imagine will see the light of day next year. Catch the Berlin debut of Carrier where he will take us through a journey of exploration and unbounded sounds at OHM on April 19th. For more info check out Resident Advisor.

With shy beginnings in the south of France, ophélie's journey as a DJ and producer has led them to Berlin, along with residencies at local institutions Refuge Worldwide and Kwia. Ahead of their show at OHM for Patterns of Perception on 19 April, we sat down for a chat about artistic exploration, authenticity, and overcoming self-doubt. Plus, we got some insight into how music from the UK scene and beyond has helped them craft their uniquely layered, liquid, polyrhythmic sound. Starting with your journey, it sounds like you've navigated through various phases from DJing to producing. Can you walk us through how it all began? Yeah, it's been quite the journey. I was actually involved in music before stepping into the DJ scene. Initially, I found it challenging to see myself as an artist, especially with my shyness. Access to equipment was limited too, which made practising difficult. I started with records, but with just one turntable, practising wasn't easy. Moving to Berlin was decided by my passion for music and partying. I know: classic. But even then, I hesitated to go into DJing. I began working at the door for Boiler Room in Stattbad Wedding to be around the music scene, and was working for some booking agencies for a really long time. I kinda just knew how to play but didn’t really know what to do with it. Eventually, I played a couple of small vinyl gigs in bars a while ago, thanks to my friend Laura who always pushed me, but I was so anxious playing and ashamed at every mistake that I thought it's not for me and stopped for some years. It took some friends pushing me to start playing publicly (thanks to Gigsta for inviting me to her Fictions party in 2019, and Solaris on her Rinse FM show). Even then, I still had some self-doubt, and I didn't feel comfortable playing myself. It wasn't until it was a bit into the pandemic when Richard from Refuge Worldwide asked me to do my first show there in early 2021. And then I started doing more regular things, and it started happening more so I thought I could take it a bit more seriously. When did you feel you gained the confidence to pursue this path? To be honest, I'm not sure if it was a specific moment. It just kind of happened over time and saying "yes" to opportunities and realising I needed to push myself to improve. Even now, I'm not entirely confident, but I think I've come a long way. Your musical journey seems to have been influenced by various styles and locations. Can you elaborate on that? Sure. Growing up in the south of France, my exposure to electronic music was limited. I had a group of friends who were also into electronic music and raves and we would attend parties and festivals together. Living close to the border in Spain, I often went to free parties nearby, but it was mainly hard techno. Labels like Warp and Ninja Tune caught my attention initially and then slightly later on, I got really influenced by labels like Hyperdub, DMZ, Tempa, PAN, and The Trilogy Tapes among others. Moving to London introduced me to grime and dubstep, while Berlin exposed me to its techno scene because I was going to Berghain in the beginning when I just moved here. . A very influential moment for me was going to Freerotation for the first time in 2013, and seeing artists like Surgeon, Peverelist, Objekt, DJ Spider, Jane Fitz, or Shackleton, and feeling so inspired, and I thought about it for months afterwards. And then seeing Donato Dozzy and Voices from the Lake in future editions. How have these experiences shaped your approach to music? They've definitely had an impact. The experiences really opened my mind more to the kind of sound I wanted to go towards, and especially to the kind of communities and events I wanted to be a part of. France was a bit limited in terms of electronic music and I was really craving more. So when I moved to London and Berlin, it was like a whole new world opened up. The music scenes are so diverse, and it really influenced my sound. Even now, I like to experiment with different styles, and I love discovering music and scenes from all over the world, especially from outside the Western axis. It makes me realise how little I know, and it keeps me inspired. I want to learn as much as I can, from as many different sources as possible. But the UK sound remains one of my first loves and influences in electronic music. The scene in Berlin has also evolved quite a lot with a stronger focus on UK influences. How has this changed your sound? Yeah, I'm really happy to see that there’s more of this Berlin. I feel like there were always a few parties pushing different and more experimental sounds, but it's nice that it's becoming more common now. I was always going to Atonal and Versions, and also Room 4 Resistance, which always had a bit more of a different sound which wasn’t always your Berlin techno and a warmer community than a lot of other parties at the time. There was also Wax Treatment, which was more dub-focused, which I also loved. Even though I love the UK sound, I do not see it represents the most of what I play. I like to try and play stuff from everywhere and mix genres. Your recent EP "Pipa Pipa" seems to have a nod towards the UK sound. Was that intentional? Yeah, I guess you could say that. My first release last year on the Italian label “Early Reflex” was less so. But this EP was influenced by the early 2000s dubstep scene, which I liked growing up. But honestly, I'm still figuring things out as a producer. I'm open to trying new things and experimenting and seeing where it takes me. You mentioned feeling like an imposter in the music scene. What gave you the confidence to pursue production? It's been a journey, for sure. I’ve been producing on and off for some time, but also I never felt like I could really do it. I’m super introverted and playing gigs definitely helped boost my confidence. But even now, I still struggle with feelings of self-confidence. Recently, I was diagnosed with autism and ADHD, so now I realise that kind of blocked me a lot before with self-confidence issues. There's a bit of sadness and regrets that come with the fact that this has likely prevented me from doing the things I love the most for a long time. Even though I still suffer from a lot of doubts and anxiety, I now realise that this is the case for a lot of us, and I try to not limit myself as much anymore. But now i’m trying to say whatever, and embrace it and to not let it hold me back so much. How has performing helped you overcome your introversion? Performing is like another way of expressing myself. I used to strongly rely on alcohol to help me cope with social anxiety and feeling overwhelmed, and now that I don't drink as much anymore, it's nice to have something else to do with myself. I'm still introverted, but I enjoy playing because it's still a way for me to go out without having to socialise too much. I feel really good about it at the moment and want to continue this. Speaking about playing, what's been the highlight of your recent gig experiences? So this year I’ve been selected as part of the roster for Gravity Network, which are 10 artists from Europe. Gravity Network is a project funded by the EU to help develop electronic music culture across venues in Europe. I think a few of their members were there when I played at Atonal and later invited me to join the 2024 roster, which was really nice to hear. Through this we have gigs across Europe, so there was one in Georgia, and then will be in Prague, Warsaw and Amsterdam. It is nice to get to play abroad. My most meaningful and special gig experience of last year must have been to play Atonal, a festival I have looked up to for years and would never have dreamed of playing at, and I'm really thankful to the booker, Paul for giving me this opportunity and supporting me in the last few years. I also got to play at Unfold again a couple weeks ago, and this was such a fun time. It's my favourite party to play and attend in London, and the whole team is so nice. With London I always had a strong connection with the UK so I'm happy that I get to play there more now. With such diverse gigs, how do you prepare for each one? I do prepare a lot. I think a lot about the party and the other artists on the lineup, and because I like a lot of different sounds and I have a lot of different music. I’m also not so organised with it so everything is a little messy and it takes me a long time to prepare for a gig. I’m hoping I can be more organised at some point. Because I’ve been going out for more than 10 years, I have a little bit of regret for not starting DJing earlier. But now I already have a good experience for clubs and what I like at a party, so this helps me a lot to prepare my sets. And what kind of set are you gonna prepare for Patterns next week? I am really excited for this one! I have a lot of respect for your party and the sound you've been pushing in your events and podcast series for many years, so thanks for having me. OHM is also probably my favourite club to play at in Berlin, and I've never played an opening set there, which I usually love. I’m excited to open as there's a bit of freedom that comes with it, and it's nice to just set the tone for the night from a blank canvas. I'm not sure yet what vibe I'll go for, but I'm sure there will be some IDM and dub influences, some halftime stuff, probably some deeper things and a lot of percussive-based sounds too. I love opening sets too for that reason. What excites you the most about your current journey? Yeah, I think it's just quite exciting. Now that I've let myself play a bit more and take it a bit more seriously. I try to stop thinking too much now and intellectualise too much whether I'm an artist or not, and just let myself explore and do the things I enjoy. I'm still feeling a bit ashamed to say or think I'm an artist. But I’m excited to see what’s to come and I just don't think I only want to DJ but also explore other things, like perform a live set someday. It sounds like an exciting path for sure. What's coming up ahead for you? Right now, I'm focusing on making more music and experimenting with different sounds. I'd love to explore live sets someday, but I'm taking things one step at a time. I'm just grateful for the opportunities I've had so far. Lastly, tell us a bit about your love for dogs and what's your favourite? I love this question. I think I've just always loved dogs, because they're the best comfort and support animal that I can think of. They are reliable, predictable and just want to eat, chill, and hang. I'm probably better with dogs than I am with people. In regards to my favourite kind, I'm actually not sure what that is. Some of my favourite dogs are my friend Melissa's dog Winslow and my friend Soyoon's dog Okja (a cute dachshund). But yes I hope I can get my own pup sometime. Catch ophélie weaving her unique layered and rhythmic sound at OHM on April 19th. For more info check out Resident Advisor. Image credits: Inès Berra Viola

Since her debut release on the Bunker New York in 2018, Abby Echiverri's sound has taken a more ethereal and otherworldly turn. It is the sound captured on her EP Deformation, out on Patterns of Perception this month. In this Q&A, the Brooklyn-based producer shares insights into her creative process for crafting the release. Along the way, we explore her tendency towards the unfamiliar and some of her unique inspirations, from physics simulations to pop music. Deformation is out on vinyl and digitally on June 21. Pre-order your copy now. Tell us a bit about this release: when and how did you make the tracks for Deformation? The opening track is based on music I wrote for a video stream in 2021, and completed with the rest of the tracks in the fall of 2022. I had one track that I played in a live set and I really wanted to finish it. I had the basic drum pattern and I had the midi information saved. So it was a good starting point, to feel that I could finish something that I already had faith in. That was the first track called Voxel and it did inform the rest of how the tracks came to be, but I always know that I want to have a variation of BPMs in every release. Do you have an intention or picture in your mind when you start on a new track, or is it a more organic process for you? It stems from being inspired by the sounds that I'm hearing and then it organically moves towards a certain mood. So there's not a ton of intention about the direction in the beginning. A lot of times the intention comes from the drum programming. I'll start with the sequencer melody and then the drum programming will kind of tell me, ‘I want this to be more of the dance track’ or ‘I want this to be more of the ambient track’. It's an improvisational start. You’ve also mentioned that physics simulations inspired this release. Can you say a bit more about that? At the time my partner was working with physics simulations which are quite mesmerising to watch and that influenced the mood of the music. Over the pandemic, I was working a lot with him learning about video game design, and getting really inspired by geometry and 3D modeling. I would have dreams about it and I think it was seeping into my subconscious. Also just from playing a lot of video games, which have such ethereal and ambient and interesting textures to the soundtracks. This is an overarching theme to my music that I think I've been influenced by since the pandemic: exploring sounds that while I'm making them, I can also visually imagine physics simulations. How do you see that as connected to your music? They're always moving and evolving and that's very much how my music is written, where there's a ton of modulation. There’s a lot of pitch, rhythm, and filter modulation in my productions, and I think that's kind of how physics simulations look, especially those emulating liquid or gasses. So I think that's kind of a sound that I've adopted from the visual aspect into the audio aspect. Do you think it was specifically during COVID that you got interested in this and the music went in this direction? Was it connected to this time as well? I think so, yeah. A lot of people's music became very introspective and less about what people would imagine would blow up a dance floor. And that was great for me because I've always made very melodic music. With all of the extra time, I didn't want to sink into a creative depression and so I was teaching myself a lot of this visual coding to kind of pass the time. Then it just became such a big part of my creative process. The resulting record is both cohesive and diverse, combining psychedelic energy with moments that feel delicate and deep, underpinned by a positive, hopeful mood. Do you agree with this description of the sound? What words come to mind for you when describing the record? I think it’s interesting that many people point out that my music is positive or hopeful! It’s not a conscious decision - deep down I’m pretty cynical. I do lean towards drum programming that has more groove and shuffle than typical 4/4 techno. And I love diminished chords or progressions that ask a question. I think this translates to techno that is not very oppressive, but rather has a lot of freedom. Some words that come to mind are exploratory, playful, intricate, three-dimensional and ethereal. To me, it's music to soundtrack exploring a new place. I think that's something I always imagine and that also comes from playing video games: it’s an otherworldly kind of soundtrack. One word that our designer Ray, who created the artwork for the EP, said he wanted to capture in his design was ‘cosmic’. Would you agree? Yeah, for sure. I love that term. And colourful, which I think the artwork also reflected. Actually, I thought that design really looks like my Soundcloud banner, which is from a lifetime ago. I did more VJing back then and that image is from a chemical’s crystallization under a high-power microscope. There are two ways to look at it: you could see cosmic as we usually see it, as looking into outer space. But then there's also this entirely different world when you look at things under a microscope. I like the idea of cosmic exploration in either direction. To be able to extract yourself from your current perspective is always important. Is that an important part of what you're trying to achieve with your music? Yeah, I think it's definitely escapist. I feel that the most powerful moments on the dance floor, or perhaps just during deep listening, are when you can completely escape the room. As someone who grew up in the suburbs of middle America, musical escapism has always been important to me. I would say my goal is to be able to change perspectives or allow listeners to change the landscape in their mind. You’re about to go on tour with LCD Soundsystem (as synth player in the band) so I'm curious to hear about the role that indie music has in your life. How do you split your time and attention between that and the electronic scene? I really love it because I feel a slight artistic detachment. There are definitely creative things that I work on with the band, but since it's not my own, I come home from tour and then work on my own stuff and it feels refreshing to have a separation between my day job and passion project. I think it's healthy. What's cool about the band is that the band is made of all heads. Everyone's into different obscure genres and everyone's a huge record digger. And I think it's interesting to apply that influence to writing pop music. I always strive to make things sound more like the ‘80s music that the band takes influence from. I think it's an interesting challenge too. I've always wanted to write pop music, which is a strange aspiration, but I think there's something to be said about writing music that a lot of people can enjoy but takes reference from these more obscure records. Writing good music and writing accessible music is a great skill to have. Would you ever give it a go, writing pop music? I don't know if I personally have the skills to write pop music, but it would be cool to be able to say I can. So yeah, I would love to. I would love to write something in a genre that I know nothing about. You’ve mentioned that you are often particularly inspired by the unfamiliar. Where do you think that comes from? When I was first starting out making techno music, I had a lot of hang ups because it's easy to compare yourself to all the artists that came before you. And for me, it’s extremely important to know music history and know who the founders are of every music movement that you love – and that's just a side effect of being a record digger. So when people are starting out and they're comparing themselves to these incredible musicians, it's really hard to get over that artistically and believe there's value to what you’re putting out. So I think that when I write music, I try to sound a little bit different from my own influences. Whenever I hear a sound that actually sounds unique or a drum pattern that I can't really put my finger on, that is always really interesting to me. I have less of an artistic hang-up about approaching things I don’t know. Part of that also comes from being trained classically and just having a lot of knowledge about theory and these preconceived notions of what chords sound good together, and what chords are cheesy. Getting over that self-questioning when you're writing music is really important. I can see the piano behind you. Do you still play classical as well? Not so much. I like to practice when I need a change of context. I love the challenge of telling myself I used to be able to do this and obsessively practicing something over and over again. And I think it's healthy to be able to hyperfocus on something new whenever I have writer’s block and just do something completely different. Image credit: Joshua Chang Deformation is out on vinyl and digitally on June 21. Pre-order your copy now.

Previews for Abby Echiverri's "Deformation" EP here. Abby Echiverri is a multi-talented producer, musician, DJ, VJ and sound engineer based in Brooklyn, NY. Since discovering her music via "Ab Initio" (her 2018 EP on The Bunker NY), our collective have been followers and fans of Abby and the refined yet vibrantly contrasting qualities of her sound. Always looking ahead, Abby's explorative approach has a knack of finding intelligent interplays between elements; groove and psychedelic abstraction, lushness and angularity. But most compelling is the naturally hopeful quality that underpins much of her work, providing a sense of freedom and playfulness. Needless to say, we're very excited to welcome Abby onto the Patterns of Perception imprint for our third release - her "Deformation" EP. And so, Abby Echiverri's Patterns of Perception 113 is a celebration. For this, she has prepared a special hybrid live/DJ set which both channels and expands on the energy and spirit from her release. Bold, diverse rhythms thrum within a kaleidoscopic haze. Sleek energy escalates, approaching catharsis. A cosmic radiance shifts, glancing ever upward. Abby Echiverri's Links: SoundCloud Instagram Bandcamp Facebook Pick up a copy of "Deformation" on Bandcamp

Like so many in our community, the past two years have given us pause for reflection and a chance to think about our collective’s future. We formed Patterns of Perception with the mission to cultivate compelling, visionary electronic music. This week, we take the next step in fulfilling that vision – with the launch of our record label. What began as a series of club nights has gradually evolved into a wide-reaching platform encompassing events, a mix series and an online magazine so, to us, a record label feels like a natural progression. With our label, we want to capture the sound honed at our parties and to provide our community of artists with the space and freedom to expand on that musical vision, while also creating a permanent record of it. Much like a Patterns of Perception event, mix or interview, each release on the label provides a platform for artists with a close personal connection to our collective to tell their story. It is a showcase of the playful, psychedelic and vibrant musical direction that you would hear at our parties, and gives voice to the community of artists and friends with whom we have shared booths and dance floors alike over the past half decade. We could not think of a more fitting artist for the first Patterns of Perception release than Nali. A talented Australian producer, we met Nali at one of our first events many years ago and have been good friends ever since. Our collaboration with him is longstanding: he was one of the first contributors to our mix series and played a very special live set for us at OHM in Berlin back in December 2018. His Chance Encounters EP features four tracks of spacious, intricate grooves that dance and parry with luxuriant synths and infectious, acid-tinged basslines. It’s sunny, warm and, to this largely Australian collective, sounds a bit like home. As with every Patterns of Perception project, the label has been a true collaboration. The record was mastered in Berlin by Patterns of Perception crew member Andreas Maan, with artwork by fellow crew member Ray Pham. A huge thank you is also due to those who have supported us in getting the label off the ground: Thijs van de Wijngaert at nomorewords for the constant support and guidance, Intakt for their diligence and attention to detail with the pressing and production of the vinyl release, Clone for the distribution and, above all, Nali for the music. Lastly, we could not be more grateful for the support of our community of dancers, listeners and friends. Without your unflagging enthusiasm for our musical vision, this project would never have come into existence or blossomed into its current form. We hope you enjoy the music. PTN01 will be available in record stores and digitally via Bandcamp and other platforms on November 15. Stay tuned on Instagram and Facebook for more details and pre-orders.

The second release on our label is a small snapshot of the Finnish scene: a collection of fast, psychedelic techno from Helsinki artist HOMI with a slow-burning remix from VC-118A. Pre-orders available here. Recorded at his studio space in Helsinki, HOMI’s Välitila EP begins with three tracks of percussive, acid-tinged techno, primed for peak time. The B-side features a remix of the title track Välitila from Dutch-born and now Finland-based VC-118A, delivering a winding, slow-burning counterweight to Homi’s dancefloor-oriented original. The digital edition includes a bonus fifth track of quirky breakbeat techno from HOMI titled SmallBisnes. Inspired by fast ‘90s techno in the vein of Detroit legend Rod Modell, the record is at turns delicate yet powerful, high energy yet melancholic. It also marks a turning point for HOMI (real name Harri Homi), coinciding with a shift away from a pure jamming approach and an expansion of his music-making techniques in studio, adding greater depth and complexity to his output. The release itself came about after Patterns of Perception crew members Steve Duncan and Kim Bergstrand saw Harri perform at an event in Helsinki before the pandemic hit. His performance was a real standout: delicate, detailed, percussive and psychedelic, yet with groove and power. They connected after the set, and Steve and Harri have gone on to spend many hours together in the studio since. This is the second release on our label since we launched a year ago with the Chance Encounters EP from Australian producer Nali. Our goal with the label is to showcase the playful, psychedelic and warm musical direction that our community has come to expect of our other platforms, including the mix series and events. Showcasing artists like Nali and HOMI is very much in keeping with the label ethos of creating a platform for up-and-coming artists to share their stories and musical vision. PTN02 was mastered in Berlin by Patterns of Perception’s Andreas Maan, with artwork by fellow collective member Ray Pham. The release will be available in record stores and digitally on November 4. Pre-order your copy now via Bandcamp.

“Vivid” and “otherworldly” are words sometimes used to try and describe Erika’s singular sound. Combining a fresh, forward-thinking approach with a strong connection to her roots and the wider scene, Erika has become an influential presence in the years since she was first gifted a TR-606 by BMG and invited to join Ectomorph. As a producer, her work is grounded in techno and electro, but often goes much further afield, incorporating rough textures and abstract kaleidoscopic experimentation to great effect. Alongside long-time collaborators BMG and Amber, she runs the highly-regarded label Interdimensional Transmissions. This platform has allowed her to delve deep on a sonic level through a string of impactful solo and collaborative releases, while also overseeing and contributing to legendary Detroit events Samhain, No Way Back and Return to the Source. The majesty in Erika’s Patterns of Perception 111 comes as much from its restraint as it does from its vibrancy. Layers of rhythm and percussion swirl and elevate, revealing intricate new patterns at every juncture. And while Erika’s expert pacing and evocative atmospheres offer a sense of low-slung sophistication, a subtle, raw energy builds, bristling just under the surface. Erika's Links: SoundCloud Instagram Bandcamp Resident Advisor interdimensionaltransmissions.com/artists/erika

Originally from Seoul, South Korea but now based in Amsterdam, Naone is a producer and DJ whose infectious sounds draw inspiration from the energy of the 90s, coloured with off-kilter shades of trance, acid, techno and ambient. Beyond her residencies on Radio Radio FM and EOS Radio, Naone has stirred audiences at festivals and events across the Netherlands and Europe, taking in the likes of Dekmantel, Zeezout, De School and Macadam. On the production front, Naone has kept busy with contributions to releases on One Eye Witness, Dekmantel and Warning following her debut EP on Uttu Club and her infamous joint EP with S.O.N.S.. Her appearance at our garden party last summer was truly memorable, and we’re excited to welcome Naone back into the Patterns of Perception fold :) Naone's Patterns of Perception 107 is a warm, mind-expanding excursion which intuitively finds connections between dark, psychedelic grooves of the 90s and the present. Carefully structured and paced, this set oscillates between hazy downtempo and pulsating beats, with a flow that always feels one step ahead. Endless rhythms punctuated by rolling, reverberant percussion. Kaleidoscopic vistas waxing, whirling and eventually, evaporating. Naone's Links: SoundCloud Instagram Resident Advisor

This year has been one of memorable moments for Lux: it was the year of her first Asia tour, her first set at Berghain, and many other noteworthy festival and club appearances along the way. This Friday is shaping up as another musical highlight as she takes the booth at OHM Berlin for the first time during the final Patterns of Perception for the year. As the Leipzig-born and now Berlin-based DJ wraps up 2019, we sat down together to reflect on the last 12 months and find out what’s ahead. With another year drawing to a close, what have been the highlights of 2019 for you? Indeed 2019 has been a very rich year for me. Gig-wise my highlights were my first tour in Asia – playing in Japan, China and Taiwan was each quite a unique experience. It was extremely interesting to see the different approaches of these scenes to club culture. Apart from that, I probably collected one of my most beautiful gigs playing in the tent at the final Nachtdigital. Gigs at WAS club in Utrecht (also with the Nachtdigital crew) and at Het Weekend at De School left me very overwhelmed, too. And playing for the first time downstairs at Berghain was also a surreal experience. You’re from Leipzig originally and moved to Berlin not so long ago. What drew you here, and do you feel that moving to Berlin has had an impact on you musically? Berlin has been a place of attraction to me since my first visit when I was a child. I instantly had a special fascination for the city’s voice and since then wanted to live here someday. Even if it seemed natural, I didn’t decide to come to Berlin to be closer to the club scene. More the opposite, I was a little afraid that the oversupply of the scene could deflate some of my motivation being part of that. Luckily that didn’t happen and it gave me more inspiration in the end. But I also need to admit that I rarely go clubbing and the many inspirations I draw from here aren’t just from the huge music scene in Berlin, but rather its cultural offering in general. Are there other sources of inspiration for your music that people might not be aware of? It’s probably impossible to retranslate the intertwining of all inspirations and the output we generate from those. Naturally dealing with other music must be the biggest inspiration for me, too. But yes, I guess my strong interest for other aesthetics will have an imprint on my approach to music as well. For example, I perceive music more as something scenic or narrative and less as something abstract. Are there differences between the Leipzig and Berlin electronic scenes that have surprised you since moving here? It’s really hard to say, as it depends so much on the venues you’re visiting or playing at in Berlin.  However of course the musical variety is bigger in the capital city and the crowd tends to be much more heterogeneous. In Leipzig therefore it can be really great to have more intimate nights with a more familiar crowd. I kind of miss that when I’m out in Berlin. How do you prepare for your sets? Does this change at all depending on where you are playing? I firstly try to get a feeling for the night by figuring out information about the venue and the atmosphere of the location. I also look at the party’s history and who I’m sharing the lineup with of course, to get an idea what genres and what energy could work, and in what direction the night could possibly be taken. However, the amount of time I’m taking to prepare sets doesn’t really depend so much on the venue, and whether it’s big or small. I still try to take plenty of time to prepare every gig. Somehow I was expecting that it gets much less over the years organically, but indeed I still need a certain amount of practice to feel prepared enough. This is also because I seek to keep reinventing and challenging myself too. It just varies a little depending on how often I’m playing per month; if you play more, you’re also more in your records of course, and that makes it much easier to be more flexible and brave with your familiar structures.  Are there collectives, parties or artists that you are following closely at the moment? As I mentioned, I rarely go clubbing by myself anymore. Back in Leipzig I loved to go to Pracht, a very charming venue in the eastern part of Leipzig with a very diverse and inspiring program, and IFZ was a common destination for me too, of course. Concerning artists that I’m following, right now I’m really curious about upcoming releases of Vivian Koch, her first two records left me very impressed. Perm is also an artist who’s releases I’ve been looking forward to ever since. Do you have any New Year’s resolutions in terms of music for 2020? Yes, I want to keep up with producing again. Though I can’t say yet if it’s going to be club music. Right now I feel more attracted to other genres, but let’s see, if I have enough time I’d like to try out different things. Lastly, what can we expect from your upcoming set for Patterns of Perception? I don’t know yet for sure, I’ll probably pack more Detroit techno, electro and UK bass for that night. It will be my first gig at OHM, so it will be little adventure for me too. I’m thrilled. See Lux in action alongside natural/electronic.system this Friday, December 6, 2019. More info on Facebook and Resident Advisor. Photo credit (in order): Manuel Wetscher, Anyla Ademai and Eric Swars

It might come as a surprise that Spekki Webu has his roots in the worlds of both jungle and gabber. But once you know, you start to hear these twin inspirations in much of what the influential Mirror Zone label founder produces. The fast rhythms, repetitive beats and rawness of gabber is there, as is the pure percussiveness of jungle. And underpinning it all, there’s a clear and deep appreciation for the psychedelic, often venturing into the spiritual. For this follow-up interview to his recent Patterns of Perception mix, Spekki Webu was determined to go deep: our chat was conducted electronically but is the result of several rounds of back-and-forth over a few weeks. Spanning his early discovery of electronic music via a jungle mixtape, through to the philosophy that underpins Mirror Zone and all of his musical output today, it is an insight into the boundary-pushing mindset of one of the Netherlands’ rising stars. Hey Chris! How have things been going for you lately? Have you been able to return to playing gigs? Hi! I have been doing very well lately. Just like most of us, we have been dealing with the pandemic here in The Netherlands which obviously resulted in being forced not to play anymore due to the clubs that closed and the festivals that got banned. On the bright side, that gave me much more time with family and friends, while trying to get as much studio time as possible and work on the label. Now things are very slowly starting to open up again here. That means that I also will start playing again, something that I’ve missed a lot! I had some gigs here and there, some here in The Netherlands (when we opened for 2 weeks) and some outside of the country. We had a short period when everything opened up here and I was lucky that I got the chance to play. The energy I received during those gigs was insane. You could just feel, breathe and smell the eagerness of everybody willing to dance and be together. Unfortunately, the opening of the clubs didn’t last long and after two weeks the government decided to close down again. Anyway, being behind the decks those two weekends were more than worth it. Going back to your origins, how did you first discover electronic music? I must have been around 14 years when I got exposed to jungle music and that was the moment that my ear and mind wanted more. From then on I slowly started to develop an ear for electronic music and the so-called “journey” has begun. When I was a kid I used to frequently visit my two older cousins who live in Germany, near Hamburg, during summer. My cousins were like sisters to me so I was always hanging around with them. As a teenager, I used to skateboard and one of my cousin's boyfriends was a skateboarder as well. We used to skateboard together and the convenient thing was that he owned a car. Hamburg was around the corner so we often drove downtown to skate on the streets. As we drove to Hamburg, he put a cassette on that had a jungle mix recorded on it. I was immediately blown away by this percussive and fast music and I was interested in what this was. From that moment I wanted to know everything about this genre and he explained to me that this form of music was called jungle or drum & bass. So my mission was to see if I could find any form of this music back home. My father used to go digging downtown in Delft and sometimes used to take me to a record shop called Plexus ‘t Platenmanneke. Normally I just went with my father because he was going to buy records or CDs but being back after my trip to Germany and experiencing my first encounter with jungle, the first question I asked the guy working in the shop obviously was: Do you guys have any jungle or dnb music? During that period Plexus had a big electronic music section and one of them was categorised for jungle and drum & bass. This is where I found my very first artifact and this was the starting point where the addiction to digging for music began. I bought a CD called Jungle Vibes Volume 2 which is a compilation that I still play today! From here on it was a totally new world opening up for me also because of all the things that were happening around me musically that I got exposed to. Plexus still is open nowadays, so if you get the chance to be in Delft one day then go and have a dig. How did you get deeper into the scene from here? Now, after being introduced into the world of electronic music, I only wanted more and more. I was lucky to be living in Delft. Geographically we are located in between two big cities, Rotterdam and The Hague. The gabber scene was big there (and still is) and especially in those two cities there were parties every weekend, including in my own town. So I also got exposed during that same period to gabber. Somehow you just couldn’t ignore it because it was everywhere. My neighbour was buying Thunderdome cassettes and this struck my ear as well, this was the moment I started buying all sorts of cassettes. Now I even had more music to explore and the funny thing was that there were a lot of comparisons with gabber mixed with jungle rhythms. I really had an interest for fast rhythms, hypnotic repetitive beats and the rawness that it had, mainly because the jungle did this too in it’s own way. It didn’t take long and by the age of 15 I went to my first gig and that's when the next phase opened up to me and got me infected, namely the dance floor. That's when me and my mates started to go to raves all over the place. And at what point did you start DJing and making music? I have always been a passionate raver and collector and DJing never was my interest in the beginning. So I actually started at a much later age. That must have been somewhere around six to eight years ago. One of my best mates kept pushing me to play because he knew I had a passion for collecting music and I could get quite nerdy with digging for records. And that's when the next chapter started. He was doing gigs in Delft together with Woody (good friend Woody92, with whom Chris often collaborates) and that’s when I got invited to come and play. From there on it basically never stopped and a new addiction was born: playing records. Producing music is kind of the same story but even shorter in time. I had some short moments way back doing some drum & bass but that never really became serious. A few years ago I started making edits together with my brother Gino (AKA Jeans) that we edited to play in our DJ sets. Editing quickly turned into producing music and from that moment the production side became serious. I started to produce with Gino and eventually went my own path in experimenting and producing music. I slowly started to buy some gear and now I share my studio with Gino and another close friend. Next to our studio, we have three other close friends who also share a studio. So we have a little productive basement going on with lots of inspiration. What can you tell us about the gabber and jungle scenes in the Netherlands in those early days? And how do you think this experience has led you to where you are now? Before I even really was going to techno or house parties I think I have been roaming in the gabber scene for at least 6 years (I still do by the way). Of course, I was collecting different genres than just gabber music. But at that time the only dancefloor that had my interest was gabber. It was addictive, the gigs were super interesting and the vibe was so good with a big group of friends from my hometown going to raves. And besides that it was a full dedication, we really lived for the parties and were going to gigs every weekend straight for quite a long time. Like most genres gabber also has lots of different styles within its genre. In early 2000 there was a new wave of interesting artists releasing music in a darker form, sometimes even slower, having a more industrial and experimental sound and this was something that really got my interest. It was a sub-genre within the gabber that had a smaller following and a really specific sound compared to the “mainstream” gabber sound. Sometimes it was even psychedelic and hypnotic in its way and had a different raw experimental vibe to it. Quite a lot of this music was leaning towards more experimental harder forms of techno as well. Besides that, there were some interesting producers that also were mixing breaky stuff with hardcore that really got my attention. For me as a jungle head that was a perfect combination. There were a few interesting clubs in and around Rotterdam during that period that were programming club nights featuring so-called industrial hardcore, darkcore or crossbreed. Looking back, what do you think it was about gabber in particular that drew you in? Experiencing how artists tried to push themselves time and time again to break boundaries, be unique and have an identity - to do what they really wanted to do and show such dedication - has been very inspiring and important for my mindset as an artist and label owner. So it’s not only in terms of music that this period has inspired me so much but also in terms of the mentality. It’s something I really strive for. Also being exposed to raw and fast rhythms is something I still have a passion for and which can be heard in my sets from time to time. The experimental and psychedelic part that comes from there is definitely something that has stuck with me as well within my style. In and around the country there were sound systems doing illegal raves often playing harder styles and having a very psychedelic touch. If you listen to my sets you can always hear a certain grooviness and I have a big love for percussive music. That's definitely the jungle and drum and bass side that’s been important. The more drums and percussion the better! Your music is diverse in terms of genre but the psychedelic is one common thread. What draws you in this direction? I have always been collecting all sorts of genres. So the psychedelic side is something I got inspired by all kinds of music. Especially the more experimental gabber scene and the free party scene is where I really experienced some sort of hypnosis on the dancefloor. Fast, repetitive rhythms that at some point just suck you in. It’s almost comparable with ethnic tribal music that also can be minimalistic and hypnotic. I am also a big fan of tribalistic world music. Deep and trippy. Jon Hassell was a very important figure for me that really set the tone. Music needs to tell me something, get my mind going. I just love it when atmospheres are constantly shifting. Something that never gets boring. You’ve said that you always try to tell a story with your mixes and DJ sets. What story are you telling with your recent mix for Patterns of Perception? As there has been a lot of experimentation coming out of the studio and also within my inner circle of friends, this mix contains quite a few unreleased tracks made by friends, myself or some projects I have been working on together with my mates. I wanted to slowly unfold this mix and focus on atmospheres, sound design and take a more futuristic approach. Having a more hypnotic feel focusing on atmospheres floating around. Mixing the abstract with the psychedelic. Imagine yourself leaving this planet and moving to the next dimension or phase. This time our journey will go to the next phase. We have learned enough in this realm and are ready to enter a new chapter. Back to the source. The only form of communication is energy and sound. Words are no longer needed and time is no more. In an ideal world, in what environment would you recommend listening to this mix? Somewhere in nature on the border between the forest and mountains. That would be a starting point to where you would float away into the next realm. Even better would be somewhere up in the sky, but that could only be possible if you would be able to float in the air without falling down to earth. Often when you talk about your music, there is an element of transcendence, something otherworldly, in your approach. Would you agree? Could you tell us a bit more about your philosophy of music? I totally agree, music is so much more than the sound itself. It’s a story, a feeling, an intergalactic language that connects people and energies together. I am quite sensitive to emotions and that's something that reflects often in my mixes. I have been on a journey myself and there have been a lot of changes the last few years in a personal way, all positive though! There is always some spiritual link connected to my descriptions in mixes. For you as a reader and listener, it’s your own choice how you would interpret it. But I think for the deep-minded like me, you probably would get an idea. Some of them are linked to a spiritual subject. It’s a part of the journey that hopefully gives you more understanding of where you would go. Sometimes you can even see it as a guide through a certain moment that will help you through the journey. How would you describe the musical direction of your label Mirror Zone? Does it follow a similar philosophy? Mirror Zone is you and me, it’s life. How you evolve as a person and how you reflect within society. Everybody has a journey with his or her inner self throughout life. I have seen a few very good friends of mine within my inner circle change so beautifully as human beings. That's what really gets me inspired, that is the Mirror Zone for me. At the end of the day music is not the most important thing. I am blessed to eventually get the chance to meet all these nice human beings that became good friends. Everybody from the label I have personally met and got to know well. It really feels like family. We try to visit each other from time to time. It's really interesting to see how certain releases unfold themselves and grow towards a complete story. I think one of the most important things is that all the guys have the same mindset as I do and I try to make the artist push himself and go out of the box. Selecting for a release is a process that takes a while. Not because of the music that has to be made. But in a far earlier stage by getting to know the person better and first establishing a relationship. This is something that's very important for me. Before the Malasod album even dropped I have been seeing him for over almost 1.5 years. Eventually, that evolved into a beautiful friendship. But it was mandatory for me to really get to know the person better, get to understand his mindset and aesthetics. That's what really made that release very important to me emotionally. All of the guys came in my path in a very interesting way and I don't believe in coincidence. Much of your work, both as an artist yourself and as a label boss, is about pushing boundaries and being ‘out of the box’. Why is this important to you? I think it’s important for an artist, at least for myself, to try and push up the pace every time. Speaking for myself, it keeps me sharp and eager to do certain things I maybe would not do. Try to explore and go somewhere that might not be logical for someone but in the end, all fits into the puzzle. Connecting dots that would not make sense but in the end, the red line could easily fit through. So I am always trying to see what's next and new for me. Also regarding some of the artists on the label: Giving them a vision or story makes them get in a certain emotion or vibe and motivation to go and let their mind go, but always letting the artist be who they want to be in their own feelings. It’s a mutual motivation that inspires each other not only to always look straight ahead but also dare to sometimes go a bit more to the left or right. And for me the key is that, regardless of whether you go left or right, you make it one complete puzzle that fits together. It’s about the context you present it in. What sounds do you find most inspiring at the moment? I haven’t really been digging as much as I used to do due to the fact that I am spending more time in the studio and producing music. I have been going through my catalogue lately and have been digging up older music that I really dove into again. Resulting in getting back into listening to a lot of the older IDM music I have and lots of tribal techno. I also have been very interested in drone, sound design and soundscapes lately. This gives me so much inspiration that there has been a lot of experimentation going on in the studio and trying to mix up all these forms. A few weeks ago I had the honor to play the Seed stage at Modem festival in Croatia. I was blown away by all the super talented and interesting artists that were playing there as well. The main focus on that festival is the more psychedelic side of trance but the stage I was playing was focussing on progressive styles, techno, ambient and even dub-infused sounds, to connect a bridge between the psytrance side of the festival. It gave me so much inspiration hearing all these artists that basically also were doing techno but from a totally different angle leaning towards trance. It was very refreshing to see this all in a different setting. Some music that has been on repeat for a while now is older stuff from Lusine icl. I’m a big fan of his earlier releases ranging from ambient to IDM. Artists or labels that interest me at the moment are guys like Alberto Novello, DiN Records, Latome2, Aural Electronics to name a few. Where does your recent interest in sound design and soundscapes come from? I have always been into it but I must say I have been really going deep into it the last few years due to the fact that it really became an important factor in my DJ sets (as in podcasts but also on the dancefloor). It’s a transition to a new part of the story or journey that gets its grip in the brain. It has a healing effect for the mind and it guides you into the next moment. I always have the feeling that when I would leave this planet, the music during my journey would be something like a beautiful ambient or soundscape piece. So for me it definitely has this spiritual connection to it, almost like it would be a certain language that would be used in a different realm. In addition to your work as a solo artist, we love your b2bs with Woody92. It seems like you two have a great creative partnership and friendship - how did that come about? Woody and I have known each other for a long time. We both live in the same city and he literally lives 10 mins from my house. We have spent lots of hours on and outside of the dance floor. Delft is a small city and most people know each other via some mutual friend or so. I’m a bit older than him so back in the day I didn't know him due to the age difference. Obviously, I was also roaming in a totally different scene. But Woody and I really connect with each other behind the decks. We know how to team up super well because of all of the hours spent together, having mutual interests musically and maybe most importantly, having a super good friendship and the same humour and mindset. This really reflects in our creativity. What’s next for Mirror Zone and for Spekki Webu? Vector Trancer just dropped his new release on the label. There are releases lined up with new artists who have not released on the label yet. Super happy to have them on board! So stay tuned for some interesting music coming out in the following months. Somewhere towards fall/winter there will be a new project emerging out of the Zone in the form of a sub-label. This will have a more futuristic and experimental approach musically, released in different formats like CDs, vinyl and tapes. So you can expect lots of IDM/downtempo, ambient and drone. The nice thing about this project is that most of the people who will be releasing are good friends from my inner circle. As for the production side, there will be loads of new music coming out of the studio. I have been working on some projects on my own but also together with friends like JEANS that are on the cards. End of this year our long-awaited tape release that I have been working on with JEANS will be released on Dance Floor Therapy. We have been working on that project for a few months last year and now it's approaching its final phase. That started out with a series of field recording sessions in and around Delft and The Hague. What eventually evolves in a 2x 40 mins tape ranging from ambient to downtempo and experimental rhythmic music. Besides that, I will be focusing on some other projects that will consist of a combination of live sets and light installations. Luckily everything is slowly opening up so that means I will get back behind the decks more often again as well. Image credits: Press photos by Verena Blok

We’ve joined forces with our friends from Minimal Collective to launch an annual VA project, Future Patterns, which invites both artists and listeners to explore the future of electronic music and the forces that will shape it. The project takes the form of a various artists compilation release available digitally and as a limited edition CD with accompanying 3D animated artwork and visualisation. Pre-order your copy via Bandcamp now. This is not your standard VA compilation: the partnership with Minimal Collective means the project has just as much focus on the visuals as on the music, with the aim of pushing the boundaries of multidisciplinary craft within the contemporary electronic music industry. Out November 30, the first compilation features music from C-Refund, DBR, HOMI, Jasmin, Jay Duncan, Konduku, Mary Lake, Nali, Nicole, Solid Traveller, Spekki Webu & Altjira, Sunju Hargun and VC-118A, as well as visuals by Rotterdam-based, Italian-born artist Deborah Mora. The project was initiated and co-ordinated by the Patterns of Perception team, with visual concept and direction by Minimal Collective, an Amsterdam-based platform and artistic network operating at the intersection of music, art, and technology. All profits from the first release will be donated to the German children’s charity Deutsches Kinderhilfswerk. Through Deborah Mora’s approach, which is situated between the physical and the immaterial, the visual concept of the Future Patterns release weaves together natural and fantastical forms as a means of depicting new worlds, but also as ways of tapping into a reality that is already present – resembling the experimental visions that the musical concept of Future Patterns seeks to provoke. Deborah has presented work and performed at festivals such as FIBER (Amsterdam), Balance Club Culture (Leipzig), GOLF (Haarlem), Mediamediterranea (Pula) and FAKE ME HARD (Rotterdam). Artists were invited to submit music in response to the concept based on a series of questions about the industry’s future including: What will the dancefloors of tomorrow feel like? What forces will inspire expression and movement? How will technology influence creativity? What will music sound like? These questions will be further explored through future releases and emerging Future Patterns side projects. Future Patterns 01 was mastered in Berlin by Patterns of Perception’s Andreas Maan. The compilation is now available for pre-order via Bandcamp, with a release party at Berlin’s OHM club on December 2.

Bunker New York luminary Abby Echiverri joins the Patterns of Perception imprint with Deformation, a diverse collection of playfully psychedelic techno tracks infused with radiant cosmic energy. Produced during an introspective period mid-pandemic, Abby drew inspiration from the captivating physics simulations her partner was working on at the time, ultimately imbuing the music with an ethereal atmosphere that permeates the entire EP, and from which the tracks derive their names. PTN03 presents a cohesive yet diverse collection of tracks, blending psychedelic energy with delicate and profound moments. Abby's music carries an almost hopeful quality, with drum programming that leans towards groove and shuffle, and the incorporation of diminished chords and progressions that pose questions to the listener. Deformation is an intricate record that showcases Abby Echiverri's distinctive, three-dimensional approach to techno: one that never feels oppressive but rather calls to mind a sense of exploration and freedom. This is the fourth release on the Patterns of Perception label, following vinyl releases from Australian producer Nali and Helsinki’s HOMI, and last year's VA compilation release Future Patterns. The label showcases the playful, psychedelic and warm musical direction that guests have come to expect from Patterns of Perception’s long-running podcast and event series. PTN03 was mastered in Berlin by Patterns of Perception’s Andreas Maan, with artwork by fellow collective member Ray Pham. The release will be out on vinyl and digitally via Bandcamp on June 21. Pre-order your copy now via Bandcamp.