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

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

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.

For Patterns of Perception 112, we're very excited to welcome back Konduku - a truly stellar all-round talent and dear friend of our collective. Four whole years have passed since we last featured Konduku in our mix series. In this time, he has reached new creative heights, adding textures, shades and vibrancy to his distinctive sound - in the process finding homes for highly touted releases on the likes of Spazio Disponibile, Mantis (via Delsin), Nous'klaer Audio, Amenthia Recordings (with Aa Sudd) and most recently DJ Nobu's Bitta. As a DJ, his creativity and skills are similarly vaunted, and see him regularly take the stage at key festivals, venues and events across Europe and Asia. Recorded live at Patterns of Perception @ OHM Berlin on Apr 21, 2023, Konduku's Patterns of Perception 112 is a showcase of his thrilling abilities behind the decks. Unpredictable yet totally engrossing, this set is a profound tale of tension and release. Tightly wound grooves and eerie psychedelia leading us unerringly to ecstasy. A fine balance of intuition, control and spirit from a visionary artist in full-flight. Konduku's Links: SoundCloud Instagram Resident Advisor

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.

“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

Antipodean audio artist, Material Object has seen his creative output embraced by worldwide audiences since his debut in 2008 as he quickly rose to prominence with a stream of impressive solo works, collaborations and remixes on European and American record labels. Beyond his solo efforts, he has also collaborated with notable musical luminaries including the late Pete Namlook on his Fax + 49-69/450464 label as well as Uwe Schmidt aka Atom™ and has since toured the planet taking his music to all manner of events from Berlin's infamous Berghain club to Japan's Labyrinth festival along with clubs, festivals and Ambient Yurts in every corner of the god’s grey earth. In the year 2014 he co-founded his own audio imprint titled ‘No.’ with Atom™ through which both artists explored unheard areas within electronic music and released over 30 albums and EPs from artists from all over this planet. The year 2023 sees the release of his breakthrough ‘Telepath’ project on Vienna's renowned Editions Mego label, navigating as yet uncharted sonic space and revealing a completely new sound for the artist as he fused Acoustic and Electronic tones to create an album of stunning depth and beauty. With Patterns of Perception 110, Material Object weaves a richly emotive story that spans four dimensions. Revelling in its transportive nature, this mix traverses great distances to connect textures, emotions and colours that are both familiar and abstract. Channeling the bold creative thrust of 'Telepath', its warm instrumentation and angular electronic experimentation feels delicate, deep and natural. And yet underneath it all lies a profound sense of nostalgia, which Material Object carefully crafted by running the finished mix through additional filters and machines, instilling a feeling of hazy consciousness, and of fond, half-forgotten memories of childhood. Material Object's Links: SoundCloud Instagram Bandcamp Twitter materialobject.com materialobject.bandcamp.com/album/telepath

Israel Vines is an esteemed DJ and producer with a career spanning nearly three decades. After spending his formative years in the musically fertile American Midwest during the mid-nineties, Vines settled in LA where his distinctive vision has continued to take shape. Channeling both the rebelliousness of early techno, punk & hip-hop and the sleek futurism of the modern electronic music soundscape, Vines' sound is uncompromising and sophisticated all at once. Appearances at key venues across the US and Europe, alongside releases on Tresor and Interdimensional Transmissions sub-label Eye Teeth have seen Vines further hone his adventurous, off-kilter and impeccably refined sensibilities. Fluttering between 85-170BPM, Israel Vines' Patterns of Perception 109 mirrors the contrasts in his own singular sound. Low-slung grooves roll as vivid rhythms take hold. Sleek sound design shimmers amongst a field of warm, effervescent textures. Layer upon layer of percussion illuminating a roiling jungle of emotion and energy. Israel Vines' Links: SoundCloud Instagram Bandcamp Resident Advisor

As a producer, Loek Frey is amongst the most exciting voices to have emerged from the influential Dutch scene in recent times. Balancing intricate experimental with abstract elements of IDM and techno, Loek’s sound is both compelling and forward-thinking. His recent LP release on Woody92’s Omen Wapta is the perfect embodiment of this sound, slipping gracefully between hallucinatory sound design and irresistibly propellant rhythms. With other releases slated for release this year, Loek finds himself in an ascendant moment. Consisting of unreleased solo and collaborative works, Loek Frey’s Patterns of Perception 108 feels like a glimpse into the future. Winding combinations of reflective and vibrant energies counter and build, illuminating an engrossing yet unpredictable flow. Clusters of intuitively sequenced beats writhe beneath constellations of alien-like glitches. Unsettling textures diffused by shimmering crystalline sophistication. Loek Frey's links: SoundCloud Instagram omenwapta.bandcamp.com/album/loek-frey-decipher

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

03.02.22 @ OHM, Berlin The pulse of the night is calling. On Friday, Feb 3, Patterns of Perception kicks off 2023 with a genre-agnostic lineup, Solid Blake and Sybil, two artists exploring the hidden shades of techno, from burning percussion to dreamy euphoria. Bringing it full circle, residents Steve Duncan & Andreas Maan will open & close the party respectively with their heady, wide-ranging grooves. Selected listening Solid Blake Sybil More info: Facebook / Resident Advisor