Hailing from Seattle, Korean-American artist Fugal expresses both dynamism and nuance. As part of the secondnature collective, he’s one of the driving forces behind a string of renowned events in Seattle and the US, as well as an impressive young label which has seen contributions from fellow secondnature residents Archivist and Simic, along with S.Moreira and Svreca. Now based in Berlin, Fugal has continued to refine his rhythmic, emotive sound, with gigs across Berlin and abroad. On the production front, 2017/18 has proven to be a fruitful period, with a recent co-release with Archivist on Volte Face’s BleeD imprint, and his sophomore secondnature release coming up in mid-February. With his contribution to the Patterns of Perception mix series, Fugal has taken a measured approach, veering away from more functional dancefloor sounds, and instead drawing inspiration from the warmth found amongst the grey Berlin winter. Toeing the line between experimental sounds and deep techno, Fugal’s mix delves into the intricate – focusing on musical phrases and creative transitions between widely varying tempos. Fugal's Links: Facebook SoundCloud secondnature - Facebook secondnatureseattle.com/

Earlier this month, French producer Hydrangea delivered us a mix that she described as a musical trip for a forest walk, crafting an inner journey that remains deeply connected with the surrounding nature. In this follow-up interview, Hydrangea tells us about her inspiration for the mix, producing music from her home in a wine region in southern France, and what 2018 has in store. You’ve said this mix is designed to be a musical trip for one of your walks in the forest. How did you put it together? Was there a particular moment that inspired you? Quite simply, during these walks I can reconnect with myself. These moments are pure meditation. That’s the same feeling as when you look at a beautiful landscape or a sunset, when the mind stops, where no more thoughts come to differ. Well, that’s what I try to share when I talk about an inner journey. Then, the inspiration follows. These moments of well-being remain etched somewhere in the memory. Sometimes it’s just a matter of thinking about them, to be able to feel them back whenever it’s needed. I’m one of those who find inspiration by closing the eyes and letting the pictures scroll continuously. You’re a relative newcomer to electronic music, getting started in 2014. How did the music catch your attention? Since my earliest childhood, I’ve been pushed towards the music. My grandmother already cradled me with classical music, which certainly awakened my senses. Everything is always bigger with music. The senses develop, the eyes look deeper and it remains an inexplicable fact for me as it’s so magical. For example, I started answering to these questions more or less in silence. But something was definitely missing. So once I’ve put on some wonderful music, the ideas all arrive much more and jostle. I’m not able to say anything about this fact, except that it’s something above ourselves and immeasurable. Much of your work – as reflected in your name – is embedded in nature. Tell us about the area where you live and work. How has your natural environment influenced and inspired your work as a DJ and producer? For those who follow me, it’s no longer a secret that nature is for me the most beautiful thing on Earth. Despite the passage of time, she’s still here, true to herself and in all her splendor. So, I’m located in a small corner in the west of France, more precisely in a wine region. I have also my favorite place to produce at home. Always sitting at this table where, by turning my head to the right or to the left, I can look at my two pretty flowering gardens full of life. I’ve not always been so in love with nature, I would even say that previously I paid no attention to her. But during difficult times of my life, she helped me a lot. And since then, she fascinates me more and more. She is now part of me as she inspires me that much and makes me grow everyday. However, the places that inspire me the most are the mountains. I dream of living in them. Deep and hypnotic Italian techno has also been a big source of inspiration. Are there any artists you particularly admire? Indeed, and especially the album from Voices From The Lake on Prologue. This album changed my life, really. I can easily say that it’s my favorite album. It was like a huge turning step for me and the starting point for another path that brought me up to here. The first time I listened to it, I remember I was stunned by the beauty of each of these tracks. It’s as if they’ve managed to transcribe musically things that I could never express before, like the sounds of dreams. Even today, I listen to it very often and it always gives me so many shivers. I think they know it, but I really want to thank them for this gift from heaven. Your output is quite impressive: since 2015, you’ve released an album on Annulled Records and a second self-released album, plus EPs on Accents Records and Two&Two Records, and contributed to a compilation from Silent Season. How do you maintain such a busy production schedule? Ah, that’s strange because I think the opposite. I find myself too unproductive and would always like to create more. I always want to produce but sometimes I just can’t. Unfortunately we can’t control the inspiration and sometimes it’s important to think about taking some breaks as I’m doing right now. Just to make the point and move in the right direction. Everything in its time, as I often say. Do you consider yourself more of a producer than a DJ? Do you have a preference for one or the other? Producer for sure, that’s where I started. It’s also what I prefer as it allows me to fully express what I feel in any circumstances. But I must say that I appreciate more and more the role of DJ, through my shyness, to be in contact with the public brings an incredible energy. That’s really one of the most beautiful feelings. In addition to your music, you also work as a graphic designer and photographer under the alias Horty Shooter, managing the artworks for different music releases and graphic art projects. Where might we have seen your other work as an artist? I stopped working as graphic designer since I discovered the wonderful thing of making music. For now, I’m just taking care of the covers for Inveins that I run with my mate Elena Iusco. Otherwise I’ve another passion for about 10 years now – photography – which is as strong as that of music since I take pictures almost every day. When I can’t produce and need new inspirations, I take my camera around my neck and go for a walk, observe and capture the surroundings. All while listening to music, obviously. For me these two passions complement each others, I couldn’t continue without having one of them. If you wanna take a look, I’ve just created a new Instagram profile where I share some of my favorite shots I took: @aegnahyrd. As you wrap up 2017, what’s on the cards for you in the new year? Any upcoming projects we should keep an eye out for? Sure, there are many projects coming up for next year and the years to come. I’d like to look into building a live set but for that, I take the time I need. In that way it reflects me as much as possible. For the rest, we will see in due time according to the course of events 🙂

Hydrangea’s life as a producer and DJ began relatively recently, when in 2014 she began expressing the quietness, wonder and intensity of nature in techno. For this prodigious French talent, creating and selecting music is an act of entering a deeper dimension, both transcendent and grounded in the hypnotic beauty of the natural world. As a producer, she has released her own productions – which are lucid, mesmerising, arresting – on Annulled Music, Two-Two Records, and Silent Season. As a DJ, she is equally inspired by the dancefloors she plays to across Europe as by the nature around her home. She describes this mix for Patterns of Perception as a musical trip for one of her walks in the forest, creating an inner journey while being connected with the surroundings. Wherever you happen to listen to it, we are confident it will have a similar effect on you. Hydrangea's Links: Facebook SoundCloud Tracklist: Lena Deen – Lateral Ntogn – Draki Meta – Ambiente 2 Kanthor – Ballet Mécanique Bichord – Analog Wind Adam Michalak – Evening Later Void & Materia – Sonar Call Andaman – Vision III (Refracted Remix) Mohlao – Patchbay Kanthor – Kirtana Chnl – Ion (Terra) Perial – 2019 Teste + Edit Select – Ascend Aquarium – Sandalwood Mohlao – Rotar Depthon – Polygraph (Ricardo Garduno Remix) Sicarius Hahnio – Resto Domani Vytis – Ocean

01.12.2017 @ OHM Berlin From the magazine We speak to Sebastian Mullaert about the concept behind Wa Wu We, about shifting to production to a live performance. Read the interview Selected listening Wa Wu We Facebook / Resident Advisor

On December 1, Patterns of Perception hosts the first extended live set from Wa Wu We, an alias of revered producer Sebastian Mullaert. Below, Mullaert tells us about the concept behind Wa Wu We, which until now has existed only in production form and as a record label. Tell us about this project: what is Wa Wu We? Wa Wu We have evolved into two different ways of expression for me. One being a very deep and meditative expression; a way for me to create a frame to allow people to let dance take place – to flower in a very natural way. The creative process in the studio is the same, I’m allowing a very natural process to take place. The second being a way for me to express myself without caring about the rules of production and mixing, an opportunity for me to be more free in the studio and transcend the frame I’m unconsciously creating for myself. In one perspective the sound of Wa Wu We is very functional and in another absolutely not (as some of the music is very hard to play). How is it different from your other work as Sebastian Mullaert? The line between Wa Wu We and Sebastian Mullaert isn’t totally clear. Both of them are aliases by me and of course flavoured and filtered through my preferences and experiences. But I would say that Wa Wu We goes deeper and more meditative, more repetitive and hypnotic and also (as said above) at times challenge how we are used to mixing dance music today. All these can also at times be applied on what I do as Sebastian Mullaert but with the later I also allow myself to bloom out into more musical and epic expressions, something I also love to do but not as Wa Wu We. You’ve said the concept is ‘music without boundaries’. How so? Does this apply to yourself, in terms of freedom of creative expression, or also to your listeners, who might be free to interpret the project and the music in their own way? Music without boundaries is an amazing thing, but in reality we often have clear boundaries – we have a clear frame or life situation. In this frame or situation we express. I believe “breaking the boundaries” is how we “meet” or “face” this very moment (with its temporary frame) and express what is. You could also describe this as “allowing the dance to take place”. In this very expression, experience is taking place and that experience is beyond and before any boundary as the concept of boundaries itself do not exist here. In this aspect I don’t see any difference between the musician or the listener/dancer. It’s all about letting the experience take place. This is creativity and creation – regardless of the temporary role, action or situation that are coexisting in that moment. Here is a story I wrote for my mother. It’s a metaphor for the realisation of this very moment in a strong and vivid experience – like one can have in dance, music, sessions of meditation or psychedelic journeys – and how these moments and experiences can continue to vibrate in our daily life as a deep connection with everything we “meet”. This is why I believe dancing is so important and it is in this experience there are no boundaries. Here is the poem / story: /// Wa Wu We; The Drum of Life. Once upon a time there was a girl who lived in a little house with her mother and father, right next to a deep forest. Like all children, the girl was full of curiosity and full of life. The curiosity opened doors to amazing imaginary worlds in almost everything she met on her journeys through the woods. One day when the girl was playing in the forest she came to a small glade. It was a peaceful summer’s day, sunbeams were shining through the canopy and there were songbirds in full throat all around. In the middle of the glade was a big stone, covered in moss. In the middle of the stone there was a hollow which gave it the shape of a big bowl. The night before, a great storm had swept through the forest and the stone bowl was full of rain water. The girl climbed up the stone and looked down into the water. The surface was completely still and in the water floated a purple star, shining so brightly it almost dazzled the girl. She jumped down from the stone, amazed by what she had seen and also a little bit scared. What was it? Could it harm her? The storm had also torn some old branches from the big trees. She picked up two of these branches and went up to the stone again. As before, the purple star was shining in the bowl. Cautiously, the girl touched the surface with one of the branches, and instantly a beautiful tone rang out. The tone was so alive and resonant that the girl couldn’t say if she had heard it or if the tone was actually part of herself, so deeply did it seem to resonate within her body. The girl touched the surface with the second stick and another, deeper, tone was heard. This tone too seemed to absorbed her, but this time in a slightly different way. She closed her eyes and could sense parts of her body she couldn’t remember ever feeling before. When she opened her eyes, she could see that the star was shining even more brightly than before, creating a hovering light above the surface of the water. The purple light coming from the star was not outside her, she could feel the light shining within her, as if the star and the light were everywhere and everything. Slowly the girl started to play with the sticks on the surface, each strike on the surface creating a new tone and a new wave of light, building up a song of sound and light. The sound was making the girl dance and the light was lifting her from the ground. Floating several meters above the stone, the girl noticed that she was not alone. The glade was full of different kinds of animal, all moving to the song, in unity but each one in a different way. The trees, the flowers, the clouds in the sky, yes everything was pulsating and vibrating together with the rhythm and melody. She was the sound, she was the light and in its vibration she could feel the animals, the trees and everything else. Suddenly she disappeared. She was everything and she fell through eternity. The next day when the girl returned to the glade, the rain water in the hollow was gone and she couldn’t see any star. But still, deep inside, she felt the unity of the dance and when she looked around at the trees, the flowers and the birds in the sky, she could sense that they were all part of this deep knowing. — For as long as I can remember, my mother has been telling stories. Her sharing these stories with me helped me to find ways to open doors to creativity. My mother is still a little girl, wandering through the woods. Now with grey hair and a slower pace to her walk, but still with the same vibrating force of imagination and the same love for the stories that come to her. One of the stories she told me was about a little boy finding a very special drum in the forest, a magical drum filled with the power of dance. The drum helped the boy find his own dance and creativity, and to awaken joy and happiness when sharing it with others. The sort of joy and happiness that give us and the people we meet strength to investigate life; investigate the endless creativity that we all are part of. Let the drum of Wa Wu We be heard, let it be played and let each of us dance the song of life, moment by moment. In the dance we can express what is now and get a direct experience of … this! Where there is no separation; where there is just for us to be. Wa Wu We Links: Facebook - Wa Wu We Facebook - Sebastian Mullaert Soundcloud - Sebastian Mullaert

One of the most exciting talents to have emerged out of Italy’s techno scene in recent years, Serena Butler has released on Marco Shuttle’s Eerie Records, Konstrukt and on the new imprint Bene Tleilax, of which she is one of the founding members. As defiant of genre categorisations as of gender binaries, Serena’s work as a DJ and producer draws energy from the concepts of a post-humanity and post-gender future. Fittingly, it conforms to few expectations. This selection builds on diverse musical sources to project a futuristic vision of dark and light, shadow and sight. Serena Butler's Links: SoundCloud Facebook

The 24th edition of the Patterns of Perception mix series comes from the Australian duo Albrecht La’brooy. Hailing from Melbourne, Alex Albrecht and Sean La’Brooy form a unique live act – one that’s often improvised and takes inspiration from the performances of the jazz greats. Inspired by a recent visit to Berlin and the organic techno sounds they encountered, their slow-building yet captivating contribution to our mix series is a fully improvised live set recorded in a single take. Albrecht La'brooy's Links SoundCloud Facebook Analogue Attic - SoundCloud Analogue Attic - Facebook Alex Albrecht - Facebook

22.09.2017 @ OHM Berlin For the magazine We sat down with Fjäder to chat about her label Nordanvind, some upcoming releases and the influence of nature on her work. Read the interview We had a chat with Consumer Refund about her approach to various arts and why it's difficult to categorise her in one space. Read the interview Selected listenings Fjäder Cyspe Consumer-Refund Facebook / Resident Advisor

Ida Matsdotter, aka Fjäder, is a Swedish DJ on the rise. Deeply influenced by the natural surroundings of her island base outside Stockholm, she considers her music more than just techno – it has a textured, organic quality that surpasses the purely technological. Ahead of her appearance at Patterns of Perception this Friday, September 22, we sat down to chat about her label Nordanvind, some upcoming releases and the influence of nature on her work. First of all, we’re super excited for your set at Patterns of Perception! How would you describe your sound to those who’ve never seen you play before? I play a lot with layers and filters. A guy once came up and said, ‘Thank you for showing me how to not mix techno’. He was in bliss mode. I kind of like to take it to the next level and play around and improvise a lot. Make art of it. I really like the kind of techno that is deeper and from there I can take it anywhere. Play from the heart is my kind of vibe. Take us right back to where it began. What drew you into the techno scene and how did you get started as a DJ and producer? I was a little girl growing up in a small village. I was not really in tune with anything except nature and music. So I went introvert and played a trance tune over and over. The track was Dance 2 Trance – Power Of American Natives. Later on I ended up at a real rave. I was the weird girl with no social skills standing by the speakers. I just love the monotone vibe in techno and trance. The deep kick and the feeling you get when you stand on a really good dancefloor. Like pure bliss and epicness. When I moved to Stockholm in 2010 I truly became a DJ thanks to my friends Martin and Andreas. Now it’s official. We were just mixing and trixin’ for years. Then I really started to long to make my own music and made some weird thing in Fruity Loops. Later on I met Fabian (Korridor). That was the next level of collaboration and exchange of knowledge. We entered the depths together. We just loved techno and from there it grew. Many hours of sitting alone in the dark and a lot of collaborations later here I am. It takes dedication to come to this point. I don’t consider my music just techno. It’s technological of course but my music comes in layers and grows out of the speakers instead of staying inside. I just do what I like. No compromise. And that is what comes out. At what point did you stop using your real name and start using the DJ moniker Fjäder (‘feather’)? What was the reason behind the change? I was a bit insecure years back. I guess I did not feel I had the support I needed or the confidence. I was back and forth with the names and then I just started to put things out on Fjäder and then it grew. And actually it fits me very well. But I consider myself Ida with the feather and not only Fjäder. I use it as a tool to purify and reflect both myself and the surroundings with frequencies. What’s your idea of the perfect club night? What are the key ingredients for you? Great sound system, awareness and kindness. I am really tired of hard attitudes. I just want to be able to be myself at a party. Just release without anybody disrespecting me or any other soul around. And the music is the most important of course. It creates the vibe. I really like it when people take it to the next level with art and deco too. You live on a smaller island outside Stockholm. Do you take inspiration from the natural environment that surrounds you? Naturally I do. I am a very sensitive person and I easily take in my environment wherever I am. I have noticed that if I go to a big club I start to produce ”big floor music” and if I sit at home in my country house, then the birds and the wind come into the music. But creatively I remain somewhere in twilight between the city and the nature. I love both. But to answer the question, I have wonderful nature and I love to walk barefoot in the forest and record all the creatures of the woods. The woodpecker is so techno and the blackbird is a master of frequencies. Especially in moonlight. Tell us a bit about your label Nordanvind – the artwork and release titles are very recognisable. What is the philosophy behind the label? Is anyone else involved in this project with you? I felt a bit different from the rest of the techno crowd at a point. I don’t blame them. I can be a bit introverted and hard to get at first. My idea of the scene was bit more poetic and esoteric. So I decided to start my own vibe. On many levels I feel it springs from a very sacred and pure source. Eternal. I also have the pleasure to add another of my skills. I am a poet and have been so for a very long time. Nordanvind is my fairy tale. On my label, I release the people that naturally are drawn into the label. Like destiny. I work with an amazing female artist name BIRDIE. She makes the artwork. She is truly amazing. She made the artwork spot on already from the beginning with the eyes. It’s a kind of awakening process for me and the people who want to tag along. Johanna Krikonnenko have also been a very great source on the design and inspiration part. I recently started to collaborate with Eyvind Blix, Hampus Bogren and Linn Elisabet to take my label into the next phase. This collaboration will include new releases starting with Eyvind Blix and then also label nights in Stockholm and hopefully worldwide. Finally I found my collective of people that I feel will last. Pure intentions. I consider us a collective of people working together to create the northern wind. It’s definitely a ice cold wind of awareness blowing over the lands here from north. A fairytale with darkness and light, sadness and delight. And I can’t wait to show you the new winds that are coming. Winter is coming. Do you have any upcoming releases planned that we should know about? My computer is kind of stuffed with my own unreleased stuff at this point. I am starting to go a bit crazy. But the next VA on Nordanvind should be delivered in the following weeks. Right on time for ice and snow. It is a collaboration with Karl Bult and a remix made by me, Korridor and Jana Sleep. Can’t wait. Your appearance at Patterns of Perception on September 22 will be your first in Berlin in awhile. Do you have plans for your set, or do you like to keep things open? I always have a grand masterplan hahahaha but… in the end I will improvise with my library of ”broken records” to break and shake up. Emotions to stir up and passion to burn. But I have a feeling it will be very sensual and deep. Lastly, which tracks have you had on heavy rotation lately and why? From Power of American Natives. Logic Records, 1993. This track made me become a DJ and I love the vibe and the message in it. - Eyvind Blix – Asika. Unreleased. Because this guy is simply brilliant - From The Brooklyn Sessions. Pinkman, 2017. Very sexy music. – Jana Sleep – Lost His Crown Virvelvind, 2017 Her soul saved me. – Fjäder – Purification Because I long for this to be released Fjäder Links: Soundcloud Facebook

With his solo project Cyspe, Robin Koek of Artefakt paints deep, electronic atmospheres inspired by nature, cybernetics and architecture. This podcast is a very personal voyage through Cyspe’s record collection, moving from charged drone atmospheres, old tape experiments and dissonant voices into the ‘braindance’ works and melancholy of the early 90s, slowly diverging into early Japanese minimal techno and modern syncopations: a full spectrum eclectic journey that is crafted to resonate within the body, the mind and the all-encompassing spirit. It comes in the lead-up to Cyspe’s first live set at Patterns of Perception, on 22 September 2017 at OHM Berlin. Cyspe's Links: Facebook SoundCloud Resident Advisor Insula Records - SoundCloud Artefakt - SoundCloud

London-born, LA-based Ryan Griffin began A Strangely Isolated Place a decade ago as a manifestation of his love for collecting and sharing music. The project soon grew into a vinyl label and a community of artists sharing a reverence for a diverse and esoteric range of genres, from ambient to electronica, modern classical to techno. Artists releasing on the label currently include Merrin Karras aka Chymera, Arovane, Leandro Fresco & Rafael Anton Irisarri, Purl, and Markus Guentner. This atmospheric selection incorporates into A Strangely Isolated Place’s signature sound additional elements of the trance and house music genres on which Ryan cut his DJing teeth. An organic approach to selection and mixing ensures a richly layered collage that manages to take some startling turns while remaining effortlessly cohesive throughout. A Strangely Isolated Place's Links: Facebook SoundCloud Bandcamp Twitter Instagram https://www.astrangelyisolatedplace.com/

For the 21st chapter of the Patterns of Perception mix series, we are proud and excited to present one of the key members of our collective, Kim Bergstrand. Hailing from Malmö, Sweden, his unique sound and vision has become a crucial thread in the fabric of Patterns of Perception. With recent Berlin performances at OHM, Tresor and About Blank, Kim’s unyielding intensity and erudite selections have been garnering the attention they demand. In this mix, Kim channels the trippy, hypnotic qualities that are at the core of the Patterns of Perception sound, while also bringing a sense of driving urgency and a dash of cinematic melody. Kim Bergstrand's Links: SoundCloud Resident Advisor