Antonio Vázquez hails from Seville, Spain, but learnt his art as a DJ in Madrid in the 2000s. After moving to Berlin in 2011, he began focusing his energy on producing and mixing deep techno, while never losing his eclectic edge. He has released on such forward-thinking labels as Shaded Explorations, Hypnus Records, and Semantica Records, while taking up bookings at clubs including ://about blank, Komme, psuescho_club, B/RUT, Research, Tresor and Berghain. Distinguished by atmospheric and organic timbres, his music floats between austere minimalism and vivid expansiveness, but never loses its drive and urgency. This kaleidoscopic fusion of elements characterises his mix for Patterns of Perception. “I don’t have a phone, I don’t need to eat too much, I don’t need to spend so much money. I’ve reduced the… I wouldn’t say my needs, but wills. I worked a lot in the past years and I discovered, why do I work so much? To go on holidays? Why am I not living like I’m on holidays? This is how I’ve reached the peace that I have.” Read our interview with Antonio here. Antonio Vazquez's Links: SoundCloud Resident Advisor

Deep Space Series founder Hendrik Bergs (aka The Lizard of Oz) presents a luminescent ambient mix for Patterns of Perception, a sister mix of sorts to our own mix for DSS in 2016. Since its launch in December 2015, Deep Space Series has placed itself at the forefront of deep techno, with its podcast series featuring mixes from artists of the calibre of Ness, Skymn, Isorinne, Joachim-spieth, Ntogn and Hydrangea. Recorded live as part of the Museum of the Moon exhibition at Belgian trans-disciplinary sound festival OORtreders, Deep Space Series’s mix for Patterns of Perception is sparse and spacious, drawing the listener in with layers of darkness and light. Deep Space Series' Links: SoundCloud

From his home in the rainforests of Vancouver Island, Canada, Silent Season label head Jamie McCue brings us a mix infused with warm, ethereal textures, spacious dub elements, and insistent rhythms. Jamie founded Silent Season after moving to the remote woodlands of British Columbia in the mid-2000s. Deeply influenced by the colours, scents and ambience of the environment around him, Jamie’s tastes are reflected in Silent Season’s releases, which include titles from Refracted, Yuka, Archivist, Emanuele Pertoldi (Shaded Explorer) and Edanticonf. Jamie McCue's Links: Silent Season - Facebook Silent Season - SoundCloud Silent Season - Bandcamp Silent Season - Instagram Silent Season - Twitter http://www.silentseason.com/

Volte-face has emerged as a key figure in London’s techno scene and beyond, thanks to an impressive list of releases on his label BleeD Music, collaborations with artists like Daniel Avery and Blind Observatory, and the diverse, deep DJ sets which remain the staple of his work. Recorded at our March 2017 party, his expansive set covers a lot of ground, ranging from deep, lush techno to trippy acid and dub. We couldn’t be more excited to share it with you. Read more about Volte-Face’s current and upcoming projects in our recent interview. Volte-Face's Links: Facebook SoundCloud Resident Advisor Twitter

Italian producers Roberto Bosco and Kiny are Ichinen, an experimental techno project reflecting their long-standing friendship and complementary musical styles. After years spent focusing on their solo work, the duo first earned acclaim for last year’s A Morning Without Glory, a dance floor-oriented EP with remixes from techno heavyweights Dasha Rush and Etapp Kyle. Since then, their music has taken a more experimental turn. As long-time friends but more recent collaborators, Bosco and Kiny set up their label Last Drop Records to release the kind of music both were craving to make. Their first LP Dual Craters, set for release on March 31 2017, fuses Bosco’s rhythmic elements with Kiny’s more experimental sounds. Ahead of the release, Bosco and Kiny put together this live set for Patterns of Perception. With it, they explore the elements that bring Ichinen to life: hazy dub, sun-drenched reverb and subtly driving percussion. We also sat down with the duo for a chat about what made them switch from techno made for the dance floor to the dubby, experimental ambient that characterises Dual Craters. Read more here. Ichinen's Links: SoundCloud Resident Advisor Last Drop Records - Facebook Last Drop Records - Bandcamp Roberto Bosco - SoundCloud Kiny - SoundCloud

Italian producers Roberto Bosco and Kiny are Ichinen, an experimental techno project reflecting their long-standing friendship and complementary musical styles. After years spent focusing on their solo work, the duo first earned acclaim for last year’s A Morning Without Glory, a dance floor-oriented EP with remixes from techno heavyweights Dasha Rush and Etapp Kyle. Since then, their music has taken a more experimental turn. As long-time friends but more recent collaborators, Bosco and Kiny set up their label Last Drop Records to release the kind of music both were craving to make. Their first LP Dual Craters, set for release on March 31, fuses Bosco’s rhythmic elements with Kiny’s more experimental sounds. Ahead of the release, we sat down with Bosco and Kiny to chat about what made them switch from techno made for the dance floor to the dubby, experimental ambient that characterises Dual Craters. The two of you first met in your home town of Salerno, a seaside city in Campania, Italy. Can you tell us the story of how you met? Where did this all start? Kiny: We are friends since the youngest age. We live in a suburb near Salerno. At the end of the 90s, some friends and I created a place under my home, in a garage where there were two turntables and a mixer and a lot of records. It was a space to have fun, and to remedy the boredom and monotony of the city. This place was called Last Drop and Roberto began visiting at the age of 15. It was useful for him to escape and dream there, too. Roberto: Then during 2013, after living about a year in Berlin, I came back disappointed to Italy. It was very hard this change, having lost the passion to make music. Having found Kiny again as a friend was like travelling back in time, to when I experienced music in a carefree way. The rest of the story happened by itself. You’re both independent artists in your own right. How did Ichinen as a project come about? Roberto: We spend a lot of hours in the studio making music together. Quite simply, we found that we really enjoyed it, despite our different personal music inclinations. Certainly we’ve experimented a lot, and the result was this really intimate music and a very personal sound. We enjoy our mental journeys. Simply, we have fun making music together and we divide the roles easily: Kiny makes the ambient part and I stay focused more on the rhythm. Kiny: First and foremost, an important factor for this collaboration was the friendship between us. And working on this project also helped us both overcome more difficult moments within our everyday lives. What were your main influences or inspirations for this project? Kiny: We have different backgrounds but these still meet in this project. The sounds range from electronic minimal techno to dub, and even reaching an industrial level. We mix all this together in a very personal and experimental way. For the Ichinen project, we have kept our two different identities, but still manage to arrive at a common point. Finding the right feeling and common ground with another person can be really hard, but in our case it was quite natural. Roberto: We don’t really have one particular influence but rather several influences. Our journey was inspired first by our feelings and our daily experiences. Certainly there is more experimentation and the novelty of using synthesizers like Elektron since we have always produced music only with computers. On Dual Craters, you explore a much more experimental sound than you’ve offered in the past. What drove you to make music that’s less inclined towards the dance floor? Roberto: We don’t necessarily want to stay away from dance floor music, though we were tired of that sound to some extent and we wanted an ‘escape’. So we just tried to experiment with our music and the idea for this Ichinen LP just came out. Kiny: We both always listened to ambient and experimental music, and for sure in recent years it’s become more popular among connoisseurs. But certainly it remains a more niche musical style. You founded Last Drop Records in 2014 – taking the name of the studio where you first met. What led you to set up the label? What have been your biggest challenges? Roberto: Personally I really felt the need to found my own label for some time. Then I met Kiny and, after listening to his stuff, I thought to combine our forces and bet on something new and personal. Our biggest challenge was to put out Kiny’s Damaged Memory EP. He was very unknown some years ago in the music industry, mostly because today’s market mainly demands dance floor music. Labels tend to push new producers down this road, rather than direct them to produce something that really expresses their own style and their taste. And often this leads us to always listen to the same stuff. Personally, I think there is a lot of amazing music out of there that isn’t always earning recognition but which should do. Kiny: Basically, we created the label Last Drop with the intent of putting personality into our music, trying to create a unique product, regardless of the current market. Tell us about having A Morning Without Glory remixed by Dasha Rush and Etapp Kyle. Were you happy with how each interpreted your track? Kiny: They certainly helped to increase the visibility of the project, keeping in line with our concept for the label, and we are really grateful for their support. Roberto: We wanted two different versions of A Morning Without Glory – we are very tied to this track. Dasha maintained the energy of the original version and also gave a very personal interpretation. On the other hand, Etapp completely overwhelmed the track, having a personal vision more based on minimal electronic dub. We are really satisfied with both interpretations. Ichinen’s Dual Craters is out on Last Drop Records on March 31. Pre-order the album over on Bandcamp

Ten tracks that represent our current sounds and inspiration. Compiled by Volte-Face and Kalawila. Selected by Volte-Face From Syndicat De La Couture. Avian, 2017. - From Pitch Black Mirror. Sonic Groove, 2016. - From Red Zone. Acidworx, 2016. - Featured on As Patria’s forthcoming Hypoborean Land EP, due late March 2017. Ravage, 2017. - From Metastability.  Sonic Groove, 2015. Selected by Kalawila From The Axiom EP. theAgriculture, 2011. - From Cory Arcane. Raster Noton, 2015. - From Painting. Photek, 2006. - From Momentum. Monolake / Imbalance Computer Music, 2003. - From DK Jamz.  Nintendo, 1995. (So good.) Full Playlist:

Kalawila is a techno star on the rise. An up-and-comer from Sweden, his list of credits so far include a recent release on Johanna Schneider’s Bossmusik, a close friendship and collaboration with Dorisburg, and a series of high quality productions on his own label, Mountain Explosion Device. In this interview, he tells us about his early influences, gives us a glimpse of the Swedish scene and explains why melancholy is essential for producing good techno. You can catch Kalawila at OHM Berlin for Patterns of Perception on March 10. Tell​ us the Kalawila story: how did you get into electronic music? What inspired you to start DJing and producing yourself? I guess I really started taking an interest in dance music when I organised parties in Gothenburg together with the guys from Aniara, but I didn’t play records back then. It wasn’t until I moved to Berlin that I started buying records of my own, and then one day I just asked my roommate if he could teach me how to play them, and he did! When it comes to producing, I was going out dancing a lot and I just really needed an outlet for those hours when I got back from an inspiring club experience, where I could channel what I had just taken in. So my friends installed Logic on my computer, showed me the basics, and then I just tried to focus on learning a few aspects of it really well, like delays. Software like that can be a bit daunting if you try to learn everything at once. Baby steps are key, I think. I’ve done almost all my tracks at home with just the basic Logic package. You can do tons, even if you don’t have access to a studio and/or expensive analogue equipment. How​ would you describe your current sound to those who haven’t heard of you before? What are your main influences? Electro-magnetic reptile? Haha, I’m not sure how to describe it. I’m really bad at categorising music properly. I had seven snakes growing up, and would sometimes sleep with them in my bed. I just try to picture what they would enjoy if they had ear drums. Also, I like having the feeling that whatever you’re listening to at the moment always has another gear to kick into. Kind of like a closed pressure valve that just keeps building up tension, but never releasing it. I try to go for that feeling when I play. A lot of people seem to be highly influenced by space, but I’d say most of my influences can be found here on Earth (which is also in space, I guess). Things like amphibians, Butoh dancing, Skynet, or Monolake. All great influences. You​ recently released on Johanna Schneider’s label Bossmusik, home of fellow Swedish DJs including Dorisburg and Henrik Bergqvist. How did you meet the crew? We are all really good friends. Stockholm is small so we see each other quite often. I like that Johanna keeps Bossmusik a family affair, even though she’s probably been approached with some killer demos from random people. I’ve known Alex (Dorisburg) for a long time. We are both from Gothenburg, and we moved to Berlin together the first time in 2009, then we did the same thing again in 2012. The second time we basically spent every waking hour together, playing video games, going out dancing, and listening to Shackleton. I know every angle and wrinkle of him. Best guy ever. Tell​ us a bit about your 2016 two-track debut on the label, ​Krokodil Når Västerås / Bhati Dilwan. How did you approach this release? Krokodil når Västerås is actually a newspaper headline that I read once. The article was about the drug Krokodil now popping up in the small town of Västerås in Sweden, but I misread and thought it was about a crocodile that had swam all the way from Egypt, and had now finally arrived in the small town of Västerås. I thought my misinterpretation would be a funny scenario to try and paint with sound. All of my records are named after newspaper headlines that I read: Slagsmål utbröt på Mount Everest (A Brawl Broke Out On Mount Everest); Ensam Kamphund Tog Pendeltåget (Lonely Fighter Dog Rode the Commuter Train); and my next one is Lönnmördare Fick Betalt i Frimärken (Assassin Got Paid In Stamps). Most of my B-sides are named after gruesome and shitty scenarios. Like Bhati Dilwan is a town in Pakistan, where Nestlé built a factory for bottled water, and contaminated the natural water source. So now the citizens of Bhati Dilwan have to buy their clean water from Nestlé. Virunga is a national park in Uganda where oil companies are paying locals to kill gorillas, since the area is full of oil, but it also has gorillas. If the gorillas are gone, there is no need for the government to protect the area anymore, thus the oil will be up for grabs. The B-side on my upcoming record is Dadaab, which is the world’s largest refugee camp. It’s in Kenya towards the Somali border, and it has over 300,000 people. They are trying to shut it down, though. None of the b-sides are funny scenarios to paint, but they had a big impact on me. I don’t have a background in music, and I don’t really play an instrument, so I try to come at it from a different angle. I don’t really “jam” – I usually start with a scenario that I want to describe, then I take a sample or field recording that I twist and turn inside out on my computer until I feel it fits in my musical universe. The main reason why I make music is so I can spend time in that place. Johanna​ Schneider said in ​​an interview late last year​ that “the lack of vitamin D makes everything (in Sweden) sound like that light-in-the-tunnel-kind-of-vibe”.​ Would you agree? How would you describe the sound that’s coming out of Sweden at the moment? I think I know what she means, but where she sees light in the tunnel, I think I see melancholy. We have plenty of that to go around. A lot of things up here just have a kind of beige aura. But I like that aspect when translated into something feral, like techno. That’s why I always try to look for at least a sliver of melancholy when I listen to techno; if the music is hard just for the sake of being hard, I have a tendency to tune out. The qualities I look for in music are basically the same ones that I look for in a person: curiosity, finesse and quiet dignity. Are​ there other Swedish DJs or producers that you’re following particularly closely at the moment? I always follow Fjäder, Jin Mustafa and Johanna Knutsson with great suspense, they’re always really on point. Oh, and Jana Sleep! Definitely one of my favourite producers. She really taps into something beautiful when she produces and performs. You​ recently recorded a mix for Patterns of Perception. Did you have a particular concept in mind for this mix? I always try to picture a very specific person listening to the mix in a very specific situation, and then keep that vibe in mind when I’m recording it. The actual recording session is not very romantic. I don’t have record players at home, so I write down tracks that I really like at the moment on my phone, in the order that I think they will work. Then I go over to my friends’ house and record it. Surprisingly, I rarely stray from what I wrote down before starting the session. Imagining how the tracks will work together is almost more fun than actually hearing them together for me. Recording a mix works pretty much the opposite of playing in a club for me. One happens in my head, and the other happens in my gut. How​ do you prepare for your DJ sets? Can we expect anything in particular from your set at Patterns of Perception? I usually plan my sets pretty meticulously and I try to group tracks after which colour they represent in my head. So maybe I’ll play turquoise for the first 30 minutes, then purple, then red, etc. But if I show up at the club and notice the vibe isn’t turquoise at all, I just shift the colour blocks around a bit. Sounds ridiculous, I know, but I have to visualise it like that for it to make sense to me. Oh, and lately I’ve been really into some more downtempo techno, like 112-113 BPM stuff. It’s really cool, so maybe I’ll bust out some of that! What​ else does 2017 have in store for you? Tons of fun stuff! I wrote a radio theatre piece called Sagor Från Medelklassen (Fairy tales from the middle class) that aired on Swedish Public Radio in February. Also, my fourth EP is coming soon, entitled Lönnmördare Fick Betalt i Frimärken. I also decided to start releasing tracks by friends, so there will be releases by Dorisburg and Birds ov Paradise on my label Mountain Explosion Device. Oh, and I want to move to Mexico City! Image credits: Johanna Schneider

For London-based Volte-Face, the recent announcement of fabric’s closure (and subsequent reopening) hit close to home. An established figure in the city’s electronic music scene, he has both co-promoted parties at the club and played there regularly over the past decade. Yet at a time when some are predicting the demise of the city’s nightlife, he remains optimistic about the future of clubbing in the UK capital. We recently sat down with Volte-Face to discuss his views on fabric’s closure, his current projects and collaborations, and what we can expect from his headline set at Patterns of Perception on March 10. What’s 2017 got in store for you? What are you working on at the moment? More of the same really. I’ve just put out the first BleeD release of the year, by Phil Moffa, who’s somebody I’ve wanted to work with for a long time. I’m putting the finishing touches to my next BleeD EP, gearing up for the festival I co-organise, Field Day (which is headlined by Aphex Twin this year), and also looking forward to working out some Rote shows with Daniel Avery later in the year. I’ve also been meditating daily, and have finally stopped biting my nails habitually. You’re based in London, which was hit pretty hard by the announcement of fabric’s closure last year. Now they’re back in business and you’re returning to play in April – how do you feel about heading back there? I’ve been playing semi-regularly at fabric since 2006, so it was certainly a shock to hear of the closure. People underestimate the effect that a venue like fabric has on the entire ecosystem of clubbing in London. In my view, there are very few venues on the planet as well run and conscientious as fabric, so it would have been nonsensical to close it on grounds of health and safety. I can’t wait to play there again. A lot of the media coverage last year focused on what fabric’s closure meant for the future of London’s nightlife more broadly. What does fabric’s return mean for the city’s electronic scene? Is it now back to business as usual or has the damage been done? I think there will be positives that come out of the situation. Fabric has had the chance to reflect and regroup, and others in clubland have had the opportunity to work with artists who might not have been so easy to book in the past, and potentially consolidate some new following as a result. Clubs are always coming and going in London, but I don’t think the volume of people going out and enjoying quality nightlife varies a great deal. We’re pretty committed ravers over here! What might the implications be for a city like Berlin, where clubbing culture is so unregulated compared to London? Do you see the city as eventually heading in the same direction as London? I do marvel at how permissive the Berlin club environment can be in comparison to London, but it seems that the authorities recognise that this is a cultural differential which should be cherished and protected, rather than systematically undermined in the manner that the British police went for fabric, with the dubiously titled ‘Operation Lenor’. You’ve recently played a lot with Berlin-based artist Blind Observatory, both on the same bill and b2b. How is this a good musical fit? And more generally, how do you approach your b2b sets? He’s somebody that I happened to catch at Berghain a few years back, and have since been following religiously. I invited him to play back to back with me at the last Plex/BleeD event in London, and we’ve become friends since, playing a second b2b recently at Fade Blank in Amsterdam. We cross over a fair bit, especially when it comes to the more ‘romantic’, trance-infused side of techno and electro. It feels like something new, rather than a compromise, when we play together, which is surely a good sign. What’s coming up for BleeD Music this year? Any particular releases you’d like to mention? What direction are you taking for the label? It’s a blank canvas, and occasionally a slashed canvas too. I’m working on it! One of my favourite new artists is working on a remix for me as we speak, which I am eagerly awaiting. You’ve previously run your own club nights through BleeD. In your experience, what’s the recipe for the perfect party? What’s needed in terms of the crowd, music, sound system, etc? I had five good years promoting parties under that name, although the sound I was pushing was generally more abstract and experimental than what I have been releasing on the label so far. For me, what’s needed is some kind of tension in the curation. I never saw a reason why an ambient artist, let’s say Bee Mask, couldn’t play in the small hours at a ‘club’ night, alongside more traditional ‘techno’ artists. Some memorable moments include Oneohtrix Point Never playing alongside Oni Ayhun and Veronica Vasicka at my first ever club night, Daniel Bell playing krautrock peak-time at a Downwards x Diagonal party, British Murder Boys playing a secret set in a 250 capacity room at a Blackest Ever Black party alongside Raime, and Morphosis playing b2b with Ben UFO for eight hours at Corsica Studios. What can we expect from your set at Patterns of Perception? Is there anything you will do differently from your usual sets to cater for the venue and the crowd? Although it does tend to derail my life a little, I try to treat each show as a unique event, and put a lot of preparation in. Having seen OHM in action at your last party, I feel like I can treat it like a house party set, of sorts. Nice and varied, deep and full of surprises. That’s the plan at least. Volte-Face plays at Patterns of Perception at OHM Berlin on March 10

The next contribution to our mix series came as a very natural choice. Ever since its first release in 2014, Midgar Records has remained a huge influence for Patterns of Perception, offering a steady schedule of deep, psychedelic techno by artists like Von Grall, Wata Igarashi and Ruhig. This time label founder Jacopo treats us with an intelligent, genre-defying mix from a recent Midgar showcase at Institut Für Zukunft in Leipzig. Jacopo's Links: SoundCloud Facebook Resident Advisor Midgar - SoundCloud Midgar - Facebook Midgar - Bandcamp Tracklist 1. Joey Anderson – Dive Deep 2. Baby Ford – Messenger Vox 3. Simo Cell – Piste Jaune 4. SERi – Acid Bubblebath (Wata Igarashi Remix) 5. Clint Foster / DJ Powerout – SW37 B 6. Damon Wild – Between the Lines 7. Jeroen Search – Aparatus 8. Gonno – ACDise #2 9. Surgeon – Floorshow 10. Civil Duty – No Dexterity 11. Civil Duty – Pure Tums 12. Intrinsic – Tachyon 13. Wata Igarashi – Cocytus (r2π Remix) 14. Giorgio Gigli – Self-Reflection 15. Surgeon & James Ruskin – Sound Pressure Pt. 3 16. Surgeon – Sleep (Ultraviolet) 17. Peverelist & Kowton – Raw Code (Surgeon Remix) 18. Asusu – Velez (A Made Up Sound Remix) 19. Skirt – Collider (HG. Remix) 20. Alex Cortex – Klein Bottle 21. Dino Sabatini – Ritual 22. Vatican Shadow – Atta´s Apartment Slated for Demolition 23. Ruff Cherry – Endless World (Future Mix) 24. Dj Qu – Be Who You Want (Hardnock Shaker´s Dub) 25. Alex Cortex – PS-LL-11 (Bad Cop Bad Cop Remix) 26. Wata Igarashi – Lucifero (Orphx Remix) 27. Matt O´Brien – Without Warning 28. Ben Kaczor – Asta

10.03.2017 @ OHM Berlin From the magazine We sat down with Volte-Face to discuss his views on fabric’s closure, his current projects and collaborations. Read the interview Kalawila tells us about his early influences, gives us a glimpse of the Swedish scene and explains why melancholy is essential for good techno. Read the interview Selected listenings Volte-Face Kalawila Facebook / Resident Advisor

Our 11th mix is a recording from a memorable night. Headlining our party in December, 2016, Dutch DJ and producer Ben Buitendijk put on a flawless 3 hour set that spanned genres and emotions, showcasing his inimitable skills as a DJ. We’re particularly excited to share this one with you, as it perfectly captures what a Patterns of Perception party is about: energy, openness and flow. Ben Buitendijk's Links: SoundCloud Facebook Resident Advisor Oblique Music SoundCloud Oblique Music - Facebook Oblique Music - Bandcamp