Intuition
Expanse EP

Norwegian producer Mikkel Rev debuts on A Strangely Isolated Place with his most accomplished album to date; traversing nostalgic chillout, slow-burning downtempo, and euphoric trance, in a similar approach to the diverse styles found within the early pioneering electronic ambient albums of the ‘90s. As part of the growing label collective Ute Records, Mikkel Rev can often be found entertaining uninhibited ravers amongst the forests of Norway, where he and his label mates are spearheading one of the many so-called Trance revivals. Just as comfortable releasing high-energy 140bpm electronic music alongside Filip Storsveen as Omformer, or creating expansive space-ambient pieces on the flip for the Sinensis label, The Art of Levitation is the perfect gateway into the diverse array of electronic music to emerge from the world of Mikkel Rev. Moving through various energies and BPMs, The Art of Levitation is clearly vivid in approach and concept, based on track titles and art alone. In a similar parallel to the main room and the chillout room often found at raves, the album invites you to take a journey through both over time. Touching on moments of early electronic ambient, to begin with, it soon evolves into a blissful beat-driven progressive chapter, culminating in a nostalgic nod to the very best moments Trance music has to offer. The ending can be found in the back room, as the journey finally tails in to a more emotional point of reflection. The Art of Levitation is a mirror to the feelings created, the friends made, the dance floor antics witnessed, and nostalgic moments earned, by everyone who experienced the spectrum of energy and euphoria electronic music can offer during those special times.The Art of Levitation is available on March 20th, on Gatefold orange 2LP, plus digital. Featuring artwork photography by Wendy Carroll and mastered by Andreas Lupo Lubich.

The second in a series of self-released Liquid Earth Physical Records, “The Breakdown” is a front flip into curbside clubbing.The Aside offers two impeccably tight mixes of the 12” title tune, both providing different licks of pleasure for the casual clubber. “Charms Of Gaia” is forward leaning, equipped with big room, big energy type vocal breaks. “Trips & Skips” is an ode to the stripped down wigglyness of one of UK Tech House’s greatest, Nathan Coles - a clear influence of Mr. Earths.From here, we are sat next to the two black sheep of the 12” on what seems like the most pleasurable road trip of a record. B1 being the beefed-out break tune titled “The Closer” and B2 the straight and narrow slammings of “Cobblestone Stomper,” a track surely given its holy legs by the OG Jerusalem Cruiser.What you won’t find on this record is senseless filler, instead, you’ll surely be pumping your face with the permanent botox that is Liquid Earth. Now let’s see that smile!

London based label and collective Cartulis Music announce their fifteenth release titled “Twilightexpanse” by New-York producer Ebeats. A reissue from the early noughties featuring a previously unreleased Ebeats cut plus two new remixes by the legendary Radioactive Man and FOLD associate Voicedrone. The title track is one near and dear to the spirit of Cartulis – an emotive journey through hazy breakbeats, sirens from faraway lands, dramatic narratives battling through each other in a nine minute long piece of music. The rest of the record swings from club-ready techno grooves to various shades of electro – dark and dubby or bright and punchy.New York via London – Cartulis is proud to share this piece of music with the world.

Essential remastered reissue from the Infrastructure NY archives that represents the start of Function's involvement in the Sandwell District project. A snapshot in time...Where all the madness began... Sandwell District. In the summer of 2004 David Sumner (Function), then living in his native New York City, was over in Europe playing some shows. When passing through Berlin to play the old Tresor location at Potsdamer Platz, he stayed with long term friend and collaborator, Karl O'Connor (Regis). One afternoon the two head over to Hardwax and T++ puts on a copy of Sleeparchive Elephant Island. After months of discussions regarding the flavor of the moment "Minimal", everything changed in that instant...They looked at each other and said "now this changes everything!" Finally, a way forward! Later that night at Tresor - as Function is playing, Regis is behind him organizing a mic...As Dave mixes Regis Guiltless with Elephant Island, Karl starts singing a punk cover version of Buddy Holly Peggy Sue over his set. It's all there in that one moment! Sandwell District. Dave goes back to New York inspired. He sees there's no information on the record apart from an email address. So, he gets in touch...He gets a reply from Roger, the two hit it off and organize the first ever Sleeparchive remix - Regis Asbestos (Sleeparchive Remix). On the B-side comes a cut-up version of Karl and Dave's Portion Reform classic Closing In, where they collaborate with Detroit Underground's Kero to form Re:Group. Adding deep 808 rhythms combined with Kero's signature Max MSP IDM madness, Left provides the perfect counterpart that made this EP the instant classic it became 18 years ago. Now, remastered in all its glory, sounding fresh, massive and better than ever - available on BandCamp for the first time - Infrastructure presents; Regis Asbestos (Sleeparchive Remix) b/w Re:Group Left.

I feel honoured to finally present my first EP on de Lichting. All tracks except A1 were made during my COVID-19 quarantine between 8th-19th July 2021 on an EMU E64 and KORG MS2000. With the EP, I tried to cover most of the sounds that I regularly play during my DJ sets. Side A starts with two house cuts, ‘CAL01’ and ‘Emspacer’ inspired by some of my favourite house records, and ends with the electro title track ‘RDS THEME’. Side B, starts with the minimal-ish ‘Substance’, followed by two Ambient Techno/IDM cuts ‘Trapswet’ and ‘Cwejfx’. Personally, I feel that the tracklist reflects the process of being isolated, which on the one hand, enabled me to (finally) work on music without being distracted, and on the other hand, got me into a melancholic mood over time’.