Rrose's compositional process, rooted in their studies with West Coast avant garde trailblazers at Mills College, centers on "seed" sounds being fed through elaborate webs of interrelated audio processing. The result is a world where changes in any one element have downstream implications for some or all the others. It's a rich interdependence that lets the tracks breathe, grow and mutate with uncanny organicism. Please Touch addresses in equal measure the perceptual and the corporeal: these are sounds that sink into the body, exhibiting a tactility that pushes, pulls, bends and yields with fearsome vibrancy. The album splits its time between radical techno iterations and pieces which pare back the percussion, letting the synth textures uncurl in their own time and space. The quivering drone and rolling sub-bass of "Joy of the Worm'' set the tone for the record, while "Rib Cage," Spore" and "Spines " swing with stepping rhythmic underpinnings. Building with finely calibrated tension, they use their few elements to startling, snarling effect. "Pleasure Vessels" is a rare moment of becalmed introspection in Rrose's oeuvre, hinting at a melodic ambiance that is practically unseen in previous works. It glows with a soft, dawn-like light before dissolving into a tidal fizz. "The Illuminating Glass'' brings the tempo down to a languorous chug, nodding its way through a field of glistening chirps and leaden gasps. "Feeding Time," "Disappear" and album closer "Turning Blue'' meanwhile nod to the cerebral psychedelia of Rrose's forebears, with mesmeric, looping textures and long, magisterial tones not dissimilar to the spectral works of James Tenney (whose work Rrose regularly performs) and the deep listening pieces of Pauline Oliveros. The title of the album refers playfully to the tactile quality of the music while hinting at a forbidden sensuality that is only permitted within the confines of this microcosm. The phrase is also another nod to Marcel Duchamp, who gave this title to a 1947 exhibition of Surrealist art. Across the nine tracks, Rrose follows the lead of the sound(s) rather than trying to impose on the flow of the sonic material. Each move changes the parameters of a track's evolution. Thus, a non-hierarchical, symbiotic relationship forms between the so-called "music-maker" and the music itself. Please Touch acts as a collection of limbs, organs, parasites, and growths which both devour each other and keep each other alive.

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The California-born, London-based producer Rrose is well known for taking dancefloor techno into the uncharted depths of experimentalism and psychedelia while also paying homage to artists of the 20th century avant-garde such as Marcel Duchamp, James Tenney, and Eliane Radigue.
Beware of Shells" (the first solo Rrose release of 2018) is a diverse five track EP that goes to extremes of both aggression and tranquility while remaining strangely cohesive. The EP opens with machine gun bass drums that slowly disintegrate into a swirl of undulating tones and ghostly resonances. Next comes "Incisors" - the most solidly dancefloor track of the EP - which establishes a primal, skeletal rhythmic base upon which snake-like analog synth lines interweave in unpredictable ways. "The Swelling" follows with a short, sparse study in feedback, bent into uneasy melodic patterns. Side B opens with a previously unreleased 2013 remix of the Los Angeles band Deathday, and is perhaps Rrose's most overtly "industrial" track to date, with buzzing, dissonant synth tones that sound somewhere between a foghorn and a distorted guitar. The EP finishes on a contemplative note with "Pecking Order," a microtonal, ritualistic affair conjuring the spirit of Wendy Carlos's little-known masterpiece "Beauty in the Beast."

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2016 and 2017 have seen Rrose release several split and collaborative EPs, but this solo EP is their first since 2015. The EP opens with two experimental pieces, anticipating an apocalyptic storm with bending tones, spectral washes, and subliminal percussion. On the B side, Rrose brings the energy up for the dancefloor with a skeletal rhythmic workout reminiscent of early Plastikman but with the added structural detail and multi-layered morphing that have become a signature of Rrose productions.

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Damon Wild and David Sumner (aka Function’s) relationship dates back to 1991 at Lord Michael’s Future Shock, Limelight, New York City – when Damon was running EXperimental Records via Northcott Productions. At the time, he first saw something in Dave and added him to Brand X, a record pool run by Moneypenny. But their bond is based around a period 5 years later when Dave had an apartment above Rogue Music at 251 West 30th Street in Midtown, Manhattan. It was during this time Damon developed him as a Synewave artist and released his first EP as Function in the Fall of 1996 – catalog number; SW-24. Falling in and out of touch over the years, across continents, the two have somehow remained on the same cosmic path. So it’s not a coincidence that now Damon has turned to Dave to release his first album in 13 years, during the time he is reissuing that first “Synewave EP” on “Recompiled I/II & II/II” (A-TON LP02/03). This is where those paths cross again… 21 years later, this Fall, Dave will release “Cosmic Path” on Infrastructure. The cosmic connection.

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From a sporadic late-nineties outlet for the work of label founder David Sumner aka Function and his contemporaries, Infrastructure has re-emerged in the last two years as a busy and consistent platform for modern electronic music. Re-launching with a collaboration between Sumner and long-time colleague Ed Davenport aka Inland, the pair released Function/Inland's ambient techno EP 'Odeon / Rhyl' as INF-012 in May of 2014, marking a new wave of material on the label which had been dormant since Sumner's first material on Sandwell District emerged in 2007. In the two years following the pair have orchestrated 10 vinyl releases, including a debut album by Techno anonym Post Scriptum, two singles from young avant-garde composer Campbell Irvine, a double pack reissue of classic acid pioneer-tracks from Mark Archer's Trackman guise, a crossover single by Cassegrain & Tin Man, and more. Both Post Scriptum and Campbell Irvine released their debut material on Infrastructure; discovering and promoting new raw talent is high on the agenda. Now Infrastructure introduces it's next milestone - Facticity. A 4 x 12'' vinyl box set, CD and digital format compilation featuring 15 tracks by key artists, label colleagues and new faces. Facticity represents the foundations of what Infrastructure stands for - a manifesto for 2016 and beyond.

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Reissue of classic 'Trackman' EP buy Mark Archer of Altern 8 – remastered from the original 1995 tapes. Mark Archer is a long standing British electronic music veteran, with several heavily influential aliases and collaborations under his belt, the best known of which being the seminal UK hardcore act Altern 8 alongside Chris Peat. The pair also recorded as Nexus 21 on the classic Network records label. The subtle and unique blend of Detroit Techno, Acid House and UK Hardcore that Nexus 21 became known for, can also be heard in Archer's solo outings as Trackman

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Infrastructure introduce a new artist to the roster, with a brand new talent known only as Post Scriptum. Post Scriptum delivers detailed and very well produced Sci-Fi Techno tracks.

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