The Acid Series celebrates over 10 years of No Way Back, with music that directly references that experience. This is the fourth volume in the series, to be paired withVol 3 by Jordan Zawideh. There will be four more after this pair, with records by Tin Man & Ectomorph, Dona, Romans, and Pervocet (Patrick Russell & Jasen Loveland) yet to come. They all arrive in a unique sleeve especially created for this series, inspired by the decorations of NWB. This is the 3rd collaboration between BMG & Derek Plaslaiko, each collaboration has been inspired by No Way Back. For this one, BMG was working on a modular based acid live show for the No Way Back 10th Anniversary, and from that vibe we created these songs. The A side references Sonic's Rendezvous Band's best lost single, they were a legendary Detroit Rock band from the mid 70s featuring founding members of the MC5 and The Stooges. The B Side was the opening salvo of this 3rd collaboration, a day after a Detroit party we had played together. We had just received the terrible news about so many of our friends in Oakland, we could think of nothing else. This is our sonic reaction. The B Side concludes with an open jam presented as a bonus beat, the perfect conclusion to these feelings.

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This record tells the story of a Detroit Groove from the perspective of the speaker, taking you through time from Luomo's to the Hardware Syst3m parties, and the first leaky warehouse roof No Way Back where Dean Syst3m worked the door, with all the disrespectful nature one would naturally expect from a true Detroit Groove. Created by two veterans of Detroit Grooves, BMG & Derek Plaslaiko, who now calls Berlin home, in BMG's studio in the center of Detroit. This song celebrates some of the out there characters and crazy cowboy outlaws that made this Detroit scene happen on the underground level, that made such an impact that is still felt around the world today.

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Swirling acid madness from the ever brilliant mind of Brooklyn's Maxime Robillard, Love Letters' "Falling Star EP" -- the latest record on Interdimensional Transmissions -- crawls inside your brain and takes many shapes as it brings you to ecstatic experiences on the dance floor. The vinyl is presented with 4 new songs, the A side containing the brain melter "Falling Star" that just builds and builds and then releases all the tension, and the frenetic "Tore". The B side contains remixes of 2 originals -- the first by No Way Back resident Mike Servito exploring his Detroit electro bass roots (and the first record in the IT catalog) for "Let the Bass Go", and the second remix is of the jam "Morse" by IT founder BMG in his new studio, the first creation in the new room, moving towards a more holographic sound.

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Neel is about as much of an Interdimensional Transmissions person as you can get. Co-founder of Voices From The Lake, a powerful and sensitive DJ from an early age, mastering engineer at Enisslab in Rome, he even is a partner in a record pressing plant. He does everything yet still finds the space to get specific in his internal investigations for the Disco Quarantine EP. Exploring the boundaries between genres, simultaneously pure deep techno and disco, he continues to explore the edges with the ever propulsive title cut, and further connections with each song. Psychedelic, propulsive, subtle, perfectly produced gems ranging from hedonistic underground moments where time ceases to exist to moments of exploration throughout the cosmos. It feels like the B side opener Deep Quarantine was composed for the environment at No Way Back, though it is equally eternal and available to any floor anywhere in the world.

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Remixes from Erika's second album "Anevite Void". "Anevite Void Remixed" showcases some of the many diverse influences on Erika's critically acclaimed second solo album "Anevite Void". Here her ambient album closer "Wandering Mountain" transforms into two faces of techno, first the monolithic hypnotic slab of sound from Mike Parker then to a powerful peak time melodic banger from Wata Igarashi. The other side features a totally different take on her influences, with Eris Drew delivering her "Body Rock Remix" fusing a number of styles to push the highlight of Erika's album to new heights, and Whodat discovering a deeper side to "Tomorrow's Fires". The digital version includes a slamming techno and electro fusion mix from Noncompliant of "Anion". Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the "Anevite Void Remixed" in fall 2023. Pressed at Archer Records, Detroit.

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This is the final dose of Pervocet. Pervocet is the brand name of the psychedelic music project from Patrick Russell and Jasen Loveland and is used to induce moderate to severe psychosis. The short-term effects of Pervocet last approximately 5-7 minutes and include Neighbor, Rawlo, L0V3 S1R3N, Phazy Susan and -- in some people -- a pleasant euphoria. This is one of many projects featuring Jasen Loveland aka Andrew Smith aka ? that IT will continue to release in honor and memory of him and his incredible and prophetic musical vision, showcasing his many Infinite Refractions. This project had begun years ago, and was finished with such care and precision by Patrick Russell that we are proud to release Pervocet 2 in sync with our annual No Way Back gathering in Detroit on May 29, 2023. Pressed at Archer Records, Detroit.

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For Erika's second album "Anevite Void", she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. "Anevite Void", Erika's new album, finds her organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process for her. Conceptually, this album was inspired by "the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in." From this realm the album took shape. She also chronicled this concept in drawings but found this painting by Detroit puckish punk legend Nai Sammon perfectly visually explained the concept, and chose it for the cover. She describes "each track is about an organic process that occurs: acts of survival of the biomes, or what happens between them and the multitude of other beings that they host." Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the "Anevite Void" in early 2023.

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Fierce interdimensional acid tracks on the latest outing from the I.T. HQ in Detroit!! Andy Toth casts a long shadow in the Detroit scene, from being co-founder of the Detroit Grand Pubahs to working as an engineer and mixer, he's worked on so many records that you know but in his egoless way, didn't know he was part of. Being the co-author of "Sandwiches" took him around the world, but more importantly, it was the hold music for Mudgie's, a legendary Detroit Deli run by another long-standing denizen of the Detroit underground, Greg Mudge. Greg Mudge was a true pillar of our techno community in Detroit, from showing us the venue for the first leaky roof No Way Back, to throwing his own events and supporting great people. One of those people was Andy Toth, who he was constantly pressuring to release his music, and this became a major theme of Greg Mudge's memorial. When Greg suddenly passed last September, some friends came in to DJ his memorial like Derek Plaslaiko. When it was Andy Toth's turn he played only his own productions and we were all just so blown away. Mudgie was always asking Andy "what's up with those tracks?" And this record is the answer, a testament to that thought, and to the deeply layered and detailed work of Andy Toth. Andy has created a uniquely dense Detroit Sci-Fi trip through sound, with elements of acid, electro, techno that result in an advanced and mature adventure in sound, reflecting his roots in the Detroit scene, but pushing it into new hypnotic futures, to boldly go where no one has gone before. Recommended!!

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Adam Arthur is the kind of character you just couldn't make up. I first met him while he was dancing in front of me while I played at No Way Back, back when it was at 1515 Broadway. He later asked me to come play his living room in Memphis, "I have a Funktion One sound system" he said. His friends were pretty cool so I said why not? During my set on the dance floor in this small room I saw Larry Heard and Chad White dancing. The next time I played his living room, Larry Heard came over to Adam's the day before the party with a USB stick around his neck featuring some of his 10,000 unreleased songs, I had specially requested to hear some of his 303 songs, since he had a 303 for a few years but never released anything with it. He also played me a NYE party ad with Robert Owens improvising vocals that was so amazing I had to hear it like 10 times. Adam eventually released on Alleviated and later invited me to play a private pool party once he moved out of the city, but I couldn't make it. He lives in rural Arkansas where he records music with his massive Buchla system, as he did for this year's Outer Space Room part of the No Way Back stream, doing a stunning ambient performance directly after Suzanne Ciani's set. Like I said, he's someone you just couldn't make up. His day job is putting people to sleep before life saving surgeries, which is perfect because his music lives somewhere in the states between sleeping and waking, a perfect psychedelic dream logic. His tunes like "Down Down Falling Down" are pure somnambulist groove, a uniquely bizarre form of hypnosis that drifts through the dream state into our realm and back, deeply interdimensional. The loose and dirty power of "When I Touch You" still surprises me every time I hear it, the most gentle yet powerful and compelling sleazy house song I can imagine. Many of his sides are represented here, including his experimental formless ambient side in the shape of "Tearing the Television Sky" and the digital bonus track "The Forbidden Creature". "The Bard's Tale" closes the EP and balances his hypnotic dream state logic with Azerbaijani Mugham music in something that feels like it would be equally at home on Livity Sound. Live the dream with his debut release on Interdimensional Transmissions.

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Repress!
Earlier this year this realm lost a great visionary in the form of Jasen Loveland aka Andrew Smith aka infinity. He was the embodiment of the spirit of No Way Back, a true cosmic being. Via his almost endless flow of tunes through his Infinite Refractions, he released music under countless names and collaborations, far too many to name here, and left us with many terabytes of unreleased music that we are still processing and compiling. Interdimensional Transmissions? Acid Series began as a vehicle to release his music, with the first volume being released at No Way Back at the Tangent in Detroit in 2017, was available in the merch booth during all the 313: Return to the Source events, which is fitting, because this is the context he made the music for. He is also half of Pervocet, along with Patrick Russell, who did the 5th volume of the Acid Series, released for 2019?s Samhain event. The forthcoming final record of the planned series is his. This record was recorded in LA, and mixed with BMG at the Interdimensional Laboratories, Detroit. We mixed a total of 8 songs in 2 days and chose 4 for the EP in a fascinating session where we learned so much from each other. The demos for the follow up EP kept adding up and mutating so fast that we had enough for another 4 EPs a year, and that is how the concept of Infinite Refractions was born. His passing has reminded us of what a record label is, a place for releases and events, sure, but really an interconnected web of people, a form of family and a platform of ideas that endure beyond us all. Andrew was on that plane. So please enjoy this communication from another dimension in the form of the record that launched the mind melding psychedelic hysteria of Jasen Loveland to the universe.

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Repress!
Justin Cudmore is the latest in the line of midwesterners to emerge from the Brooklyn music scene, hailing originally from Illinois. And you can hear it in his music, that mesmerizing midwestern groove and deep heady thoughtfulness.

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The Acid Series celebrates over 10 years of No Way Back, with music that directly references that experience. This is the fourth volume in the series, to be paired withVol 3 by Jordan Zawideh. There will be four more after this pair, with records by Tin Man & Ectomorph, Dona, Romans, and Pervocet (Patrick Russell & Jasen Loveland) yet to come. They all arrive in a unique sleeve especially created for this series, inspired by the decorations of NWB. This is the 3rd collaboration between BMG & Derek Plaslaiko, each collaboration has been inspired by No Way Back. For this one, BMG was working on a modular based acid live show for the No Way Back 10th Anniversary, and from that vibe we created these songs. The A side references Sonic's Rendezvous Band's best lost single, they were a legendary Detroit Rock band from the mid 70s featuring founding members of the MC5 and The Stooges. The B Side was the opening salvo of this 3rd collaboration, a day after a Detroit party we had played together. We had just received the terrible news about so many of our friends in Oakland, we could think of nothing else. This is our sonic reaction. The B Side concludes with an open jam presented as a bonus beat, the perfect conclusion to these feelings.

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Repress!

The Acid Series celebrates over 10 years of No Way Back, with music that directly references that experience. This is the third volume in the series, to be followed by BMG & Derek Plaslaiko, and there will be four more after this pair, with records by Tin Man & Ectomorph, Dona, Romans, and Pervocet (Patrick Russell & Jasen Loveland) yet to come. They all arrive in a unique sleeve especially created for this series, inspired by the decorations of NWB. Jordan Zawideh's music perfectly reflects his personal migration from Detroit to Chicago. It somehow combines the raw elegance of a Larry Heard demo (listen to the demos of ''A Path'' or ''Acid Dreams'' and cry) with Detroit Techno and an unconscious take on the sonic exploration of Drexciya, showcased in songs like ''Magellanic Cloud'' and ''Trails of Sophia''. In Jordan's sound, the raw power of the cassette era of Chicago House combines with a Detroit Acid Dream. His debut record was on K Starke Records in 2014, and while he was working at the store, the concept for ''No One (Jacks The Box)'' came together. Kevin Starke proposed a concept for a collaboration, using an old Chicago radio ad, so Jordan borrowed a 303 & 707 from Kevin and some gear from Beau Wanzer, but Kevin never made the session. Ultimately we had master editor Gay Marvine edit this instant lost classic. Jordan has also released on the Nation box set, and is part of the No Way Back family. Jordan lives like a monk, in total dedication to learning his machines and advancing his craft. He is also an accomplished DJ. BMG on his edit of ''Magellanic Cloud'' - this is my fantasy version of this jam, its so lost in it, like a cool mature Chicago take on Gerald's jam for the Silicon Ghetto series on Accelerate, or Mika Vainio's ''Spirality''.

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Repress!
This is the debut solo release from Eris Drew, featuring 3 new songs meticulously mixed for the maximum impact of the Motherbeat. From the very beginning of the emergence of Eris Drew, we at IT have been blown away by the power of her DJ sets, where she channels the psychedelic energies of rave and love -- the music reflects the power of transition and of fully becoming who you are. Part of what was so exciting to us is that her sets find a new path through the sounds and ideas that inspired No Way Back and so many other wonderful things. So we asked her to create an EP for IT that would reflect these ideas, and our favorite ecstatic healer delivered! Here we find her carefully exploring the intersections of House and Breakbeat culture, a proto rave ecstasy music that exudes the Fluids of Emotion, higher consciousness and the conceptual art of the KLF. Eris has previously released on a compilation on Needs Not For Profit, and a split EP with her equally inspiring partner Octo Octa, but this is her first full solo EP. This EP was recorded at Eris Drew's parents' home in Chicago and mixed in the Interdimensional Laboratories in Detroit with BMG. Comes with full color picture sleeve

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The remix record for Israel Vines' "And Now We Know Nothing" debut album, featuring Regis & Simon Shreeve doing a burning hot take as CUB, BMG & Erika delivering an outer space hypno drum groove as ECTOMORPH, Sean & Katie Rose O'Sullivan doing a deep techno take with wave influences and vocals as FURTHER REDUCTIONS, and a futuristic take from Standards & Practices and Common Name cofounder KEN MEIER, who also designed the whole triptych, including the iconic album cover. Thus we bring LA, Birmingham, Detroit, New York and Seoul together for the final chapter of Eye Teeth and the final piece of this triptych by Israel Vines on Interdimensional Transmissions. This ends Eye Teeth, it has been a wonderful run. Long live the new flesh!

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Debut album from Israel Vines on Interdimensional Transmissions, a futuristic fusion of UK bass, post-jungle breakbeats and techno with the rhythmic flex of Detroit Electro. LA-based artist and DJ Israel Vines debut album, "And Now We Know Nothing," on IT, his first long player after a series of stellar 12"s on Eye Teeth. Across its nine tracks, Vines channels the spirit of undulating UK techno and bass -- think Bristol and London -- into a form and shape all his own, indebted to his American Midwestern roots. Rolling beats, uncommon rhythms, and club-floor sensibility paired with a polyrhythmic touch. 2xLP, in a unique picture sleeve, made in Detroit.

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The debut record from Ectomorph that launched it all, the project, and the label Interdimensional Transmissions in 1995. This is the first time it has been repressed in over a decade, and we’re using the original masters complete with 3 lock grooves cut by Ron Murphy. For the digital version we have remastered the songs with Neel from Enisslab.

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Ectomorph occupy a unique and strange place within Detroit Techno history. Founded in 1994 as an inspired reaction to DBX, Basic Channel, Rob Hood, Sähkö, and Drexciya, they released their first 12" singles in 1995 as an attempt to make Detroit music for Detroit itself, rather than exclusively for export. The mystique of their early singles led to mythic status and a strong underground cult following, which they have continued to develop through releases on their own Interdimensional Transmissions label. Their live shows are legendary for their ability to fluidly incorporate improvisational techniques into synthesized music (and for the sheer amount of hardware that they bring to the stage). The Ectomorph show is all analog, no computers or samplers or even drum machines: all sounds come from the modulars and the mountains of Moogs. Ectomorph (now officially comprised of BMG & Erika) reconvened in 2016 to write new music, which led to a series of live shows where the new material was tested via performance and allowed to evolve in form. To capture the energy of these performances, the new material was recorded in the studio totally live, multitracked for further engineering, but with no editing whatsoever. This music, to borrow a phrase from Derrick May, is what it is. The entire album was recorded live in one or two takes in the Interdimensional Laboratories in Detroit. This is the sound of the idea that is Ectomorph, presented in its natural and organic format, live and improvisational

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*due to major shipping damage, there is a delay on shipping this product* Detroit's I.T. dust off a whole ton of unreleased I.B.M. (recorded 1995 - 2005) .. essential. TIP! Jamal Moss (aka I.B.M. (Insane Black Man)) is a lost warrior of sonic truth. We first uncovered his music through his own Mathematics Records, where we were shocked to find a unique permutation of the Chicago Jack gene. We came to find out that Jamal was educated in the biz by Adonis and Steve Poindexter, and the last of the line of producers directly inspired by two pillars of influence: Ron Hardy at the Muzic Box and the club Medusa's. This makes him uniquely qualified to write a new chapter of Chicago's history. Digging through shoe boxes of cassettes, video tapes, and mini discs, we have collected the secret tapes of one Insane Black Man. This is an archive of the impetus of his genius, containing perhaps the holy grail of all Jamal Moss tunes "The Land of Rape and Honey" and "Tribal Retribution". Artists on labels like LIES are still searching for these originals. We have taken them from their dusty and damaged condition and painfully & meticulously restored them, using the mastering labs of Neel's Enisslab Studio in Rome, and for the few that even he couldn't do, we had Carl at TruTone finish the restoration. Now we can present these fragile raw and pure visions with the greatest level of quality. Finally the full impact of these ideas can be felt. Jamal describes his music as "post industrial angst in an urban environment." His first experience at the Muzic Box was standing outside the warehouse space on 326 Lower Michigan Ave just watching people come outside to catch air, fascinated by the energy he was experiencing. At a later location he was finally able to get in and describes the experience as "overstimulating, I never saw anything like that, you could see the heat, it was like a sauna of raw sweat." Later, he would spend much of his formative years at Medusa's experiencing the city's more alternative culture. Many people may find this surprising, going from the Muzic Box to Medusa's, from the roots of House Music (and Techno) to the home of the Industrial sound that perhaps Wax Trax best represents. But that kind of stereotypical thinking doesn't allow for the truth of what actually happens, people cross boundaries, experience other scenes and cultures, absorb them and add to them. No one should be prescribed a set of interests because of where they are from or what race they are born. Jamal reminds me that Duane Buford, creator of the first record on Dance Mania and co-writer with Jesse Saunders and sometimes Vince Lawrence of such early house songs as "Funk-U-Up" (Jes'say 1984) and Le' Noiz's horror house bad trip jam "I'm Scared" (Trax 1985), was also a member of the Revolting Cocks and Ministry. Before Mathematics took off, Jamal was in talks with 4AD to make an industrial record for the label. These towers of influence collide easily in the mind of the Insane Black Man. Why must we call him insane? That may be society's futile view, which would prefer to put everyone in easy boxes, whereas we would be more likely to call him a visionary.

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*due to major shipping damage, there is a delay on shipping this product* Detroit's I.T. dust off a whole ton of unreleased I.B.M. (recorded 1995 - 2005) .. essential. TIP! Jamal Moss (aka I.B.M. (Insane Black Man)) is a lost warrior of sonic truth. We first uncovered his music through his own Mathematics Records, where we were shocked to find a unique permutation of the Chicago Jack gene. We came to find out that Jamal was educated in the biz by Adonis and Steve Poindexter, and the last of the line of producers directly inspired by two pillars of influence: Ron Hardy at the Muzic Box and the club Medusa's. This makes him uniquely qualified to write a new chapter of Chicago's history. Digging through shoe boxes of cassettes, video tapes, and mini discs, we have collected the secret tapes of one Insane Black Man. This is an archive of the impetus of his genius, containing perhaps the holy grail of all Jamal Moss tunes "The Land of Rape and Honey" and "Tribal Retribution". Artists on labels like LIES are still searching for these originals. We have taken them from their dusty and damaged condition and painfully & meticulously restored them, using the mastering labs of Neel's Enisslab Studio in Rome, and for the few that even he couldn't do, we had Carl at TruTone finish the restoration. Now we can present these fragile raw and pure visions with the greatest level of quality. Finally the full impact of these ideas can be felt. Jamal describes his music as "post industrial angst in an urban environment." His first experience at the Muzic Box was standing outside the warehouse space on 326 Lower Michigan Ave just watching people come outside to catch air, fascinated by the energy he was experiencing. At a later location he was finally able to get in and describes the experience as "overstimulating, I never saw anything like that, you could see the heat, it was like a sauna of raw sweat." Later, he would spend much of his formative years at Medusa's experiencing the city's more alternative culture. Many people may find this surprising, going from the Muzic Box to Medusa's, from the roots of House Music (and Techno) to the home of the Industrial sound that perhaps Wax Trax best represents. But that kind of stereotypical thinking doesn't allow for the truth of what actually happens, people cross boundaries, experience other scenes and cultures, absorb them and add to them. No one should be prescribed a set of interests because of where they are from or what race they are born. Jamal reminds me that Duane Buford, creator of the first record on Dance Mania and co-writer with Jesse Saunders and sometimes Vince Lawrence of such early house songs as "Funk-U-Up" (Jes'say 1984) and Le' Noiz's horror house bad trip jam "I'm Scared" (Trax 1985), was also a member of the Revolting Cocks and Ministry. Before Mathematics took off, Jamal was in talks with 4AD to make an industrial record for the label. These towers of influence collide easily in the mind of the Insane Black Man. Why must we call him insane? That may be society's futile view, which would prefer to put everyone in easy boxes, whereas we would be more likely to call him a visionary.

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