Get all four of LABEL’s compilations for whatever price you feel like paying, even free! Only on Bandcamp.

Purchase Schedule IV’s “In Treatment” in our store or wherever music is sold.

The official music video for Schedule IV’s “Stray”. Available on Schedule IV’s first EP, “In Treatment” and the Cleopatra Records compilation, “The Unquiet Grave 2019”.

Cleopatra Records The Unquiet Grave 2019: https://theunquietgrave2019.bandcamp.com/

Shot by Peter Poulos and Brandon Brefka. “In Treatment” produced by Ryan Arini.

Now available on LABEL, Turing’s latest full-length is a journey down dark forest pathways and urban alleys. Get your copy today anywhere music is sold.

With the upcoming release by the Greek-born come UK resident, minimalerror, LABEL sat down with Kostas Apostologlou, the man behind the sound.

LABEL: I understand you moved from Greece to Bristol, UK to study. What are you studying?

Kostas: I have moved from Athens to Bristol to study Psychology. I had to put my studies on hold due to some personal matters (but I’m resuming in October) and I have been working as a community outreach support worker. I support people with autism and challenging behaviours.

L: Your musical focus is minimal techno, with maybe a bit of minimal house in there. Minimal techno is generally composed in two ways (and I’m generalizing here), either: a) loops remain constant with flourishes, or b) things are layered over time. Do you have a specific approach?

K: When I produce, I like to build something and have it transformed over a prolonged period of time. Getting a bit dizzy in the continuous loop, you can then pay attention to details and every element, introducing or removing itself from the whole. It gives me a sense of unity.

I sometimes imagine myself playing a record at home, or spinning it at a mate’s house party, or even being in the front left speaker in a massive club and depending on that, I somehow create a mood. I’ve been thinking about the beach a lot lately.

I mess around with my tempos throughout my production and I run it over and over until I figure out how I like it best. Sometimes just 1 bpm could present sounds in a very different way!

When it comes to record sampling, I just go for what I normally never would! You never know what you can find and you can always have a listen again. I have on occasion found myself complete denying some sounds or samples and then return back to them when I was going through a different musical phase in regards to my production.

L: Does the differences between the Bristol and Athens nightlife have an impact on your sound or approach?

K: Parties in Athens were always great but very “genre specified/predictable”. Parties in Bristol are nearly every time a mystery and a surprise to me as the “techno soundscape” is way wider than back home. I see a techno night for example and sometimes the last thing I’d hear is a 4 to the floor beat, in contradiction to what “techno” was in Athens. I’ve heard lots of live acts and experimental genres all under the “techno umbrella”.

My musical background has shifted a lot throughout my upbringing. I was exposed to electronic / dance music at a very early stage but didn’t quite stick with it (consciously) but it has always been a thing within me. I was always attracted to the repetition, beat, and grooves and house music would always make me smile. I have gone from hip-hop to metal to jungle into psytrance to eventually settle down in techno. Artists I really admire would include DVS1, Delano Smith and DJ Sprinkles.

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minimalerror’s 1580 is available now at Beatport, and everywhere else on May 11th.