Crave Tapes x LMNTL x Distant Gaze Records

Who they are

• Karassimeon

  Paris, France · 2 bookings since Oct 2025

  “Hailing from Paris with Bulgarian roots, Karassimeon has dedicated his artistic journey to the electronic sound of past decades, mainly the 70s, 80s and early 90s.”

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  Hailing from Paris with Bulgarian roots, Karassimeon has dedicated his artistic journey to the electronic sound of past decades, mainly the 70s, 80s and early 90s. Disco and EBM are his conflicting obsessions: his motto is “Glitter & Leather”. Above all, his main inspirations are cinematographic and dystopian, embodied by artists such as Goblin, John Carpenter and Giorgi Moroder. The encounter with Toulouse based Ritmo Fatale was inevitable, resulting in the release of “Nightmare Disco”: a track blending French touch and bleeding dark disco beats. Their shared passion for both the italo-disco legacy and the French sound embodied by Zone, Ed Banger or Institube records will soon see them release a full-fledged EP - expect some blood on the dancefloor! Besides this, his love for the gems produced in the 80s results in an ever-growing collection of edits, which he shares with his community, spreading the love for classics such as Blue Monday by New Order, It's A Sin by the Pet Shop Boys...among many to come. Stay tuned!
  SoundCloud ↗Bandcamp ↗
  Their RA profile lists Murder Records and Ritmo Fatale.

  Recently at Laflor · often with Andi, No Wave Acid Funk, Neu-Romancer, none of them here that night

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  Electrosexual

  Toulouse, France · 11 bookings since Oct 2025

  “Activism, feminism, queerness and electronic music!”

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  Activism, feminism, queerness and electronic music! This is the combination of ELECTROSEXUAL, brainchild of Romain Frequency, the Berlin-based music producer and DJ — as well as a vehicle for them to explore gender, art, technology, and alternative sexualities through auditory signals. With past collaborations alongside Peaches, David Carretta, Hard Ton, Hanin Elias (of Atari Teenage Riot) & Kiko, ELECTROSEXUAL stands as one of the key figures of the French Electroclash sound, alongside Miss Kittin & The Hacker and Vitalic as recently highlighted by The Guardian ELECTROSEXUAL’s sonic universe boldly explores themes of gender identity, art, alternative sexualities, and our intimate relationships with technology. These themes pulse through standout tracks like "Automatic People feat. Hanin Elias", "I’m your Machine feat. Hard Ton" and "Fetish [ASFR]" a deep dive into the world of Alternative Sex-Fetish Robots. Their latest release, “We Dance Together, We Fight Together”, is both a dancefloor anthem and a rallying cry celebrating unity, resilience, and the ongoing fight against all forms of discrimination. In his Berlin-based bunker, armed with his analogue synth's - "sometimes reaching fetishism", says Ann Shenton of Large Number and Add N to (X) and with a DIY approach, Electrosexual creates the sound of the astonishing meeting between Joy Division and Giorgio Moroder. ELECTROSEXUAL CHEMISTRY : The method and the formula behind the sonic experiments of Romain Frequency, ******** interview by Paul Davies for Four Culture Music Mag. Art Support Machine, an album which bubbles over with a mechanical yet unorthodox froth of forgotten sounds. More Global Hypercolour than High Definition, the thirteen songs recall a time when there was still much to discover within electronic music with now-established genres still in their infancy. With refreshingly imperfect rhythms and arpeggios Art Support Machine successfully challenges the over-produced sonic landscape our ears are accustomed to yet still retains a familiarity. With such an emphasis on nostalgia, it seems natural that the album should have been recorded in a bunker in Berlin, a city rich in musical and cultural history, and a key influence on a lot of the important electronic albums of the 70s and 80s. The topic of the studio is where we begin to get more of an insight into the world of Romain Frequency, the man behind Electrosexual... First of all, thank you for spending the time to talk to us in what has already been a busy year. Please talk us through your studio set up. My studio is focusing on the connection between the synthesizers, effects units and the final recorder. I mainly use audio as opposed to midi. When I produce music I need every machine to be plugged in ready to be used. Even though I always have a sound idea in mind, I never know what I’ll start with and I let the instrument dictate the direction. Then starts the cooking! The studio is a wonderful place. It is a blank canvas and I am always excited translating emotions into music. I have been moving a lot over the past months, and my studio is following me. It is a mobile studio. The album Art Support Machine lists a large and enviable number of synths and hardware. Have they travelled with you? Do you own them all? Yes I own most of the equipment used on the album, although a couple of synths, like the Oberheim Matrix 6 and Elka Rhapsody belong to my friend and label partner François Abberline who co-produced the song “Out of Place”. I could not live without my synths, so they travel with me. This requires a lot of discipline and organisation. I am not mentioning that the family is growing all the time! It is funny that you mention family. Like a parent with several children you probably cannot pick a favourite, but you must have a favourite synth surely? My favourite synth is the Korg MS20 mainly because it is a sound factory that has a lot of energy and can be very experimental. For me, it is not a synthesizer, more like a magic box for emotion. Many of its sounds are really evocative and inspiring. It is very organic. The variety of sounds seems infinite. You can create drum sounds, soundscapes, noises, pads, or simply try to imitate sounds of traditional instruments like flute, oboe or guitar. Like Roland’s TB303 was supposed to replace a bass, the MS20 was supposed to recreate any existing instrument sounds! And is there a particular synth, past or present, you wish you owned? For a long time I wanted to own a MOOG Liberation especially for my gigs. It is a wonderful and powerful Keytar synthesizer (made famous by Herbie Hancock) but when I got the chance to try one, I actually realized it was far too heavy for stage use, despite the fantastic sound quality. You have released several songs and remixes before this year. Why did you wait before focusing on an album? What is a typical process when you are creating songs? New music always sets the tone of where my head is at. With a single song, the time between the creation and the release is usually quite fast which means it can easily follow the stream of my mood, feeding the track with a specific idea close to what I am experiencing at the present moment in my life. Working on a full length album is a different process. It is longer and more organised in the sense of a complete concept. You have to visualise the whole concept at once. A lot of the creative part and spontaneous work is being done beforehand, and then when the main demos are crafted it’s more a question of production, arrangement and then mixing and so on. You have guest vocalists on several songs on the album. How much do they contribute to the songs? I like the idea of collaboration on a song, because of its dynamic. Generally, I start with the idea of the song, providing the music, title and theme direction, then the collaboration starts, turning the original project into a far more developed one or turning into a totally new idea. Everyone will interpret the themes of your album in their own way but what were you trying to achieve? I am fascinated about the mythology surrounding music and machines. I needed to explore this theme to be able to go further in the future. It was important for me to consider the machine as a persona independently from the human, with its own fear, emotion and sensitivity. Did anything in particular inspire you to be fascinated by the theme of machines? A novel, film or other music perhaps? There is a lot to mention: from the robots of Kraftwerk; the replicants of the movie Blade Runner; the synthetic artificial music performers from Norman Spinrad’s 1987 novel Rock Machine (aka Little Heroes) which I named my Record Label after. Do you think you will continue to explore this theme of music and machines....like a follow-up or sequel? Or have you already got other plans for your next releases? I still have a lot of ideas around Machines that I want to express in the next single releases out of Art Support Machine. The concept will develop on future videos from the album. The new single “Automatic People” featuring vocals from Hanin Elias deals with the automatic life of the everyday routine and how and why you should get over it. Future projects will focus on different themes obviously. While the music is very important, tell us how important visuals are for Electrosexual either as promotional video or in a live setting. Ever since the beginning, visuals have been part of the project: I developed a specific visual for each song or release. For the live show, the visuals are used of course for their aestheticism and complement the music, but also to deepen the meaning of instrumental tracks (for example some visuals show definitions of specific terms as A.S.F.R. (alternative sex robot fetishes) on the song Fetish, or even political statements.) With Art Support Machine, the concept is different - I teamed with two visual artists living in Berlin that inspire me a lot. They are Lukas Julius Keijser, who is working on this project exclusively with the silk-screening process and Philip Marshall who is the resident designer of the ZTT re-editions. I use the different formats of the release as a canvas. Every format for the album (Vinyl Picture Disc, Digital and CD) shows a variation of the main visual. Every single from the album will also have a dedicated artwork as they are a part of this concept. At the end of the project, the ensemble will show all the prints created. Like in an art gallery. What else can the audience expect at one of your live shows? Each show is a performance. I use screens to project videos. As I am alone on stage, most of the tracks are adapted and remixed for the show so that I can perform live as much music and vocals as possible. Depending on where I am playing, I have a couple of synths or more on stage, as well as a drum/sample pad and effect controller and of course a microphone. In the end I want the audience to experience the performance as if there was a full band playing in front of them. Who are your main influences? Who inspired you to try electronic music? I always have been inspired by electronic musicians. As far as I can remember, Jean Michel Jarre was my first introduction to the genre. As a kid, I really got into synth pop and New Wave with bands like Depeche Mode, Soft Cell or Talk Talk as well as early 80‘s electronic funk, the exciting pop of Trevor Horn & ZTT and the production of William Orbit. When Techno and Acid house came to my ears I started to imagine creating music myself, but it wasn’t until I moved to Montreal in 2002 that I actually did! I bought my first synth from Xavier Paradis of the band Automelodi (Echo Kitty at the time) and used my exile as stimulation. I realised I could do anything with the sound and it became an exciting story. I could describe your music as techno or disco. You have just mentioned acid house and synth pop influences. Do genres mean anything in electronic music anymore? Are they important? Would you say that 'electrosexual' itself is a movement that you have created? I like blending genres together and I couldn’t stick to one single direction. It is again about the emotion diktat, not about the style. Unfortunately, you have to put a name on your music. That’s why I like sometimes to invent new terms. I created Electrosexual in reference to surrealistic non "(human) sexuality". It started as a statement, considering machines and synthesizers as genitors, having their own kind of sexuality. This concept follows a movement inspired by artists including David Cronenberg, H.R. Giger, Psychic TV, Add N to (X) and Chris&Cosey/Throbbing Gristle. In the world of electronic music, the pioneers often end up falling behind. Do you hope to keep your music sounding fresh and if so how? A song, when finished, is like a tattoo...it stays forever. My music is always very personal and singular, so in this way will always remain unique. I like to play with references and be inspired by my music background. I don’t use any up to date piece of equipment so I don’t have the feeling to write fresh music. I always try to keep the creative process as exciting as possible. I am not worried about the freshness of my sound, I am more worried of not having enough time to release all the music I have in my mind for the world to hear...and this is a wonderful motivation!
  SoundCloud ↗Bandcamp ↗Discography ↗
  Their RA profile lists Eskimo Recordings, Mobilee, Space Factory, Black Montanas and 6 more.

  Recently at Renate, Kater, Paloma · often with Mashyno, Dj handbag, Posture, none of them here that night

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  Alienata

  Berlin · 14 bookings since Aug 2025

  “Based in Berlin since 2012, her approach draws from Detroit’s depth, Chicago’s rhythmic energy and the edge of UK techno, weaving together raw electro, acid and industrial textures into dynamic, tension-driven sets.”

  their own biography

  the whole biography

  Based in Berlin since 2012, her approach draws from Detroit’s depth, Chicago’s rhythmic energy and the edge of UK techno, weaving together raw electro, acid and industrial textures into dynamic, tension-driven sets. A regular at Berghain and Tresor, as well as across international clubs and festivals, she has built a distinctive presence that bridges scenes and sensibilities. With releases on Killekill, Cultivated Electronics and Machine, alongside Discos Atónicos — the label she founded in 2017 — this trajectory continues to evolve. Her debut solo EP, set for release in 2026, marks a new chapter in an already deeply rooted trajectory.
  SoundCloud ↗Bandcamp ↗
  Their RA profile lists aDepth audio, Cultivated Electronics, dame-music, Snuff Trax and 4 more.

  Recently at Skatehalle Berlin, OHM, Kater · often with Bloody Mary, GLOBUS, TRESOR, none of them here that night

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  Desolate Discotheque

  Stuttgart · 18 bookings since Aug 2025

  “With over 15 years of experience as an event host, vocalist, and DJ, Berlin-based Desolate Discotheque has steadily built a reputation in the European underground EBM-Wave scene.”

  their own biography

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  With over 15 years of experience as an event host, vocalist, and DJ, Berlin-based Desolate Discotheque has steadily built a reputation in the European underground EBM-Wave scene. Following breakthrough performances in Warsaw and Athens, he has since ignited dance floors in Tbilisi, Tunis, Ukraine, and beyond. In 2019, he realized a personal dream by launching Crave Tapes, an independent record label dedicated to both emerging and established artists from around the globe. The inspiration he draws from 80's underground electronic music and the goth culture, is manifested in his exorbitant, authentic and excessive style - a wild mixture between EBM, New Beat, Dark Disco, Post-Punk and some Techno.
  SoundCloud ↗Bandcamp ↗
  Their RA profile lists CraveTapes and RITMO3000.

  Recently at 8MM, ://about blank, arkaoda Berlin · often with Electric Visionary, Third Purser, Charlie Vaux, none of them here that night

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  Clouzer

  Berlin · 2 bookings since May 2026

  “LMNTL Berlin.”

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  LMNTL Berlin. Distant Gaze Berlin. FLEISCH Berlin Nein London SAMO New York Inner Shah Berlin
  SoundCloud ↗Bandcamp ↗Discography ↗
  Their RA profile lists NEIN Records, Samo Records, Inner Shah Recordings, Distant Gaze and 1 more.

  Last at M01 in May · often with Lokidi, Tempestfeather, Mike Sacchetti, none of them here that night

• Dela Nesto

  Berlin · 21 bookings since Aug 2025

  “Dela Nesto is an emerging artist based in Berlin.”

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  Dela Nesto is an emerging artist based in Berlin. Recently making a splash in the Berlin nightlife with appearances at famous venues or parties as Gegen at Kitkat, Whole Festival, Katerblau or About Blank. They are mother, daddy and your favourite auntie auntie of Velvet Kitchen, Aunties go wild and Glazed Festival. Their sets are genrefluid with focus on bouncy beats varying between different genres as HI-NRG House, Queer House, Italotrance or Acid Disco. The feel good mixes with a touch a queer anthems and nostalgia will put you on an unique journey that captures the essence of their music. Dela Nesto is adding the power in the genre powerhouse. The driving and emotionalizing sets are genrefluid creating an atmosphere of belonging and loving. Dela Nesto is writting their love story on the dance floor. Booking: delanesto.music@gmail.com
  SoundCloud ↗

  Recently at Crack Bellmer, Ritter Butzke, OXI · often with Pilar Jordan, Lisatrix, MELLA MARA, none of them here that night

• Lush Lab

  Brazil · 12 bookings since Aug 2025

  “Lush Lab is the moniker of the Berlin based artist Igor Girio.”

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  Lush Lab is the moniker of the Berlin based artist Igor Girio. Active in the Sao Paulo scene since the early 2000's, he gathers experience as DJ, promoter and sound engineer in some of the most exciting spotlights of South America and Europe. Drawing inspiration from the 90’s ballroom underground, he delivers powerful doses of house, italo and uplifting grooves, being flexible enough to fit different rooms and crowds, always keeping a high and evolving energy. With a modern approach to mixing and more than 15 years of club experience, he is becoming a regular throughout Berlin and Sao Paulo’s circuits, with recent presentations at Sisyphos, Else, Renate, Ohm, Khidi, and Blum.
  SoundCloud ↗
  Their RA profile lists CraveTapes.

  Recently at Urban Spree, Renate, arkaoda Berlin · often with Electric Visionary, Charlie Vaux, NiKi K, none of them here that night

• Miss Addams

  Helsinki, Finland · 5 bookings since Oct 2025

  SoundCloud ↗

  Recently at 8MM, Sensorium, Bi Nuu · often with XTR HUMAN, Cyene, Helen Schwarzweiß, none of them here that night

• LOKIDÍ

  Berlin

  “Evolving through constantly changing phases of the underground culture across Europe and Canada, his constant search for new sounds and rave experiences has always been a driving force behind his passion for the music scene.”

  their own biography

  the whole biography

  Evolving through constantly changing phases of the underground culture across Europe and Canada, his constant search for new sounds and rave experiences has always been a driving force behind his passion for the music scene. In his DJ sets, expect hypnotic journeys blended with deep, nocturnal, archaic elements, driven by groovy tribal energy and infused with subtle atmospheric landings. Always sensing the crowd through instinct and rhythm, LOKIDÍ creates raw, magnetic techno landscapes that feel immersive and physically charged.
  SoundCloud ↗