Container (aka Ren Schofield) has shared a new track ahead of the release of his latest album, Scramblers, out March 20 on Alter Records. The eight-tracks have their origins in live performance and a more high-octane delivery is noticeable when compared with previous Container albums. ‘Mottle’ sits in a mysterious zone between the productions of EVOL and early Ruff Sqwad. Fierce electro cuts like ‘Trench’ and ‘Nozzle’ work alongside the nauseous slink of ‘Duster’, which in typical Container fashion morphs into a frenzy in no time. A frenzy which may be linked cosmically to the fact that Scramblers was recorded, mixed and mastered in one day, reinforcing further his unorthodox and fun approach to club music.

Almost a decade since his debut, Container arrives on Alter with his first non-”LP” titled album. The title is taken from both a Baltimore street drug and a Rhode Island Diner he used to eat at with his father, Schofield elaborates: “The juxtaposition between these two Scramblers is a great one. I wanted to pay homage to a nice name that lends itself to both depraved and wholesome contexts and do my part to carry on the tradition.”

Container is the continuing project of American noise veteran Ren Schofield, originally from Providence, Rhode Island, now based in London. Container has released EPs on Morphine, Liberation Technologies and Diagonal, did a variety of remixes for acts like Four Tet, The Body, Panda Bear and Fucked Up, plus maintained a healthy touring schedule that reached over every continent. His exhilarating live show has hit pretty much every major electronic music festival and club in Europe, as well as tours and gigs with a diverse range of acts such as Wolf Eyes, Zola Jesus, Daughters, Pharmakon and Ryley Walker.

Dresden born and Berlin bred Jennifer Touch is equally at home on and off the dancefloor. Her highly anticipated debut album Behind The Wall’s wave-kissed dreariness drips with cold sensuality is both vibrant and brooding. Showcasing her unique sound in the saturated world of electronica, Touch successfully draws from electropop and disco influences, combining ‘80s vintage synths with industrial soundscapes, delivered with a visceral post-punk snarl.

’Attic’ is a politically driven track about the processing of memories and observations made from Touch's upbringing in East Germany. Her music strongly relates to the social climate of that time, or at least what is left of it when filtered through a young and naïve mind.

She had this to say on it: "My parents had one or two parties together with the families in our house, up in the attic. It was a place where they had space and could sing all their favourite krautrock-songs and all the kids felt happy and free. I have dreams about it, my 6-years-old brain taking pictures of the scene, everyone dancing. My parents were GDR-Flowerpower-childs, forced to live in a very repressive society, behind this wall.  The song just came out of me and whilst writing it I realised why I make music and where it comes from. It comes from my childhood in East Germany. It comes from that attic.”