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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. 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 their agenda. Now Infrastructure introduces its next milestone, Infrastructure Facticity, a compilation featuring 15 tracks by key artists, label colleagues and new faces. Infrastructure Facticity represents the foundations of what Infrastructure stands for - a manifesto for 2016 and beyond. Function, Inland, Function/Inland, Campbell Irvine, Post Scriptum, Cassegrain & Tin Man, Rrose, Efdemin, Vatican Shadow, Silent Servant, Blue Hour, Steve Bicknell and Cleric all featured, spinning a narrative ranging from lush, ambient electronics and post-club diversions, to contemporary club techno and back again. Infrastructure regularly works with up-and-coming artists on cover artwork. Respected young Swiss artist Julian Charrière provided the iconic greyscale cover for Post Scriptum's debut album, and London based photographer Guy Archard's work featured on Campbell Irvine's Reunion of Two Bodies Maxi. Now the celebrated British fine-artist Robert NcNally has been invited to submit original artwork for Infrastructure Facticity. Selected by Jake and Dinos Chapman to show work at the prestigious Flowers Gallery in London, and commissioned by Damien Hurst to provide work for his private collection, Robert's incredibly detailed large scale pencil drawings are attracting serious interest in the modern art world. McNally's cover image was selected from a series of works based on adapted antique post cards. Its anti-establishment, censorship-related overtones are clear to see, as is the stark use of contrast - thick layers obscure the fading original, re-appropriating it.