Heiki (Hey-Key) is a veteran of the Toronto electronic music scene. Since 1987, Heiki Sillaste has released an impressive catalogue of well over 45 synthesizer-based records and made over 150 compilation appearances.

Heiki began his musical career fronting the internationally acclaimed industrial-tekno group DIGITAL POODLE in the late 80’s and early 90’s while running the now famous Shadow Canada label.

In 1995, he went on to co-found nice+smooth ultramedia, an independent electronic music label that has produced great records by fellow musicians such as Roy Davis Jr., Jordan Fields, Teknostep, as well as Heiki’s own groups KINDER ATOM and LAZER CAPS.

Heiki’s collaborative and remix work has been wide reaching, including work with the likes of Snow, Leahy, Dead Voices on Air, Technostep, Visionary, seminal ambient composers Rapoon and Zoviet France as well reggae superstars Michael Rose and Musical Sniper.

The Paper+Sound label was founded by Heiki Sillaste in late 2009.




Chromosphere is the solo project of Digital Poodle and Kinder Atom alumnus Kris Helstrom.

Often tightly packed with special guests, Chromosphere is an electro-forum for odd, and sometimes not so odd, musical ideas. Experimental and urbane improvisations jammed loosely over oozing break-beats most easily describes the sound from within the Chromosphere.

Previous full-length recordings “Live Transmission from Charon” 1997 (Plan 11), and “Red Candy”, 1999 (Plan 11) were both critically smiled upon.

Most recently, Chromosphere has contributed tracks to two Nice+Smooth compilations, and a couple of Television commercial-use campaigns. A small sampling of Chromosphere can also be found on three Canadian made films including S.F. classic “The Cyber Stalking” (Universal Pictures). The third full-length release “Spectral Emissions” is available as a download and a limited 250 copies digipack cd.

Kris Portrait_585x585


Les Fontaines

Mr. H. Sillaste has been tweaking the knobs for a while and experimenting with thoughts outside of the knobs. Mr. L. Peter has also applied his knowledge of “electronic” instrumentation to many projects as the self described “sounscape engineer”. pressing keys and applying patterns to mr. h sillastes’s rhythm arrangements is the next step in a manificently precise plan. Toronto’s Les Fontaines release their debut 7″ single on the paper+sound record label. Wrapped in a fanciful sleeve, the single has been released in a limited edition of 200 copies. Once they’re gone…they’re gone! Les Fontaines will be releasing their debut album “Magic Touch” on paper+sound, in Summer 2011.



Montreal ex-pat naw (Neil Wiernik) who currently calls Toronto his home, began composing electronic music in 1988 with explorations in audio art and experimental music. Neil’s interest in sound and technology has lead him to a continued questioning and refinement of audio tools and modes of production resulting in experimentation with altered instruments, modified devices, and custom software environments. Neil’s music could be described as warm, atmospheric, and cinematic electronic music. The sound design of naw is firmly grounded in the rich traditions of dub studio culture but can also be weighed alongside formal contemporary composition. His music was recently described in “The Wire” as having “…the kind of sharpness and clarity usually lost amid the murk and decay of clicks and cuts and digital delays.” Neil has released music on various labels noise factory records for his naw project and on elevation recordings for his most recent project whisper room. Climate Adaptive Capacity is his first release on the paper+sound label, available as a download and a limited 250 copies digipack cd.

In addition to his recording career Neil is an accomplished curator and digital media artist, he has shown work in a variety of non-traditional spaces since the late 1980’s and his projects have included works in radio, print, and internet diffusion as well as other non-gallery spaces including derelict buildings, billboards, pirate airwaves, and public space. Neil has presented projects at the Finland Contemporary Museum, ISEA, Subtle Technologies Conference, La SAT, The Medusa Complex, Mutek Festival and The Music Gallery. When Neil is not occupied with his other projects he steps into his co-managing editor role on an online digital arts quarterly and is a member of the board of directors for musicworks magazine.




DreamSTATE is a Canadian ambient music project known for their soundscape installations and early live ambient performances in the Toronto, Ontario area. Their soundscapes combine electronic music processes with field recordings and range from light to dark ambient.

dreamSTATE was founded in 1995 by Toronto electronic musician Scott M2 (Scott McGregor Moore) who was soon joined by Jamie Todd (aka URM). Their first ambient installation, “waveforms” (1996), was mounted in the H5 holographic gallery in Toronto where it played continuously for 6 months. dreamSTATE’s first CD release, “BETWEEN REALITIES” (1998), was a one hour excerpt from that installation. They began performing their soundscapes live in 1997 and have continued to be active electronic music performers. In 2000 dreamSTATE began curating THE AMBiENT PiNG, a weekly live ambient performance event in Toronto providing a stage for developing artists in the genre and hosting notable touring performers such as Robert Rich, Sara Ayers, Alpha Wave Movement, Eric Wollo, Tom Heasley, James Johnson and Vir Unis.

“The North Shore” is the new album from dreamSTATE vs. Heiki, on the paper+sound label. Recorded in January 2012 by ambient duo dreamSTATE (Scott M2 & Jamie Todd) with electronic
sound-artist Heiki Sillaste sonically evokes the Canadian winters of their lifetimes -
travels through white fields and deep woods, along frozen rivers and by the shorelines of great lakes.
The CD package is a numbered limited-edition of 250 copies in digipak with glass mastered audio CD 
and four signed art cards.



Processor creates a cyclical vortex of sound, hypnotic, relentless and chaotic. Dark driving basslines, jagged shapes, like shrapnelfly among electric swells and echoes.

Lorenz runs LP’s records in downtown Toronto. He has played in various musical & experimental projects since 1990 including Corpusse, Les Fontaines and Bay of Creatures.

M. Joakim is a lighting designer and technician working in Toronto. She explores many ideas in sound with bass, tapes, loops and radios.




Having previously helmed Intergalactic Faerie Funk and Mossyrock,
 Marc Francis’ latest project finds him entirely on his own, crafting 
swingy-swag, dreamy-dirty, fearless dancefloor shoegaze.

With his ramshackle, bargain basement, DIY approach to technology,
 Taperecorder’s roots are deep in house, with nods to the punk aesthetic, 
early rave culture, and indie rock. Francis cheekily infuses his
 signature squelchy beats with found sounds, acoustic doodlings,
 a touch of glitch, and stories to make you smile.





Pissing around in the Subterranean electronic music trenches for over two decades, /ϟ/HUREN/ϟ/ output ranges from dark minimal techno, rhythmic noise, and harsh industrial…

Current /ϟ/HUREN/ϟ/ operations are characterized as low-rent IMPURE FUCKING $CUMTRONIC$…



Bitter Harvest

Scott Righteous is first and foremost a drummer, although he considers himself to be a songwriter first and everything else second. His early musical history indicates that he has been in a variety of Punk and Industrial bands, as a ‘drummer’.

Here is a quick look at some of the better known projects Scott Righteous has been involved in over the years:

In the late 80’s up until the late 90’s he played drums in the noise terrorist band PHYCUS. Phycus was on the cutting edge of fusing elements of noise, Neoism, chaos theory and raw meat into a unique ‘musical’ experience.

In the early 90’s Scott Righteous (briefly) played drums for the father of Neoism: MONTY CANTSIN, aka Istvan Kantor, notorious for his recent Jeff Koons blood splatters.

In the mid 90’s Scott played drums in the Toronto based DEVOURED, a funk/techno/lounge/dub/-pop band fronted by Dave Howard of the DAVE HOWARD SINGERS fame. In hindsight Devoured may have been one of the first in a wave of bands later to be dubbed ‘Trip-Hop’.

While playing in bands, he was always recording his own music which generally fell into the territory of industrial music. This sometimes took the form of experimental noise, but also included more accessible aggressive industrial pop.



De Haga

Haig Bedrossian alias DE HAGA is a synthesist and composer playing ambient, beat and experimental works. A Toronto native living in New York.

De Haga explores a space ungrounded by transient melodies and somber ambience. Light touches decay and tread along minimalistic arrangements that move into unknown depths and dimensions. Analogue synthesis and artificial percussion paint the transparent backdrops of De Haga’s debut for paper+sound, Thereness.



Building Castles Out Of Matchsticks

Building Castles Out of Matchsticks is the musical diary of Anne Sulikowski.

Anne has been musical since she was a child and started noodling with electronics in her last year of high school. Since then, she has performed in many groups and duos, often sticking to improvised works and various forms of audio installations. She primarily uses synthesizers and many, many effects pedals and guitars…

Anne began Building Castles Out of Matchsticks, as a solo project in Winter 2000, to musically document and explore extraordinary events, dreams, her experience of love and lack of love, battles with introspection, her wildly vivid imagination, promises made and broken, random thoughts and all the simple pleasures and bursts of boredom in her everyday life… A musical diary of a wanderer…


Dirty Inputs

Dirty Inputs is Aaron Dawson, a musician and VJ based in Toronto, Canada. Dawson was part of the Toronto ambient drone collective Off The International Radar and has shared the stage with the likes of Holy Fuck, A Place To Bury Strangers, Junior Boys, Hauschka, Quintron and Nadja among many others. Having grown up in a small town in the Rocky Mountain foothills of western Canada, moving to the continent’s fourth largest metropolis has produced conflicting desires for nature and technology. Dirty Inputs’ euphoric synth-driven soundscapes search for the beach between these desires, between the beautiful and the terrifying. This focus has created a body of work that is often dark and brooding, and other times joyful and emotional. It is an attempt to strip away hype and rhetoric to reveal the humble existence of humankind staring into the void.