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First release on Sydney based label Natural-High comes from Neotex with four cuts ranging from club focused music to ambient home listening. Music for your body and mind.

The Neptune Power Federation brings back the love song and rocks as furiously as ever on their fifth studio album, Le Demon De L’Amour! The Imperial Princess and her crew of Aussie rockers lord over eight love songs that prove few can push the boundaries of rock and metal like The Neptune Power Federation! Heading into the creation of their fifth studio album, Le Demon De L’Amour, Australian psychedelic rock and roll brigade The Neptune Power Federation couldn’t let go of the fact that love songs had been commandeered, in their words, by “soft rockers, bedwetters and the introvert crowd.” Whereas rock had its glory period during the 1970s and 80s, the art of the love song is now lost within heavier music. Few bands are now willing to venture into such territory — metal and rock have settled comfortably into typical, predictable lyrical tropes that fail to pull at the heartstrings the way they used to. On Le Demon De L’Amour, The Neptune Power Federation reclaims the art of the love song as their own. Off the heels of their acclaimed 2019 Memoirs of a Rat Queen studio album, the members of The Neptune Power Federation utilized the unexpected downtime afforded from the 2020 COVID-19 pandemic to craft an album that takes more chances than its predecessor. While the band’s trademark rock swagger and prog tendencies still come into play, Le Demon ups the voltage and energy. True, there is a multitude of genre-blurring taking place, but the album’s infectious choruses and leaden riffs easily re-imagine metal and rock’s glory eras without blatant thievery.

Of course, all roads to The Neptune Power Federation run through lead vocalist Screamin’ Loz Sutch and her stage persona, “The Imperial Priestess.” Le Demon’s eight cuts find the indomitable frontwoman in top form, belting out tales of love from a female’s perspective, weaving in stories of cult worship, murder and hypnotism. The album’s artwork (created by guitarist Inverted CruciFox) also introduces her new nemesis — The Wizzard Princess. Recorded at bass player JayTanic Ritual’s The Ped Food Factory in Marrickville, Sydney, with mixing duties provided by Clem Bennett, Le Demon De L’Amour leads The Neptune Power Federation into their tenth anniversary next year. Their journey has taken them from the sweaty clubs of Sydney to a global audience. Now armed with eight love songs sure to melt and captivate the most hardened metal hearts, The Neptune Power Federation boldly goes where few bands dare to go.



"Maybe their best album so far!" - Deaf Forever (DE), 8.5/10, Soundcheck pos. 7 !!

"They can even top the phenomenal predecessor!" - Metal Hammer (DE), 5.5/7

"'Le Demon De'L'Amour' is definitely their most mature and complete album to date!"

"Finest party rock music of the most beautiful kind!" -(DE), 9/10

"An album full of thick, good riffs, solos, melodies and choruses that stick in mind - definitely recommended!" - Rockmuzine (NL), 85/100

"They are in impressive form!" - Saitenkult (DE), 8.5/10

"The Neptune Power Federation add a great piece of music to their list of achievements." - Heavy Music Blog (DE), 8/10

"The band rocks a bit straighter and more pleasing than before through their love song concept." - Rock Hard (DE), 8/10, Soundcheck pos. 6 / Dynamit !!

Ltd. Gtf. Silver & Black 3 LP, one side edged.. Leadfinger aus Australien sind eine 2-Gitarren-Rock'n'Roll-Band. Ihre Einflüsse reichen in die Rock- und Punk-Ära der 70er & 80er Jahre, durch die klassischen Stones- und Dylan-Platten der 60er Jahre, den Blues und darüber hinaus. Songwriter /Gitarrist Stewart Cunningham spielte seine Gitarre im Sydney Underground der 1990er Jahre in Rockbands wie Brother Brick, The Yes Men & Asteroid B-612. Cunningham gründete Leadfinger im Jahr 2006 , seit 2008 eine Twin-Gitarren-Rock-n'Roll-Band mit einem 4-köpfigen Line-Up. Nach 5 Alben gingen sie im Oktober 2017 auf ihre erste Europatournee. Die Geschichte von Silver & Black begann nicht lange danach, als der Sänger und Songwriter der Band, Stewart Cunningham, krank wurde und Lungenkrebs diagnostiziert wurde. Nach fast 2 Jahren Behandlung und während der Covid-Lockdowns gelang es der Band, das neue Album aufzunehmen. Silver & Black markiert den letzten Schritt im Triumph über ernsthafte Widrigkeiten. Die Killer-Riffs und Songs des Albums sind über Cunninghams oft reflektierende Textthemen miteinander verbunden und erforschen die Herausforderungen und Erfahrungen des wirklichen Lebens, mit denen sich viele identifizieren werden. Die melodischen Gitarrenlinien von Cunningham und Michael Boyle werden durch Harmoniegesang ergänzt, der das Album weit über die Standard-Rockkost hinausführt. Silver & Black ist ein musikalischer Beweis für die Entschlossenheit und die Widerstandsfähigkeit von Leadfinger und dem Anführer der Band, Stewart Cunningham. Es ist passend, dass es das bisher stärkste und erfolgreichste Album der Band ist.

Pure Space Records welcomes a newly emerging Naarm (Melbourne) producer, Dividens with his EP ‘Blueprints’. Across four tracks Dividens masterfully guides us through the fringes of modern drum n bass, eerie Dub and restrained Jungle styles.

Starting strong, ‘Audio Blueprint’ provides a fast and erratic baseline cushioned only by a deep, squelching synth. It’s a textural and delicately refined track, with each sound finding its perfect place with twisted effect.

Completing the A-side, in confidence, is ‘Rollin Smoke’. An acid tinged take on electro, composed with trancey pads and tight percussion.

Flipping over we find ‘Bionic’, luscious pads swirl amongst a deep sub bass rhythm before free-falling into stints of breakbeat. The ominous tone of the track is coloured by the disorienting vocals; lean in and let the bass hold your feet firmly on the ground.

Finally, ‘Tell Dem’ rounds out the release with a tasteful amount of dub. Here a mass of swamp-like synths envelop you completely, while the tight break patterns elevate the energy through to the final moments of the release.

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Tracks written, produced and mixed by Dividens on Wurundjeri Land. Pure Space and Dividens both acknowledge the traditional custodians of this land and pay our respects to their elders past, present and emerging. Sovereignty was never ceded.

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Pure Space Recordings is the label venture from the beloved radio show hosted by Andy Garvey, and produced by Mija Healey which has broadcast weekly on Eora Nation (Sydney) radio station FBi Radio for over four years. The label focuses on Australian music both for home listening and that made for the club.

Established UK-talent Made By Pete lands on Damian Lazarus’ flagship Crosstown Rebels imprint this February. Collaborating with Savage & SHē on the two-track Walls of Zion, it acts as the debut release of 2022 for each artist and marks Made By Pete’s third release on the label.

The title track sets the tone, taking the form of a spacious, shamanic inspired cut. Rattling percussion reverberates around shimmering hats, as resonant vocals dive in and out. It feels atmospheric and soothing in one, opening neatly into the stripped-back sounds of Too Drunk To Dream. Lucid and dream-like, there’s a spiritual theme throughout, with whirring synths residing beneath tribal-like drum patterns to form an ethereal, club-ready cut.

Born and raised in London UK, Made By Pete is an artist who can count mavens of the electronic music scene like Damian Lazarus, Sasha and Kolsch as big fans of his sound. He has seen his work snapped up by taste-making labels such as Crosstown Rebels, Saved, Rebirth and Radiant to name a few, whilst performances across the world at clubs such as Space (Ibiza), Chinese Laundry (Sydney), Fabric (London) as well as Thailand’s famous Full Moon Party have highlighted him as a truly global artist.

Mexico-based duo Savage & SHē have garnered an international following thanks to a consistent schedule of quality releases. Imprints such as Abracadabra, Earthly Delights, TrueColors and Trndmsk are just a few examples of labels they’ve graced over the years, whilst sharing the stage with standout performers in the form of Adriatique, Be Svendsen, Matthias Meyer and many more besides.

They are here, all over: sudden, random molecular movements. Invisible and yet extremely effective. Perceptible only to those who turn on things from a peculiar outlook. Now Rio unfolds the second edition of “Risks Issues Opportunities”, bringing interstellar musical developments full of little, yet profound molecule advances. Eight mystical fate spinners, with the muscle to shed some light on unanswered questions, that will stay unanswered after all. Monolithic, yet deeply fragile compositions, made by terrestrials like Leipzig based producer Syncboy, Pannotia from Sydney, Italy based dusty drum machines lovers Twoonky, Charlotte Simon, known as one half of the art duo Le Trucs from Frankfurt, Berlin mystic’s like Airaboi or Nadia D'Alò of the duo INIT, Brooklyn based “The Thing” housekeeper Willie Burns and Vienna’s symbolist sound poet Bocksrucker. They all created electric signs for the above. Murky analogue prophesiers without prophecy, bringing headway music against the greedy frontier spirit. Hypnotic tones out of a hazy musical outer space. Like a dream that forgot to dream, they wave around with veiled frequencies full of ray, processed through analogue machine power. Music, that is able to in sight humans to an Atget photography. Able to transmit flashes to the firmament, to stars that wander darkling in eternal space. And yes: to some who listen a sudden physical movement might transpire, despite the fact that all was made without a particular practical value. Art for art's sake‍. In favor of an alternative to reality. Compellingly haunted by itself. Like stone, that awaits a random molecular movement.

Hailing from Sydney, Australia, prolific producer Cabu (860K Monthly Listeners and more than 90M cumulative streams on Spotify alone) has come a long way; from his successful remix work – from Joe Hurtz's "Stay Lost" edit (37M Spotify-streams) to Big Wild's "Empty Room" flip (20M Spotify-streams) – to his consistently catchy original productions, Cabu's only getting started. He keeps this momentum alive with the EP "So Far To Go", his first to be released by Ta-ku & Jakarta Records' sublabel 823 Records.

823 is a perfect place for Cabu's bouncy, hypnotic grooves and is a return to form for what "Cabu" represents: a driving force in the pursuit of happiness through sound. It's a well-timed collaboration, as Cabu's fanbase has continuously grown over the past few years through features on Australia's Triple J, DJ Complexion's Future Beats Radio, Soundistyle, The South East Grind, Mutual Friends, ThisSongIsSick, Majestic Casual, Soulection Radio, BBC 1xtra, Pilerats, Maison Kitsune and more. To that end, "So Far To Go" features some of the most talented artists to come out of the Pacific continent, such as Milan Ring (95K monthly Spotify listeners) – coined "Australia's R&B Princess" by Apple Music – Brisbane native hit-maker Young Franco (1M+ monthly Spotify listeners), Kamaliza (123K monthly Spotify listeners), NOÉ, Gabby Nacua, Pastel and of course label-head Ta-ku himself.

1st single, "Process" featuring Ta-ku & Milan Ring was released on November 3rd. Hypnotically bouncy, with heavenly synth pads, crisp percussive elements combined with the ethereal voices of Ta-ku and Milan harmonically push the sonic envelope to make this track an infallible groovy knockout. As Cabu says, "Process" is "the dream-like state in which you take gratitude in your current situation whilst being hopeful in the future." The track provides a perfect taste of these artistic and creative powerhouses. The stunningly beautiful music video – directed by Sydney based Redscope Films and premiered on The Sound You Need – is the perfect accompaniment.

2nd single, "Sun & Moon" featuring Young Franco & NOÉ is set to be released on December 10th along with an announcement of the EP and pre-order. The song is a contagiously bouncy bop, with the different vocal harmonies and synth chords giving the track an almost prime 00's throwback, it's the perfect year-end anthem to keep dancing and growing through the good and bad.

The album's focus track, "About U" featuring Kamaliza will be released along with the EP release on January 28th, 2022. The song perfectly blends electronic elements within an R&B / Soul aesthetic, and is all about moving forward with intention, from the lyrics to the groove, making you feel tipsy on life.

All singles off the EP will be accompanied with custom visualizers by Perth-based design / creative firm Gesture Systems. The album's single-releases and videos will be promoted in-house via the artist's and the label's social media channels in Germany and Australia.

The 823 label represents the appreciation for the people, ideas and places that inspire and push their protagonists forward. "823 celebrates the simple beauty of everyday life and the people in it that inspire us." (Regan Matthews aka Ta-ku)

Swedish group Roxette celebrates the 30th Anniversary of their third album “Joyride”, following the band’s spectacular global breakthrough with “Look Sharp!” in 1989. The 30th Anniversary of ”Joyride” will be celebrated with the release of a 4-album vinyl and a 3-CD box, containing the original release as well as previously unreleased or hard-to-get material, that paints a fuller picture of a unique time in pop history. A richly illustrated 32 page booklet tells the story.

Joyride” was the album that was supposed to cement Roxette’s new-found status as a global hit-makers. Which indeed it did. On May 1, the title track zoomed all the way up to #1 position on the Billboard Hot 100 chart – setting a record no Scandinavian group or artist has yet been able to break, helping to make “Joyride” a 11+ million seller.

Twelve of the songs are previously unreleased, among them the first recording of ”Hotblooded”, which originally was meant to be the album’s opening track until ”Joyride” knocked it down a notch, giving the album and the upcoming “Join the Joyride” World Tour its name. The “Joyride” box set also offers a chance to hear two previously unreleased demos of songs originally released by Per’s former group Gyllene Tider, who in 1984 tried to break the international market with the album “Heartland Café”.

1. Some records hit you with an instant impression of timeless brilliance, and Low Life’s Dogging is one of those records, what the wise call “an instant classic”. 2. From Squats to Lots: The Agony and the XTC of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: you’re going to need some time with it. 3. Some show, some grow. Low Life have done both. This one is a grower. Spend some time with this one. It’s got that nuanced flavour. Don’t guzzle. Sip. Savour. 4. Sip it, and sense the recurring brilliance of Mitch Tolman’s lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. 5. There is a celebration of resilience and that’s a central theme of this record and a time like ours needs a record like Agony & XTC. Low times are coming through, but if you’re low they won’t get to you. 6. Iggy Pop’s Bowie produced studio rock masterpieces ‘The Idiot’ and ‘Lust For Life’ are important reference points to the 3rd album sounds of Low Life. Here comes success! 7. ‘The Agony and Ecstasy’ is a 1985 novel by Irving Stone about the life of Italian Renaissance painter Michelangelo. Stone wrote another novel about the single eared painter Vincent Van Gogh called ‘Lust For Life’. This synchronicity hit me. 8. Iggy and the Stooges are a pretty safe reference for Low Life (and all good rock music). Iggy and the Stooges are a low life’s Michelangelo, but solo Iggy like Lust for Life is a better reference for this particular incarnation of Low Life, which is to say they are studio rock albums. 9. Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. 10. Let’s stick to this, because there’s something about this era of Bowie that makes sense with Low Life’s new album, particularly Low. One should never miss the Low in our new album from Low Life. Producer and studio boss Mickey Grossman has the ear for the Low, and he has carved out a little statue of David right here. 11. Mickey’s ears are recording, mixing and producing the best of Sydney, most notably the Oily Boys Cro Memory Grin. A great companion record to this one. Use Agony & XTC AFTER Oily Boys. Not on an empty stomach, and don’t try to operate heavy machinery (bobcat, bulldozer etc). 12. The relationship between Low Life and Sydney hardcore should not be understated, but it also shouldn’t guide how to listen to Agony & XTC. This is not austere, disciplined music. 13. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. You wouldn’t play it to a teenager. It’s not for children. This is a mature flavour, one for the adults who have had to contend with failure and hardship, medical bills and disappointed family members, betrayed lovers and worrisome growths, police brutality and tooth decay, humiliating bowels and collapsed septums, detoxing and drying out, for those who have seen themselves as corrupted and putrid and unloveable, for those who endure all of this and aren’t willing to lie down and cop it sweet: Low Life are still here and they ain’t going nowhere. NOTES ON HOW NOT TO LISTEN TO AGONY AND XTC OF LOW LIFE: 1. Don’t think of shoe-gaze. It suggests a safe passage to 90’s reminiscences, a vogue style of our time, but nothing to do with Low Life style. Low Life style is always of its time. The content changes. Agony & XTC shares weight of records like My Bloody Valentine’s Loveless and Slowdive’s Kebab, records that were laboured on after the songs were recorded, songs that were written as they were recorded. 2. We can call these “studio albums” as opposed to albums built in the heat of live performance. Studio albums from the 90’s are called shoe-gaze by some journalist nerds, but we know better than to use words like this. 3. Studio albums are excessive and, at the same time, so empty. Agony & XTC, Loveless, Kebab, Rumours: excessive! And empty. This is not to suggest this is Low Lite, some throwback, soft. A band like Low Life can make an overproduced studio rock album without having to use the word shoe-gaze. So, don’t think studio albums mean anything especially 90’s. Don’t look back. 4. Let’s lose these distasteful labels, like “shoe-gaze”, “rehab rock”, “stab”, “guitar OD overdrive”, “western Sydney wonder”. They can fade out. A low life was once referred to as a vagabond. Who uses this term today? Nobody. Language can murder. Words can die. Kill ‘em all! - Daniel 'DX' Stewart, Melbourne, 2021.

Aufgang is back with its 3rd album, “Broad Ways”, slated for release in November 2021

With this 3rd album, the franco-lebanese duo perpetuates its winning alchemy by drawing on the psychic and collective traumas of recent History at the crossroads between European and Middle Eastern cultures.

What more was there to prove for the Aufgang duo since their re-invention of US techno a few years ago through the means of organic instruments like piano + drums, and releases on Infiné & BlueNote/Decca ?

Maybe that they would from now on independently take onto themselves, the full conception and distribution of their body of work, supported by a collective of visual-arts creators, dancers, and emerging talent-incubators (Bi:Pole/Believe/ BigWax/Alter-K)...

“Broad Ways” could be translated as «in many ways» in the sense that there are many ways of seeing the world, and that everything is not binary and that on the contrary, our lives are shaped by the each other’s own paradigms...

In this clever mix of experimental techno, lyrical prowess and melodies in the Arab tradition, can one imagine a future that would solve the world’s current contradictions in a boiling magma so complex of which Edgar Morin would be proud... Following this unique trademark, this art of mixing influences and cultures, along the New York, Paris, Lebanon and now Sydney axis... how far will they go?

According to Pitchfork, AUFGANG “blends piano, drums and electronic music with virtuosity, with one foot in the club and the other in the conservatory.”

Rami KHALIFÉ, composer and pianist, transcends the classical heritage of his years studying at the Juilliard School in NYC and the Middle Eastern origins of his masterful family: his father Marcel KHALIFÉ is a major composer and musician in the Arab world.

The drummer and producer Aymeric WESTRICH has an instinctive DIY approach and infuses his music with his knowledge of urban and electronic cultures, developed with Kery James, Cassius, Phoenix and more recently Lomepal.

Taking their inspiration from multiple artistic movements and currents, from the Disco of the mythical Larry Levan to the poetry of Oum Kalthoum, these two free electrons have created their sound between Paris, Beirut and New York, in reaction to the frenetic energy of big cities, as if in an effort to prevent this energy from corroding their freedom. It’s a unique experience born from the sublime diversity of these two masterful approaches.

Left Ear returns where they started, further highlighting the music of the enigmatic Leong Lau. Arguably one of the most unique artists to come out of Malaysia/Australia during the 70’s, Leong migrated to Australia to pursue an education in Engineering. He finished his degree but instead took a different ’career path’, choosing to explore his creativity.

From an early age Leong had been trained in the arts including both Chinese opera and flute. Leong recalls “making flutes out of grass weeds”, as he couldn’t afford a flute. It was this DIY ethos that Leong attached to his lifestyle. He found himself promoting festivals in the infamous town of Nimbin before moving to Sydney where he would record a small body of music with the sessional musicians he was playing with daily in the venues of Sydney’s Circular Quays. Leong’s ‘Late Night Flyer’ was the single to his supposed second album, which was allegedly manufactured but unfortunately a copy of the LP is yet to surface. One thing is for certain, two tracks landed on a 7” and together with a predominantly Chilean backing band known as ‘The East-West Unity Band’ they created two raw latin influenced jazz-rock tracks that stand the test of time.

The A-side a homage to the omnipresent characters that frequented the after-hours jazz clubs Leong performed at. Whereas the B-side is named after his favourite philosopher Herbert Marcuse’s novel ‘One Dimensional Man’, which sees Leong take a more psyched out approach.

In 2020 Sunnyboys will celebrate 40 years since their inception (though a mere 12 years of actual existence) via a new release SUNNYBOYS 40 that brings together the first ever re-release of the band’s much loved 1980 eponymous debut 7” - featuring the original version of the classic Alone With You - alongside four new recordings culled from the archives of chief songwriter Jeremy Oxley.
Recorded over two days in October 1980 and released via independent Sydney label Phantom Records on December 31st the same year, the four songs featured on the EP were essentially the first songs Jeremy Oxley had presented to the band on his arrival in Sydney from Kingscliff just a few months earlier. Alongside Alone With You they included Love to Rule, What You Need & The Seeker.
The debut ‘yellow’ ep was an instant underground smash selling out its initial pressing of 1000 copies in just 2.5 weeks. A further pressing of 1000 would follow but then all further attempts of a repress were quashed when the ep master mysteriously disappeared after band signed to Mushroom Records in February 1981. The tapes having never been recovered these masters have been taken from the cleanest vinyl available and appear here for the first time ever outside the 7” ep format and that limited run of 2000.
Fast forward 40 years (as you do) and Sunnyboys are enjoying a renaissance rarely seen for any band from any era. In truth their popularity now eclipses what it did in 1980-1984 with each successive tour selling more tickets and faster than the tour previous. Why not then give the people new music?
Part 2 of Sunnyboys 40 was recorded between touring commitments in 2018 at Airlock Studios, Brisbane. Overdubs were added over the following twelve months at locations in Sydney & Brisbane and the mixing completed in the summer of 2019 by current in-demand producer Konstantine Kerstin. The idea being to tackle some material Jeremy had written for other projects post-1984 and to complete some unfinished business from back in the band’s original lifespan.

Can’t You Stop is a reworking of a song Jeremy recorded as The Fisherman in 1986. The short-lived trio were Jeremy’s immediate post-Sunnyboys band and the original version was released on the Waterfront label the same year. In this guise Can’t You Stop features an all new arrangement plus those trademark Sunnyboys harmonies.

Lovers (On Another Planet’s Hell) meantime, is a reworking of a track from the Sunnyboys third album Get Some Fun. The original version featuring a 4/4 beat often referred to as the “AC/DC beat” which never sat well with the band. The opportunity to readdress that all these years later proving irresistible. The added keyboards of Alister Spence and brass playing of Eamon Dilworth and young Nico Oxley (Peter’s son) also adding a new dimension to the original.

Strange Cohesion was actually written post-Get Some Fun in 1984 and was performed by the band regularly during their final tour. It would feature on the band’s swansong release, 1984’s Real Live but was never recorded in the studio. 40 gives the track its recorded debut and gives some small hint as to what Sunnyboys album no.4 may have sounded like.

Originally released as a solo recording back in 1991 under the banner Jeremy ‘Ponytail’ Oxley Way After Five shares perhaps the strongest relationship to the ‘40’ concept. Jeremy’s voice at times just a croak - a by-product of the life he has lead for much of last 40 years - adding further poignancy to the songs lyric; and it’s another Oxley classic.

And what better way to celebrate both the new release and the milestone anniversary than by doing what Sunnyboys do best - play live! And so Sunnyboys hit the east coast this February including first time ever shows in Torquay and for Sydney’s Twilights @ Taronga. Special guests Painters & Dockers will join Sunnyboys for the shows in Victoria while garage rockers Rocket Science will join the birthday boys in Sydney.
“We really didn’t think we would ever play again as a band. But wow, we have and we sure are having a bloody great time doing it.” - Peter Oxley

Keeping his carbon footprint at a minimum, Santilli sails from Sydney to Hamburg via ten textured vignettes delicately drawn with guitar, bass and organic percussion. Relaxing, reflective and endlessly
beautiful, ‘Tidal’ explores elemental inspiration through a humanistic gaze.
Whether you know Max Santilli through Ken Oath duo Angophora, previous releases ‘Surface’ and ‘In Circles’, or this is your first time making his acquaintance, you’ll agree he’s right at home on the
Growing Bin. The multi-instrumentalist crafts exquisite acoustic music in tune with the finer moments of Windham Hill and ECM; a perfect fusion of talent, balance and the emotion shared by each release on the Hamburg label.

As befits its inspiration ‘Tidal’ is an organic affair, related through bright acoustic guitar, hazy chimes and hand played percussion. Where the Australian draws you in with hypnotic repetition, the subtlety, warmth and tonal variation serve as a welcome reminder we’re living off grid. Though expert fretwork
often takes centre stage, especially on the delicate B1 ‘Warm You Give’, it’s the blend of kalimba, woodblock, hand drums and shaker which truly transport the listener through open waters; a rhythmic
breeze carrying us through the maritime drones and bowed squall. At times the salt air is spiced with cardamom and cloves (‘Sea’) or lemongrass and galangal (‘Valleys’), as we skirt the Indian Ocean or
the Java Sea. ‘Lapse’ provides subtle hints of fourth world jazz as mallets take the lead, leaving the guitar to provide its own shimmering texture.

Clear your mind, clear your schedule and make some time for ‘Tidal’, an opportunity to breathe in time with the planet

‘The Pulse of Iron’ an apt reflection of modern progression into the unknown industrial world. It comes from Narrm based artist, Consulate who has found a home on Pure Space Records for our 10th label release. On this EP, Consulate delivers four tracks of dance music for the dystopian with a slick DnB sheen.

On the A-side ‘Postrach’ the centres the record squarely within the realm of its influences, its intricate percussive patterns offset by industrial ambience. Here a half-time snare cuts through the abyss of ambience, while a floating topline carys you through dreary territories. Completing the A-side is ‘Spec 4’, a subtly staunch percussive track that is fueled by acute vocal sampling, weighty breaks and a hypnotic dub infused bassline.

The flip side heads back into half-time territory with ‘The Fear’. Delayed vocal samples paired with dub-style stabs pulse in a heady but immersive rhythm. Rounding out the record is ‘Warlock’, a percussive track that proves the restraint Consulate has in his craft. Moody, sliced vocals skitter through delayed percussion creating a sense of tension. When it feels as though the storm is just about to hit, you are enveloped by fast-paced jungle breaks drawing you deeper into the eye of the storm.

‘Here beyond man’s judgements all covenants were brittle.’
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Tracks written, produced and mixed by Consulate on Wurundjeri Land. Pure Space and Consulate both acknowledge the traditional custodians of this land and pay our respects to their elders past, present and emerging. Sovereignty was never ceded.

~
Pure Space Recordings is the label venture from the beloved radio show hosted by Andy Garvey, and produced by Mija Healey which has broadcast weekly on Eora Nation (Sydney) radio station FBi Radio for over four years. The label focuses on Australian music both for home listening and that made for the club.

After humble lo-fi beginnings in the Australian Art-Pop Underground, Donny Benet has expanded his cult-like following across the Globe with a resonant Array of danceable Repertoire dealing with Love- and Affection. New album "Mr Experience" marks a new chapter, informed by a wealth of musical- and personal development.

For Mr Experience, Donny envisioned a Soundtrack to a Dinner-Party- Set in the late 1980's. While his earlier Recordings drew Inspiration from DIY Pop Conspirators such as Ariel Pink & John Maus, Donny channelled the Stylings of Bryan Ferry & Hiroshi Yoshimura as the Impetus for new Material, evident on the Intimacy found on ‘Girl Of My Dreams’ and it's lush production- with a soothing whistle-along Chorus for good Measure!

Sincerity has been a key component of Donny Benet’s output since the beginning. His songs deal with genuine Emotion served on a kitsch Platter. An alter-ego manifested in the beginning of the 2010's, Donny has blurred the Lines of Artifice to create a back- Catalogue that can embrace- and challenge, often simultaneously, - the notion of Irony in Art.

"Mr Experience" moves further away from ironic Notions as Donny explores lyrical- and musical themes which embody Observations of Maturation in his audience, his tightknit musical Community- and himself. While ‘mature’ is a term that often rings hollow as an album descriptor, the term couldn’t be more apt for Mr Experience.

Previous album The Don was created with the luxury of time. The phenomenal Response to that Album across Europe- and the United States - fuelled by accompanying Music Videos clocking in Views in the Millions- meant that there were scant Windows of Opportunity to write- and record a follow-up.

With a legacy in Sydney’s music community, working with Sarah Blasko, and tightknik collaborators Jack Ladder & Kirin J Callinan, Donny Benet is accustomed to collaboration on the Stage- and in the Studio, mostnotably on the 2014 full-length release Weekend At Donny’s.



“There is such immense talent evident in every aspect of the Donny Bene experience - the vision of the character, the steadfast adherence his narrative and the musicality of Benet himself all combine to makesomething truly genius.” - Double J, Australin.

“Donny Benet makes feminine music for everybody” - Vice, Netherlands.

“The Don does not sound like amusical copying machine”. - 3voor12 National, Netherlands.

“The set was punctuated with virtuosic solos and exquisite harmonies, and added another layer of genius to the show.
We almost couldn’t handle it... Donny for president!" - Indie Berlin.

“Everyone loves Donny Benet” - Feature in Gonzai, France.

“Phenomenal Australian Showman... Offers Top-Class Dance Music with Virtuose-Bass Guitar- and Keyboard Parts & incredible Sound-Colour feel.” - Podujatie.sk, Slovakia.

Donny has toured Europe five times since the start of 2018 and has played in the UK, Austria, Germany, Slovakia, France, Netherlands, Spain, Portugal, Belgium, Denmark, Switzerland, Czech Republic, Greece and Sweden. The Don will revisit Europe twice in 2020, once for his own headline shows in May then back again in August for festivals!

Session Victim and Erobique join forces once again for a beautiful cover version of Mark- Almond's "The City", starring Jamie Lloyd's enticing vocals and featuring Linnart Ebel's subtle rhythm guitar. Ever since Hauke Freer stumbled over Mark- Almond's final studio album Other People's Rooms at Montreal record store Death Of Vinyl a few years ago, the pair would regularily finish DJ nights with this 1978 recording of their hit single "The City" - and since then, the idea of recording their own rendition had been tossed around frequently. Carsten "Erobique" Meyer was not the first but really the duo's only choice to see this through and well, just listen to the impeccable Rhodes/Clavinet combination he came up with. However, it is Sydney's Jamie Lloyd who steals the show and takes the song into his realm, putting his very own stamp and character on this certified classic. Long time collaborator Linnart Ebel complete's the band with his ever subtle rhythm guitar. The two, three, four, five man house, not house band branches out for all the right reasons and this is the result.

A work that literally immerses the listener into an acoustical substance. The sound becomes almost like matter, like jelly. Soon, you're swimming in sound, getting lost inside it.

With the Sonic Waters project initiated in 1978, my aim was to situate field of electronic music within a liberating and futuristic experience, outside the concert halls and in sync with the development of new instruments - in particular the Synclavier digital synthesizer, the first model of which I acquired in 1977. As concert space, the Pacific Ocean seemed to me to be the ideal experimental medium for both acoustic and cultural reasons. I then developed the aesthetic and technical elements that would contribute to the conception of Underwater Music. Numerous performances would follow spanning four decades, in natural sites or in large public pools such as those of Sydney, Paris or Venice during the 2006 Biennale.

Michel Redolfi (1951), French composer and sound artist, is the founder of Underwater Music. The natural elements captured and highlighted by experimental technology are a constant in Redolfi's catalogue: many compositions explore the earth environments such as in 'Pacific Tubular Waves', 'Jungles', 'Desert Tracks' (re-released on Sub Rosa records) and especially with 'Sonic Waters', a work that literally immerses the listener into an acoustical substance. During the mid-seventies Redolfi carried out his electro-acoustic research in the United States, with major electronic music centers including the California Institute of the Arts and chiefly the University of California in San Diego. As invited resident of their studios, Michel Redolfi launched the underwater music concerts, with the series 'Sonic Waters' performed in the Pacific Ocean. Michel Redolfi's underwater creations have since been regularly programmed by major international festivals, with multi-media installations held in ecological marine reserves or in historical city pools. Among them, the Sydney Festival, Paris 'Nuit Blanche', Ars Electronica in Linz, the 2006 Venice Biennale (nominated Golden Lion) and lately the 2018 Ars Musica festival in Brussels. This record presents different variations of Sonic Waters from 1980 to 1987, alternating studio mixes with their re-recordings in the depths of the Pacific. Michel Redolfi CD's and LP's are currently published by Sub Rosa, INA-GRM and Radio France.

Following up on his Timedance debut in 2019, Sydney based wunderkind Air Max '97 signs his return in style with a double dose of hi-detail club warpers.

Without sacrificing any of his grimy and sub-loaded tendencies, the New-Zealand born producer expands his intricate and futuristic palette further with his most trance-inducing production to date.

Mastered by Beau Thomas at Ten Eight Seven.

Artwork by Butt Studio.

Ocean Tales, Julien's second Santpoort album on Friends of Friends, takes another step into his past while artistically leaping forward. Steel-toned kalimba melodies that glint like sunlight on crystalline waves, poignant piano, resonant bass lines, soulful blues guitar - Julien plays them all to create richer, more layered lo-fi composition sof hip-hop, electronic, ambient, and blissful psych-pop, accenting many with chirping birds and recorded sounds from nature. He also collaborates with musicians like Canadian electronic duo Tennyson and Sydney songstress Little Green, the dewy-eyed lyrics of everyone involved conveying the inherent longing at the center of Julien's Santpoort project more powerfully than ever before.