{"title":"Efficient Space","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eEfficient Space is a Melbourne-based music label that is operated by Noise In My Head. With a focus on showcasing unique and diverse sounds, Efficient Space has become known for its exceptional curation of *artists* and *performers*. The label's dedication to unearthing hidden gems from the past and present has earned it a reputation as an authoritative voice in the music industry.\u003c\/p\u003e\n\n\u003cp\u003eEfficient Space prides itself on its commitment to preserving and reissuing rare recordings, ensuring that these important pieces of musical history are accessible to a wider audience. The label's attention to detail in their releases is evident through their high-quality vinyl pressings and beautifully designed artwork.\u003c\/p\u003e\n\n\u003cp\u003eAs a platform for both established and emerging talent, Efficient Space continues to push boundaries with its eclectic roster of artists. From ambient electronica to experimental pop, the label embraces genres across the spectrum while maintaining its distinct identity. With each release, Efficient Space consistently delivers captivating music that challenges conventions and captivates listeners.\u003c\/p\u003e","products":[{"product_id":"someone-like-me-2","title":"Someone Like Me","description":"\u003cp\u003eEfficient Space continue with their very highly regarded compilations. And this looks like another classic..\u003c\/p\u003e\u003cp\u003eA humanity-reminding suite of miracle moments, \u003ci\u003eSomeone Like Me\u003c\/i\u003e unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour. \u003c\/p\u003e\u003cp\u003eIlluminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.\u003c\/p\u003e\u003cp\u003eThroughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.\u003c\/p\u003e\u003cp\u003eReaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.\u003c\/p\u003e\u003cp\u003eCompiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring\/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. 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Amelia Besseny and Altered States Tapes’ founder Cooper Bowman are prolific in their ritualistic ambient-pop duo Troth, while Yuta Matsumura holds a formidable Sydney punk band pedigree on top of his Low Company backed solo work. \u003c\/p\u003e\u003cp\u003eA reward for those who took the time to dig it out, Th Blisks’ 2022 debut \u003ci\u003eHow So?\u003c\/i\u003e was a DIY creation that fully embraced its outsider roots, revelling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, we proclaim their return with \u003ci\u003eElixa\u003c\/i\u003e.\u003c\/p\u003e\u003cp\u003eWith an unseen clarity of vision, \u003ci\u003eElixa\u003c\/i\u003e conjures its meticulously fleshed out world. Those familiar pieces are all there - the mystery, the patience, a cheeky pop hook - however this time there's an intentionality to it all. A blurred dialogue stretching across Australia, it was largely recorded remotely with tracks bouncing between Bowman and Besseny in Muloobinba (Newcastle) and Nipaluna (Hobart), and Matsumura stationed in Warumpi (Papunya). Every element is carefully considered, stemming from their individual time spent as lifers in the local DIY scenes. Through these tracks you can feel that history; echoes of Castings and Vincent Over The Sink in ‘Do You Bless It?’, Bowman's distinctive submerged tape loops gurgling away under boom bap and *that* Sydney guitar tone in ‘Esk’.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eElixa\u003c\/i\u003e attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. 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Falling short of generating public interest, it became well known in the Yolngu homeland.\u003c\/p\u003e\n\n\u003cp\u003eNearly two decades later, a CD copy filed away in the 3RRR FM library would prompt a three-year investigation to meet the people behind the music. \u003cem\u003eWaak Waak ga Min Min\u003c\/em\u003e (Black Crow, White Cockatoo) combines the previously unreleased \u003cem\u003eGandi Bawong\u003c\/em\u003e with five contemporary versions from the original album, with a new cover painting by \u003cstrong\u003eBobby Bunnungurr\u003c\/strong\u003e.\u003c\/p\u003e\n\n\u003cp\u003eTracing 1997 back to many millennia ago, this is a captivating window into the richness of Aboriginal culture and collaboration.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"CD","offer_id":50471558742347,"sku":"1035710","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/88f9f769-fc38-4320-bb40-96593b6c3611_thumbnail_4096.jpg?v=1727407721"},{"product_id":"3am-spares","title":"3AM Spares","description":"\u003cp\u003e\u003ci\u003e3AM Spares\u003c\/i\u003e is a new collection of Australian Electronic Dance Music compiled Andras and Instant Peterson that encompasses the darker sounds and later nights of the 1990s and beyond. Following on from forerunner compilation \u003ci\u003eMidnite Spares\u003c\/i\u003e, this double LP draws from local 12” releases, CDRs and the archives of community radio station 3RRR FM to make a diverse and pumping scene audible once more. No longer confined to beer barns and back rooms, this generation of producers, DJs, clubbers and ravers spilled out into pavilions, warehouses and paddocks, embracing a new culture of machine-metaphor and chemical love. Released by the likes of Clan Analogue, Creative Vibes, Volition, DanceNet, Juice and Psy-Harmonics, this era’s material has evaded sufficient digital documentation until now, some lost in the decommission of Angelfire, Tripod and Geocities websites. Often these bedroom experiments and one-off collaborations existed solely for compilation inclusions, a plausible scenario for the mysterious Inner Harmony. In the case of Tetrphnm, graphic artist Jeremy Dower’s glacial sub-bass was digitised from the only known CD-R copy, preserved by the 3RRR FM library.\u003c\/p\u003e\u003cp\u003eMany key figures of this narrative have deep roots in the DIY \/ post-punk family tree. Third Eye, the impressive evolution of Whirlywirld founder and industrial legend Ollie Olsen, finds common ground with I Will Go, a hypnotic concoction by Adrenalentil and Poets of the Machine associate Jandy Rainbow, a transgender artist whose liberated electronics trace back to 1978. The most unique take on this new wave of dance music comes from Turrbal-Gubbi Gubbi woman and Stolen Generations survivor Maroochy Barambah. Recorded in New York, Mongungi incorporates two lines of a traditional Gubbi Gubbi song \u003ci\u003eGurri Nina Nami\u003c\/i\u003e with the sound palette of tribal house, highlighting the broadening ways that identity and culture were being negotiated and manifested within club music.\u003c\/p\u003e\u003cp\u003eA lesson in intelligent appropriation, Artificial’s Sobriquet remix bends one of the most looped samples of all time to fit a wired new generation’s interrogation of that thing called disco. Artificial’s ingenuity was vital impact to the scene, releasing three influential albums as one half of B(if)tek and establishing the WINK Awards - a music prize that recognised and encouraged subversive electronics. Her playfulness is mirrored in Blimp’s frisky garage house, recalling Paul Johnson, while Ian Eccles-Smith’s borrowing is comparatively more discrete on the chillout sampledelic collage The Slaughtering Eye. Andy Rantzen returns to Efficient Space in two incarnations - as one half of Itch-E + Scratch-E ambient alias Screensaver, and in collaboration with General Electrik on \u003ci\u003eLeather Lover\u003c\/i\u003e, a cocked and loaded glimpse at the bottom end of Oxford street, originally recorded for the Club Kooky compilation \u003ci\u003eGay In The Life: Adventures in the Queer Underground\u003c\/i\u003e. Reinventing himself as Hypnoblob, fellow Sydney Oz Wave artist Ian Andrews also gives us his pneumatic-drill-step \u003ci\u003eDeep Down\u003c\/i\u003e.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP | x2","offer_id":50471780254027,"sku":"1047592","price":34.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b1eb0679-8a26-47fc-aea9-f67102f4ebc4_thumbnail_4096.jpg?v=1727411643"},{"product_id":"oz-echoes-diy-cassettes-and-archives-1980-1989","title":"Oz Echoes: DIY Cassettes and Archives 1980-1989","description":"\u003cp\u003e\u003ci\u003eOz Echoes\u003c\/i\u003e peels away another layer of Australia’s ‘80s DIY hive mind. The Oz Waves successor exposes a deeper circuit of micro-run cassettes, community radio archives and irrationally abandoned studio sessions, as Steele Bonus sequences a 10-track compendium of drone pop, psyche-electronics and agitated tape cut-ups.\u003c\/p\u003e\u003cp\u003eFrom the Sydney cassette network, The Horse He's Sick returns with an industrial car crash, alongside Wrong Kind of Stone Age’s pagan cacophony and primal riddims. M Squared dynamo Patrick Gibson appears in both Height\/Dismay and Mr Knott, his respective studio-as-an-instrument collaborations with Dru Jones (Scattered Order) and ex-Slugfucker Gordon Renouf - the former’s worn out apparition hails from an instantly deleted 1981 7”, while Mr Knott entrust one of the compilation’s five previously unreleased tracks.\u003c\/p\u003e\u003cp\u003eMatt Mawson represents Brisbane music media-printed matter collective ZIP, as Adelaide’s Three D Radio grants access to their vaults of live-to-air recordings and aspiring demo submissions, rescuing the slap- happy punk-funk of The Frenzied Bricks and Jandy Rainbow’s prodigious beginnings in Les Trois Etrangers and Aeroplane Footsteps. Synchronously in Melbourne, Ash Wednesday (Karen Marks, The Metronomes) leads Modern Jazz’ improvised proto-techno and EBM pioneers Shanghai Au Go-Go home record their sardonic synth-wave.\u003c\/p\u003e\u003cp\u003eA cherry-picked cast of unusual suspects, \u003ci\u003eOz Echoes’ \u003c\/i\u003eunfamed artist and non-band narratives are detailed by track-by-track liner notes with rarely published archival visions and artwork from Video Synth, prompting further rabbit hole ventures into this golden era of creative risk-taking and instant action.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"Black | LP","offer_id":50473328771403,"sku":"1113927","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/68f43a43-dcd6-4c51-ad3d-58eb17d8acce_thumbnail_4096.jpg?v=1727428306"},{"product_id":"soft-and-fragile","title":"Soft and Fragile","description":"\u003cp\u003eEfficient Space presents \u003ci\u003eSoft and Fragile\u003c\/i\u003e by Ros Bandt and Lime (Live Improvised Music Events), originally released by Move Records in 1983. A pioneering figure in Australian music, Bandt is known for her work with sound sculpture, electronics, acoustic ecology, and invented instruments, as well as her writings and teaching.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eSoft and Fragile\u003c\/i\u003e comprises a series of structured improvisations performed on custom-built bells and gongs. On the side-long ‘Ocean Bells’, Bandt performs on her ‘flagong’, a three-tiered vertical glass marimba that she made in 1978, inspired by the ‘cloud chamber bowls’ of maverick instrument builder and microtonal composer Harry Partch. Over a long tape loop made up of slowed down sounds from the same instrument, she delicately strikes the glass bells with mallets, allowing individual pitch-es to ring out and decay with the aquatic wavering quality that suggested the piece’s title, eventually building into flowing melodic sequences. Structured as a series of events determined by the length of the performer’s breath, this gently undulating music invites listeners to lose themselves in delicate microtonal fluctuations and subtle yet expressive phrasing.\u003c\/p\u003e\u003cp\u003eFor ‘Shifts’, Bandt is joined by Julie Doyle, Gavan McCarthy, and Carolyn Robb on a collectively composed work for clay bells. Atop a steady pulse, melodic and rhythmic cells expand and contract, shifting between Lime’s four members. Lime also perform the closing ‘Annapurna’, where timbres sourced from glass, clay and metal are freely threaded through a pulsating tape backdrop generated from loops of the ensemble chanting.\u003c\/p\u003e\u003cp\u003ePresented in a redesigned sleeve showcasing the performers and their instruments, the reissue repro-duces the extensive original liner notes. While Bandt’s ideas and techniques draw on aspects of the invented instrument tradition of Partch and Bertoia, Stockhausen’s intuitive music, and the cyclical structures of American minimalism and Javanese gamelan, the floating world of \u003ci\u003eSoft and Fragile\u003c\/i\u003e also resonates with the work of New Age outlier Stephan Micus and contemporary practitioners such as Tomoko Sauvage. In Bandt’s own words, this is ‘elegant and sensual music where the body and mind have the time to reflect and catch up with the moment as it passes...It is a music intended for res-pite’.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"Black | LP","offer_id":50475648549195,"sku":"1138671","price":29.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5bcc3911-be28-4b6c-85fd-f1b486f13158_thumbnail_4096.jpg?v=1727448691"},{"product_id":"late-late-show","title":"Late, Late Show","description":"\u003cp\u003eAfter a ten year pursuit, Efficient Space finally presents Late, Late Show, the last\nrecordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-’80s,\nthese charmingly unvarnished sessions pare the combo back to their core, producing\nblue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-\ndisco of ‘Mr President’ to the effortless pop perfection of ‘Fool’s House’, the six\ntracks reveal a creatively open and well-oiled pel mel before they inevitably\ndisbanded.\n\u003c\/p\u003e\u003cp\u003eFormed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel\nwere inspired by New York and UK’s post-punk imports. Cutting their teeth speeding\nthrough originals and Joy Division, Wire and The Buzzcocks covers every Friday\nnight to a regular turnout of dole bludgers, students and the under-age, the band\nwould also cross-pollinate with electronic-leaning support act The Limp. In 1980,\nthey decamped to Sydney to join the city’s flourishing alternative music scene\nalongside the likes of Laughing Clowns, Tactics, The Reels, Wild West and the M\nSquared crew, making an indelible mark with two albums and several singles as the\nonly domestic signee of Factory’s Australasian licensee GAP Records. Catchy and\nintelligently experimental without being noisy, their musicianship and enduring legacy\ncontinues to be lauded by peers.\n\u003c\/p\u003e\u003cp\u003eUndoubtedly some of their strongest output, this previously unreleased demo suite\ndocuments pel mel free from the pressures of a commercial outcome, naturally\nelevating them to a class alongside Orange Juice, Antena and Young Marble Giants.\n\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"12\"","offer_id":50490451525963,"sku":"2022742","price":15.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ES029_8d405798_thumbnail_4096.jpg?v=1727662438"},{"product_id":"cold-cafe","title":"Cold Cafe","description":"\u003cp\u003eAlmost four decades since it’s domestic release, Karen Marks’ 1981 single \u003ci\u003eCold Café \u003c\/i\u003ehas finally reaped it’s deserved international credit to become one of Australia's most recognised minimal wave recordings. Efficient Space now showcases the Melbourne artist’s brief but entire discography, including two previously unheard demos, all produced with experimental synthesist Ash Wednesday (The Metronomes, Modern Jazz, Thealonian Music).\u003c\/p\u003e\u003cp\u003eA rarity in the then male dominated industry, Marks found her footing in music, first through rock journalism and then in band management. Formally of Adelaide, newly arrived synth-punks JAB (Johnny Crash, Ash Wednesday and Bodhan X) approached her for representation, subsequently contributing tracks to seminal 1978 snapshot Lethal Weapons and playing the Crystal Ballroom's opening night. Wednesday and Crash would soon dissolve JAB, enlisting Mark Ferry and Sean Kelly to create Models. Still under Mark's management, Models became one of the fastest rising new bands of the punk movement, playing to full houses of dedicated and frenzied fans everywhere. Sadly, internal frictions forced Wednesday and Marks to leave after two years, with Crash following three months later.\u003c\/p\u003e\u003cp\u003eHer creative relationship with Wednesday fortified with the co-production of his 1980 machine-pop prank \u003ci\u003eLove By Numbers\u003c\/i\u003e, her swooning chorus uplifting his deadpan count to 100, before the two collaborated on Marks’ own recording persona. Immortalised by the icy Oz wave of \u003ci\u003eCold Café\u003c\/i\u003e, her Astor issued 7” also boasted the caffeinated flip \u003ci\u003eWon't Wear It For Long\u003c\/i\u003e - a should be hit with guitar from future Icehouse member Robert Kretschmer.\u003c\/p\u003e\u003cp\u003eFans know of one more recording - \u003ci\u003eYou Bring These Things\u003c\/i\u003e, a forlorn arrangement of an otherwise unreleased Paul Kelly song, gifted to her by the revered wordsmith. The track only ever appeared on the Astor promotional LP \u003ci\u003eTerra Australis\u003c\/i\u003e, sinfully alongside Up There Cazaly and Joe Dolce - hard proof that the label grossly misunderstood her talent (Marks recalls their persistent requests to show midriff and cleavage). Locked in a dissatisfying label arrangement and at this stage unwilling to follow her peers to greener pastures overseas, she felt her only way out was to cease all further activities.\u003c\/p\u003e\u003cp\u003eAt the 11th hour of preparing this retrospective, two tracks unexpectedly surfaced via two cassettes - a paranoid demo version of her signature tune \u003ci\u003eCold Café\u003c\/i\u003e, and a long-lost fourth song \u003ci\u003eProblem Page.\u003c\/i\u003e Both living room recordings follow Marks and Wednesday’s ingenious framework of minimal lyrics, minimal chord progressions.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"Black | 12\"","offer_id":50506992910667,"sku":"1063163","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1e2f4a60-6a32-4e86-8d8f-75857d26b3b3_thumbnail_4096.jpg?v=1727835850"},{"product_id":"para-mi-madre","title":"Para Mi Madre","description":"\u003cp\u003eSpurred on by emergent footage of a recent live performance, Efficient Space delves deeper into the world of Spanish shoegaze outfit Bélver Yin, now solely helmed by founding member Pedro L. Orte-ga. An intimate collection of new recordings, \u003ci\u003ePara Mi Madre\u003c\/i\u003e is a parting gift to his mother, fulfilling a promise made in her final days.\u003c\/p\u003e\u003cp\u003eBélver Yin’s story begins at the turn of the ‘90s, blooming from a fixation with British ethereal alt-pop (Cocteau Twins, The Chameleons, The Cure et al.). Utilising guitar, bass and drum machine rhythms to record the cathartic 1991 debut Luz Bel, their quintessentially Mediterranean angle on slow, reverb and echo-laden atmospherics found a home on fleeting label Noisex Music. Despite radio play and con-certs around Spain, lack of distribution led to the album being largely overlooked, until Efficient Space’s faithful reissue in 2020.\u003c\/p\u003e\u003cp\u003eWith this newfound interest stoking Ortega’s fire, the wealth and strength of \u003ci\u003ePara Mi Madre’s\u003c\/i\u003e expres-sive impulses will woo fans and newcomers alike. Patiently moving from pastel hues, sepia-tones and balearic nostalgia, its crystallised instrumentals give a knowing nod to the wide-eyed possibilities of youthful summers as much as they do world-weary respite. Not wallowing in gloom, the deeply per-sonal and spirit-stirring memorandum documents Ortega coming to terms with the loss of his greatest champion.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP","offer_id":50975332598091,"sku":"2024254","price":25.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ES034_2c6e390f_thumbnail_4096.jpg?v=1734144723"},{"product_id":"69","title":"69","description":"\u003cp\u003eWilson Tanner’s\u003ci\u003e 69 \u003c\/i\u003ereturns to Australian soil for a new season. A uniquely provincial take on ambient music, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) assembled their prized debut over a shared love of seafood, wine and LPG.\u003c\/p\u003e\u003cp\u003eRecorded in a Perth backyard, these two new friends reached for the tools at hand and made the best of the fine weather. Instrument and implement com-bine in a languorous bricolage of synthesizer, clarinet and building materials - interrupted only by the occasional flutter of pigeon wings or a call to lunch. Back in print for the first time since 2017, Wilson Tanner hop into Efficient Space’s expanding pot.\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP - Black","offer_id":50995284509003,"sku":"1131719","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/6e0a94d1-c8e5-420f-85b3-1de7d541e3b3_thumbnail_4096.jpg?v=1734700980"},{"product_id":"flamenca-2","title":"Flamenca","description":"\u003cp\u003eUntil now, without catching him live, the Megabasse experience has been difficult to find: CD-Rs, short-run tapes, and one blink-and-you-missed-it LP. Thankfully, this record on Efficient Space, a reissue of some pieces that were previously only available on a small cassette edition, will put that right. Here are two long, intricate pieces, and something new—a shorter track that hints at a move toward beautiful, burnt-out guitar soli.\u003c\/p\u003e\u003cp\u003eUnless you are very lucky, wise, or rich, life imposes its structures on you. Maybe a record of shimmering, tranced guitar is all you need to get out from underneath?\u003c\/p\u003e\u003cp\u003ePierre Bujeau is an expert at creating temporary escape zones—musical structures to evade the everyday. Sometimes he works collectively as part of the mysterious French groups Omertà and Tanz Mein Herz. But it’s when he’s on his own, performing as Megabasse, that he offers the most complete break from reality. \u003c\/p\u003e\u003cp\u003eHis kit is simple: a few bottles of cheap lager, twin Fender amps, and his double-necked guitar. An instrument like this normally signals maximum rockist excess—think Jimmy Page, Geddy Lee, or that dude from the Eagles. In Pierre’s hands, it becomes more like a zither or a dulcimer, producing soft chiming patterns that build against themselves until the sound of the room, passed back and forth between his two amps, starts to blur everything, and we are away in another world. Wait, though—let down your yoga bun and don’t light the palo santo yet. \u003c\/p\u003e\u003cp\u003eThe new space he creates has nothing to do with smug wellness. It’s a rough, do-it-yourself psychedelia, scuffed but hopeful. 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Where their earlier works settled into the sun-struck torpor of a suburban Perth backyard (69) or drifted off-course on a riverboat on Port Phillip Bay (ii), Legends trades salt air for vineyard sweat, the scrape of boots on dry earth and workers’ radios humming with the summer test cricket season.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThrough this agricultural haze an image of a working vineyard emerges - ducks, dogs and plovers intrude; tractors and quads fly-by; stainless steel gleams at the edges. Recorded without mains power, the Manon demos overflow with farmyard ingenuity. Wind, brass, balalaika, balloon, pipe and synth are trained onto the staff with wire, tape and string. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA caricature of Australian viticulture, \u003cem\u003eLegends\u003c\/em\u003e is packed to the horns with the mythology and manure of natural wine. Swigging and belching in camaraderie, Wilson Tanner press their surroundings into something raw and unfiltered, letting bum notes, leftovers and sediment linger in the bottle. A cornucopia of biodynamic sounds.\u003c\/span\u003e\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP - Black","offer_id":51499144937803,"sku":"R0805-3717","price":27.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"summers-over-1","title":"Summer's Over","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eEfficient Space charts Ghost Riders’ North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn the late ’60s, 11-year-old prodigy Dennis Harte was handed a Sears-bought Silvertone 1448, its in-case amplifier primed for street-level incantations. Recruiting two neighbourhood friends, the trio hammered out raw rhythms, drawing in Brooklyn’s wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAlso jamming with his older brothers, Bart and John, a family friend introduced the siblings to budding music exec Carl Edelson, who had spent the better part of two decades hustling through a string of local labels. A father figure of sorts, Edelson backed them immediately, facilitating sessions at the famed A-1 Sound Studios and Sanders Recording Studio and pressing four 7”s on his newly minted Roundtable Records. To maximise his chances of courting major labels, he strategically assigned each release a different artist name - Dennis Harte, Pure Madness, Harte Brothers and the wryly titled Harte Attack.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDennis’ emotional maturity and sheer talent bleed into the defining ‘Summer’s Over’, penned by Edelson and once recorded by mid-'60s New Jersey garage vocal group The Wouldsmen. Morphing into an unfathomably teenage, blue-eyed soul\/psych lament, it aches for a season slipping away forever. Its Harte Attack edition counterpart - the candied ballad ‘Running Thru My Mind’ - delivers unison harmonies and kinetic guitar interplay with a streetwise punch, channeling the spirit of NYC-area icons The Rascals, The Lovin’ Spoonful, and The Youngbloods.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eRoaring like the Spencer Davis Group, Pure Madness’ organ-driven bruiser ‘Freedom Rides’ screams of biker gangs, yet its true subject - ’60s civil rights activists the Freedom Riders - looms as another towering theme for an adolescent perspective. Meanwhile, the loose, bluesy ruckus ‘Treat Me Like a Man’ digs back into Edelson’s catalogue, covering the Beatles-inflected Levittown group The Shandels.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThough Dennis later found success touring with Wilson Pickett and now doubles as a piano tuner to the stars, these four snapshots frame ambition on its outer edge - a heartfelt homage to an unbreakable brotherhood. \u003c\/span\u003e\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"7\" - Black","offer_id":51545175130443,"sku":"R3876-5411","price":14.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1140204.jpg?v=1743199236"},{"product_id":"ii-hn","title":"II","description":"\u003cp\u003eWilson Tanner comes to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. 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The pair continue their singular weave of community-rooted storytelling and elemental electronics, shaped with the gear at hand.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eHints of YouTube hip-hop and emotionally charged piano ripple through ‘Place Where I Go’, a dubbed-out reflection on the daily realities of life in Papunya, Nelson’s desert home. ‘Kapi Ngalyananni’ finds Nelson singing in language, a mesmeric water song bridging the personal and ancestral, with elevating chords, clapsticks, and Matsumura’s parched melodica lines.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThese remote dispatches carry a vital new voice from the heart of the desert, where tradition and sonic experimentation delicately converge.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"7\" - Black","offer_id":51713870463307,"sku":"R2175-1567","price":14.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ES047.jpg?v=1745616249"},{"product_id":"volition-cuts-vol-1","title":"Volition Cuts Vol 1","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEfficient Space honours trailblazing Australian imprint Volition Records with \u003cem\u003eVolition Cuts Vol. 1\u003c\/em\u003e. Evolving from Andrew Penhallow’s time at GAP Records, which smuggled Cabaret Voltaire, The Fall and the Factory catalogue into the region, Volition shifted focus to homegrown talent over imported sounds. Echoing its precursor’s blend of indie friction and electronic curiosity, the label wired itself into the pulse of club and rave culture, linking city scenes and amplifying them for the mainstream. With retina-scorching design, uncompromising packaging and top-tier remixes, Volition consistently bent the major label machine to its will.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNo Volition retrospective would be complete without Sisters Underground’s intergenerational anthem ‘In the Neighbourhood’. Ōtara teenagers Brenda Makamoeafi and Hassanah Iroegbu brought their Pasifika perspective to Proud (An Urban-Pacific Streetsoul Compilation), a commercial success that platformed NZ rap and R\u0026amp;B with a clarity that outshone its overseas counterparts. The quiet architect of Volition’s sound, producer prodigy Robert Racic flipped the classic as a hip-house dub before his untimely passing in 1996.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIts A-side companion comes from Brisbane synth-pop unit Boxcar, who signed to Volition after frontman Dave Smith handed a cassette to Tom Ellard of Severed Heads during a school newspaper interview. That unlikely handoff led to their 1990 debut Vertigo. Here, their ritual-laced, body-jacking industrial is retooled by Miami freestyle maverick Tony Garcia.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFurther cherry-picking from the VOLT vaults, Sexing The Cherry unleash a bleep-addled meltdown from Brisbane’s Edwin Morrow and Cherryn Lomas. ‘This Is A Dream’ was recorded exclusively for High (A Dance Compilation), the first all-Australian V\/A to top the ARIA charts, propelling the local movement into national consciousness.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eClosing the sampler, Sydney’s Single Gun Theory joined Volition as they moved from post-punk abstraction and electronic collage toward downtempo, sample-based mysticism. Their 1994 ambient-pop reverie ‘Fall’ is reimagined by Stuart Crichton and Apollo 440’s Norman Fisher-Jones as full-throttle Goa trance, a final surge that channels the label’s relentless push into new terrain.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cem\u003eVolition Cuts Vol. 1\u003c\/em\u003e is dedicated to the loving memory of Volition’s visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e* Tracklist: \u003c\/span\u003e\u003cspan\u003e\u003cspan class=\"Apple-tab-span\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e1. Sisters Underground - In The Neighbourhood (Sisters On The Boulevarde Dub)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e2. Boxcar - Lelore (World Dub Mix)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e3. Sexing the Cherry - This Is A Dream\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e4. Single Gun Theory - Fall (Voyage To The Bottom Of The Dub Remix)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"12\" - Black","offer_id":51993445204299,"sku":"R6941-6389","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a1842573809_16.jpg?v=1749289080"},{"product_id":"midnite-spares-compiled-by-andras-and-instant-peterson","title":"Midnite Spares: Compiled by Andras and Instant Peterson","description":"\u003cp\u003eOn \u003cem\u003eMidnite Spares\u003c\/em\u003e, Australian music devotees \u003cstrong\u003eAndrás\u003c\/strong\u003e and \u003cstrong\u003eInstant Peterson\u003c\/strong\u003e hold a candle to overlooked avant-pop and electronic works by antipodean artists and outsiders working through the 80s and 90s.\u003c\/p\u003e\n\n\u003cp\u003eThrough co-presenting weekly radio show Strange Holiday, the duo slowly upturned their locale for inspiration - archives, country bookstores, private collections, and convenience stores, searching for a place to anchor their own identities in the oceans of the island continent.\u003c\/p\u003e\n\n\u003cp\u003eThe 10 tracks acknowledge a minor history, passed on via a network of friends, friends of friends, the libraries of radio station 3RRR and more often than not, the artists themselves.\u003c\/p\u003e\n\n\u003cp\u003eRenowned mixed media artist Maria Kozic enters with the mysterious downbeat of \"\u003cem\u003eTrust Me\u003c\/em\u003e,\" her husband Philip Brophy responsible for digital and analogue sonic construction.\u003c\/p\u003e\n\n\u003cp\u003eA recurring character in \u003cstrong\u003eAndrás\u003c\/strong\u003e and \u003cstrong\u003eInstant Peterson\u003c\/strong\u003e’s investigations, Brophy reappears with a score piece from his divisive feature film \u003cem\u003eSalt, Saliva, Sperm and Sweat\u003c\/em\u003e, recorded as (pronounced “Tch Tch Tch”).\u003c\/p\u003e\n\n\u003cp\u003eMelbourne inner north experimentalist David Chesworth explores his Australiana songcraft leading \"\u003cem\u003eWhadya Want?\u003c\/em\u003e.\" The short-lived project also featured Philip Jackson, whose husband-wife duo \u003cem\u003eThe Couch\u003c\/em\u003e is restored from Fast Forward’s dance issue - a pioneering cassette fanzine published by early-80s 3RRR personality Bruce Milne.\u003c\/p\u003e\n\n\u003cp\u003eThe collection binds a certain musicianship that’s indifferent to fame or chart success, although some artists unwittingly experienced this before and after.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003ePoets of the Machine\u003c\/em\u003e’s Grace Jones techno-wave was a modest moment for Coral Island and Red Stripe, an English migrant who once celebrated a #1 UK Christmas single with an acapella cover of Yazoo, while the morbid coming of age electronics of \u003cem\u003eFoot and Mouth\u003c\/em\u003e is a lesser-known prologue to Sean Greenway and Matty Whittle’s rise as legendary teen punks heroes God.\u003c\/p\u003e\n\n\u003cp\u003eQuickly becoming a modern dancefloor hit, \u003cem\u003eMumbo Jumbo\u003c\/em\u003e’s sole release \"\u003cem\u003eWind It Up\u003c\/em\u003e\" is only now basking in its brilliance.\u003c\/p\u003e\n\n\u003cp\u003eThe remaining figures shape the diversity further. There’s Sydney dub addicts \u003cem\u003eThe Igniters\u003c\/em\u003e, \u003cem\u003eMix\u003c\/em\u003e’s groovy synth song about masturbation, and the Cameron Allen\/Graham Bidstrup soundtrack for petrol-headed ozploitation film, \u003cem\u003eMidnite Spares\u003c\/em\u003e - the compilation’s namesake.\u003c\/p\u003e\n\n\u003cp\u003eTracklist: A1. Maria Kocic and the MK Sound - Trust Me A2. Whadya Want? - Open Spaces A3. Poets of the Machine – Arabs A4. The Couch - Full Treatment A5. - Sedation B1. The Igniters - Hakka Suru B2. Mumbo Jumbo - Wind It Up B3. Mix - Do You Do It? B4. Cameron Allen and Graham Bidstrup - Bikini Atoll B5. Foot and Mouth - I Want My Mummy\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP - Black","offer_id":52881940513099,"sku":"R7107-5987","price":28.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a4049247879_16_35326c8c-854e-4b43-a364-3c1c16121cb2.jpg?v=1752256597"},{"product_id":"a-place-in-my-memory-is-all-i-have-to-claim","title":"A Place In My Memory Is All I Have To Claim","description":"\u003cp\u003e\u003cem\u003eA Place In My Memory Is All I Have To Claim\u003c\/em\u003e is the new album by Australian atmospheric pop trio Hydroplane, the storied ‘offshoot’ formed by three quarters of independent pop group, The Cat’s Miaow. On this, their first music after two decades plus of radio silence, Andrew Withycombe, Kerrie Bolton and Bart Cummings return to the gentle, close-quarters musical world they shared around the turn of the century.\u003c\/p\u003e\n\u003cp\u003eA beautiful collection of drowsy, sleepy pop, humble and quiet, but resolute in its craft, \u003cem\u003eA Place In My Memory Is All I Have To Claim\u003c\/em\u003e is dream work in practice; a lovely reintroduction. Welcome back, then.\u003c\/p\u003e\n\u003cp\u003eRecorded during 2024 in Melbourne and Ballarat, \u003cem\u003eA Place In My Memory…\u003c\/em\u003e picks up the thread Hydroplane set down with its precursor, 2001’s \u003cem\u003eThe Sound Of Changing Places\u003c\/em\u003e, though you can hear echoes of their other releases, too, with Withycombe noting a through-line from the group’s 1998 “Failed Adventure” single. There’s little quite like \u003cem\u003eA Place In My Memory…\u003c\/em\u003e, then or now, though. Maybe you can draw some connections between Hydroplane and their sister group, The Cat’s Miaow, while fellow travellers might include Empress, The Ah Club, and further back, Young Marble Giants, Veronique Vincent (the muffled, ticking drum machine also makes me think of Robin Gibb’s Robin’s Reign).\u003c\/p\u003e\n\u003cp\u003eThere’s also an umbilical to the bedroom-crafted electronica doing the rounds in the late nineties and early noughties. Hydroplane hint at this through their approach to songwriting, which often builds creatively around loops as structural devices. Through all this, the trio achieve an effortless, organic weightlessness across these nine lovely songs. Many feature Bolton’s clear singing voice, drifting along, while guitars, keyboards, drum machines and loops ticker tape away. The constituent parts fit together, but they also have a curiously detached quality – think of abstract cloud formations sharing the same sky.\u003c\/p\u003e\n\u003cp\u003eHydroplane and The Cat’s Miaow often dealt in emotional ambiguity and uncertainty, and the uncertainty of the nostalgic. This was always one of the most appealing facets of their music, and \u003cem\u003eA Place In My Memory…\u003c\/em\u003e is thus named perfectly. I couldn’t dream up a better title for the album and its reflections on history, lived experience, and the inevitable tangle between these two phenomena. These reflections variously address such concerns as human cruelty, flight, space travel, adventurism and spiritualism. There’s also “To the Lighthouse”, not a direct reference to the Virginia Woolf book, but a great title, nonetheless. 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Krautophobia, ambient lo-fi agriculture, analogue soul balm and slowspeed psych gelati-blitz cardboard pop only gesture towards the sound world he coaxed from his broken Tascam four-track recorder, in attics, churches, junkyards and at the kitchen table. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe spark for Soar was likely time and space, somewhere in the autumn of 1994. Armed with a cable salad of Sixties guitar\/bass, fairground drums, mould-speckled organs and toy instruments, Aebi coaxed five albums, an unverified run of 25 cassettes, and a handful of gigs. Mostly issued through Zurich label Corazoo, the records arrived in hand-pasted sleeves, rough-cut reproductions of his teddy bear-fixated artwork that carried the same imperfect immediacy as the music. 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This hybrid is central to Raman’s approach as a violinist, an instrument itself caught between East and West since the late 18th century. Her playing folds history, lineage and experimentation into music that acknowledges inheritance while gently rewiring its circuitry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eExpanding on traditional music can be a precarious practice, but \u003cem\u003eSyncretic\u003c\/em\u003e never feels heavy-handed. Raman and Sivarajah exercise measured restraint, letting the Carnatic framework breathe even as it is refracted through contemporary tools. Delays, looping, subtle layering and synthesized harmonies tilt tradition into a new light without disguising it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEven within a contemporary framework, Raman’s rigorous Carnatic training under gurus Sri S. Varadarajan (India), Sri Murali Kumar (Australia) and Sri Gopinath Iyer (Australia) is unmistakable. She captures the spiritual and emotional essence of each raga: on Seven, the playful raga Bahudari becomes both centrepiece and conduit, while on the traditional piece Thunbam Nergayil, drawn from a Tamil poem, we hear a deeply personal iteration, a weeping euphony of mixed emotions hitting all at once. Tradition here is absorbed, expanded and reframed.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSivarajah’s command of the mridangam, honed by his gurus Sri Jambunathan (Sri Lanka), Sri Balasri Rasiah (Australia) and Sri T. R. Sundaresan (India), is central to his original composition Guardian. He sustains tradition while extending it through layering and sound-spatialisation. 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Tradition is not an archive but living material, a soundworld that lingers in the ears and the imagination.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP - Black","offer_id":53583358918987,"sku":"R0292-9528","price":28.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a0835786634_16.jpg?v=1760272197"},{"product_id":"how-so","title":"s","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEfficient Space continues to bind its mind with Altered States Tapes, offering another service to \u003cem\u003eHow So?,\u003c\/em\u003e Th Blisks’ 2022 debut in home-cooked experimentation. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA blurring of three vastly different heads into a single disjointed, but fluid organism, \u003cem\u003eHow So?\u003c\/em\u003e finds Yuta Matsumura (The Lewers, Keanu Nelson), Amelia Besseny (Troth, Impatiens) and Cooper Bowman (Troth, CD3) working with vocals, melodica, deeply pulled samples, guitar, drum machine, synths and resourceful percussion. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn Elixa-blueprint of sideways ambient rituals, fog-thick melodica dub and paranoid trip hop by way of Sydney’s pioneering industrial collagists, the LP recirculates beyond its original 150-copy confines for those who missed its first apparition.\u003c\/span\u003e\u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP - Black","offer_id":56289136214347,"sku":"R0504-4187","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/ES052.jpg?v=1768238268"},{"product_id":"untitled-7","title":"Untitled","description":"\u003cp\u003eInitially conceived as a short-run cassette for Altered States Tapes, YL Hooi's nameless collection of textural apparitions oscillate between icy DIY minimalism, FX-drenched atmospherics and nang chamber dub. 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This 2021 Efficient Space edition is remastered and robed in new artwork that honours the Melbourne-based earth dragon's Chinese and Russian heritage. \u003c\/p\u003e","brand":"Efficient Space","offers":[{"title":"LP - Black","offer_id":57282136441163,"sku":"R6350-5171","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2000x2000bb_4a7be9bd-d31f-4a9d-adf2-5a9566a0ac35.jpg?v=1778592190"}],"url":"https:\/\/shop.roughtrade.com\/fr\/collections\/efficient-space.oembed","provider":"Rough Trade","version":"1.0","type":"link"}