{"title":"Hospital Hill","description":"\u003cp\u003e\u003cstrong\u003eHospital Hill\u003c\/strong\u003e is a Sydney-based production house and record label. Its catalogue points to an open-ended approach, bringing together work by \u003cstrong\u003eJules Reidy\u003c\/strong\u003e, \u003cstrong\u003eBen Carey\u003c\/strong\u003e, \u003cstrong\u003eWaakya\u003c\/strong\u003e and \u003cstrong\u003ePeter Knight and Australian Art Orchestra\u003c\/strong\u003e. That range suggests a label interested less in one house style than in giving distinctive Australian artists room to develop.\u003c\/p\u003e","products":[{"product_id":"metastability-2","title":"METASTABILITY","description":"\u003cp\u003e“\u003ci\u003eMETASTABILITY\u003c\/i\u003e was composed and performed on the 1975 La Trobe Serge ‘Paperface’, a colossal modular synthesiser designed by Serge Tcherepnin, currently housed at the Melbourne Electronic Sound Studio (MESS), Naarm\/Melbourne, Australia. The fruits of two residencies at MESS in 2019 and 2021, \u003ci\u003eMETASTABILITY\u003c\/i\u003e explores some of the vast sonic terrain of this unique machine across its five tracks. \u003c\/p\u003e\u003cp\u003eThe Serge was commissioned for the La Trobe University Music Department in the mid-1970s by composer Warren Burt and has since been restored by renowned Serge expert Ken Stone. Affectionately dubbed ‘Paperface’ due to the characteristic paper graphics used on its front panels, the La Trobe Serge is one of three instruments designed by Tcherepnin to make its way to Australia during this period. The La Trobe Serge is a beautiful, complex instrument. At the core of Tcherepnin’s design philosophy is the concept of ‘patch programmability’, where low-level functions of the instrument are made available to the musician. This approach pushes the performer to define and re-define the scope of the instrument’s architecture as part of the compositional process. \u003c\/p\u003e\u003cp\u003eIn my encounters with the Serge, I experience the instrument as an electronic ecosystem, one that makes me work hard for every sound, but always in collaboration with the machine. What fascinates me most about working on the Serge is this sense of human\/non-human collaboration. As a patch begins to grow in complexity, I’m acutely aware that my compositional decisions are not solely my own. They’ve become part of a sprawling human- machine network, the history of which sits in front of me as an imposing tangle of patch cables. In \u003ci\u003eMETASTABILITY\u003c\/i\u003e, I was interested in exploring this relationship, resulting in sounds and processes that push and pull on each other, moving in and out of equilibrium.\u003c\/p\u003e","brand":"Hospital Hill","offers":[{"title":"LP","offer_id":50489973440843,"sku":"2029035","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Ben_Carey_METASTABILITy__8f3d708f_thumbnail_4096.jpg?v=1727647582"},{"product_id":"crossed-and-recrossed","title":"Crossed and Recrossed","description":"\u003cp\u003ePeter Knight’s work sets up a post-minimal logic that refracts and disintegrates as we listen. The instrumentation of the chamber jazz orchestra is expanded with the unexpected additions of turntables, a reel-to-reel tape machine and live laptop signal processing. The sounds of acoustic instruments and voices are interwoven with field recordings cut onto vinyl and are filtered\/augmented as Knight plays with our perceptions of what we hear \u0026amp; what we imagine we have heard. Time folds into itself in a very Calvino-esque manner, leaving us with the trace residue of moments half remembered. \u003c\/p\u003e\u003cp\u003eAs Artistic Director of one of Australia’s leading contemporary music ensembles, the Australian Art Orchestra (AAO), Peter Knight has emerged as a significant force in contemporary music, initiating commissions, collaborations \u0026amp; performances with a diverse range of artists including recently: Anthony Braxton, Nicole Lizée, Amir ElSaffar and Alvin Lucier.\u003c\/p\u003e","brand":"Hospital Hill","offers":[{"title":"Black | LP","offer_id":50504940159307,"sku":"1128565","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/0e1a5cbe-f2e3-437c-a6e5-19e89f1722a3_thumbnail_4096.jpg?v=1727811783"},{"product_id":"very-fast-and-very-far","title":"Very Fast and Very Far","description":"\u003cp\u003eIn 1977 the US government sent two unmanned probes — Voyager I and Voyager II — on a one-way journey into interstellar space. On board each craft, a carefully etched golden record containing sonic artefacts of life on earth, including fragments of Bach and traditional musics, sounds of animals and nature, an audio realisation of the ‘music of the sphere’s’ and children’s laughter. As the 40th anniversary of the mission loomed, the three artists, working here together for the first time, locked themselves in a dark studio, armed with three things: a gleaming desktop computer and microphone running custom software (pulled from a previous gallery installation by Tim Bruniges), a pair of keyboards from the era, plus a laboriously hunted- down fragments from the original golden record. The setup was such that Bruniges and Day could each hear McGuigan’s collaged Voyager excerpts but not each other’s responses, like a sonic exquisite corpse. Each artist brings insights from their diverse extra-musical practices, sound art, film making and writing, which lends a keenly sculptural approach to the material. The results are mysterious, evocative: like a submerged fever dream\u003c\/p\u003e","brand":"Hospital Hill","offers":[{"title":"Black | LP","offer_id":50504948973899,"sku":"1128567","price":24.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/a512f95d-2e9d-4df6-87f8-014c30321c5d_thumbnail_4096.jpg?v=1727811830"},{"product_id":"instants-and-their-echoes","title":"Instants and Their Echoes","description":"\u003cp\u003e“Jules Reidy is a musician based in Berlin. As a soloist, they make songs featuring processed \u0026amp; acoustic guitar(s) \u0026amp; electronics. They otherwise play in Sun Kit, the Pitch, Oren Ambarchi's ‘Carpe Diem’, as well as in duo projects with Sam Dunscombe, Andrea Belfi, Judith Hamann, \u0026amp; Ivan Cheng. Jules Reidy has conjured a dazzling world of sound on INSTANTS \u0026amp; THEIR ECHOES, enfolding their otherworldly guitar fantasias within the just intoned brass of Zinc \u0026amp; Copper. Carrying on a practice they vividly introduced on the astonishing 2022 album World in World, Reidy has found a unique take on alternate tuning, sculpting sounds that churn \u0026amp; swirl, activated by harmony that seems to levitate even as it moves. When commissioned by Zinc \u0026amp; Copper - the veteran trio of tubist Robin Hayward, French horn player Elena Kakaliagou, \u0026amp; trumpeter\/trombonist Hilary Jeffery, who’ve worked with the likes of Catherine Lamb, Ellen Arkbro, \u0026amp; Éliane Radigue - Reidy conceived a fascinating timbre that complemented the group’s sonic purity with their own electronic machinations. Reidy has described the work as sound “collapsing in on itself,” \u0026amp;, indeed, the music evokes a kind of slowmotion implosion, as parts of a brassy edifice tumble into its foundation - captured instants \u0026amp; time stretched echoes. Reidy ingeniously seized the tail ends of various phrases played by the trio, electronically warping \u0026amp; extending those tones into an ethereal mist colliding with \u0026amp; harmonising against electric guitar figures voiced with the same set of pitches, albeit shifted down to meld into the range of the low brass figures. The music transforms the sere articulation of the brass with those electronic manipulations, retaining its clarity while reshaping it like putty in a fluid wash that brings a stunning continuity. The chiming guitar tones both twinkle like stars \u0026amp; cast a milky haze, recasting sets of vibrating chords into a genuine sonic journey marked by sorrowful melodic shards \u0026amp; sudden sonic explosions that indicate Reidy’s gifts as a composer. As a listener who’s become spellbound by music composed in just intonation, Reidy has developed something genuinely original that erases the divide between acoustic \u0026amp; electronic, refusing to let a particular tuning system get in the way of an increasingly sure-handed compositional voice\u003c\/p\u003e","brand":"Hospital Hill","offers":[{"title":"Black LP","offer_id":50812433072459,"sku":"2232178","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/JulesReidy_instantandtheirechoes_31f7e2f7_thumbnail_4096.jpg?v=1734672957"},{"product_id":"inventions-4","title":"Inventions","description":"\u003cp\u003eBen Carey returns to Hospital Hill in 2026 with \u003ci\u003eINVENTIONS\u003c\/i\u003e, his third release on the Australian experimental music label. A sonic alchemist, Carey is most known for his work with analogue synthesisers, including rare \u0026amp; historical equipment.\u003c\/p\u003e\u003cp\u003eApproaching these machines with a sense of curiosity, Carey coaxes detailed sonic structures from networks of electricity, discovering latent possibilities of his chosen equipment through human-machine collaboration. Describing his approach, The Wire Magazine observed that Carey works by “not so much bending [the machine] to his will as letting it sing for itself.”\u003c\/p\u003e\u003cp\u003eFor 2023’s METASTABILITY, Carey mined the sonic depths of a single historical instrument, the La Trobe Serge ‘Paperface’ modular synthesiser, creating dynamic works from a single source. The instrument’s designer, Serge Tcherepnin, remarked that Carey “treats my synths like the real musical instruments they aspire to be.”\u003c\/p\u003e\u003cp\u003eFor \u003ci\u003eINVENTIONS\u003c\/i\u003e, Carey’s experiments opened outwards towards a diverse ecology of machines, with its six dense tracks assembled from encounters with analogue equipment at studios in Stockholm, Den Bosch, New York, Melbourne, \u0026amp; Sydney.\u003c\/p\u003e\u003cp\u003eAs the title implies, Carey’s new record foregrounds the act of invention as a creative practice. For Carey, the systems he works with are not treated as fixed instruments, but as the ground from which to invent, re-invent, \u0026amp; explore dynamic, living machines.\u003c\/p\u003e\u003cp\u003eTaking inspiration from the French philosopher of technology Gilbert Simondon, Carey approaches invention as an organic process, where his chosen machines become a site for exploring what Simondon calls the “dynamism of lived functioning” of technical objects. Carey’s works follow these trajectories as they develop, recalling earlier musical notions of invention as a searching, exploratory practice, or ricercare.\u003c\/p\u003e\u003cp\u003eAcross the album, equipment, patches, \u0026amp; compositions form a continuous field of activity. Sound emerges through negotiation: between intention \u0026amp; outcome, stability \u0026amp; instability, control \u0026amp; resistance. Drawing on material captured across a diverse range of equipment over a two-year period, \u003ci\u003eINVENTIONS\u003c\/i\u003e documents these encounters, resulting in a series of works where sound \u0026amp; musical forms emerge from systems in formation.\u003c\/p\u003e","brand":"Hospital Hill","offers":[{"title":"LP - Black","offer_id":58815395627339,"sku":"R5342-5283","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/HHLP04260758-cover.jpg?v=1791888622"},{"product_id":"cosmosis","title":"Cosmosis","description":"\u003cp\u003eSound is an ecology—a living organism that hatches, breathes, decays \u0026amp; evolves. In \u003ci\u003eCosmosis\u003c\/i\u003e, I sought to build sonic imagined landscapes—audible biomes that could belong to an Earth yet to come or a world beyond our own. This project seeks to listen beyond musical registers, hoping to bring to the surface the unheard \u0026amp; seemingly invisible, finding communion with voices often ignored: the hum of fungi stretching through soil, the exhalation of forests, the echoing calls of creatures who have shaped our Earth alongside us, some far longer than us.\u003c\/p\u003e\u003cp\u003eOver the past decade, I have gathered a library of field recordings. I like to think of this as a living archive of our planet’s acoustics, foraged from my expeditions as an archaeoacoustics \u0026amp; bioacoustics researcher. This archive includes recordings from each biome that is reimagined in the album. They span early summer mornings in the English woodlands, the ambience of prehistoric caves in Catalonia, contact mic-ing tree roots in humid jungles, eucalyptus forests in tempest on Gadigal \u0026amp; Darug country \u0026amp; underwater recordings of the Mediterranean Sea. Through bioacoustics, I have been granted access to the voices of canids, gibbons, dolphins, birds, felines \u0026amp; more—an evolutionary lexicon of sound. These recordings are not merely samples; they became the raw materials from which this album is sculpted.\u003c\/p\u003e\u003cp\u003eTechnology allowed me to extend these more familiar natural voices into unfamiliar terrains. The howl of a wolf is stretched, becoming a haunting drone. The friction of a moth’s wings turned percussive, reshaped into immersive rhythmic pulses. The electrical current of mycelium sonified into an ethereal choral arrangement. Each track carries within it an essence of what is known \u0026amp; what is earthly, but I hope, it transforms into something beyond recognition—a liminal space between the real \u0026amp; the imagined.\u003c\/p\u003e\u003cp\u003eThis album is a map of possible futures, a place where sonic landscapes become speculative ecologies.\u003c\/p\u003e","brand":"Hospital Hill","offers":[{"title":"LP - Clear","offer_id":58815416762699,"sku":"R2735-2576","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/HHLP10250756-cover.jpg?v=1791888999"},{"product_id":"standing-on-smoke","title":"Standing on Smoke","description":"\u003cp\u003eWaakya means ~ the crow moving its feathers\u003c\/p\u003e\u003cp\u003eWaakya arose from a desire to bring new life to the oldest continuously practised music tradition in the world: manikay, the ancestral songs of the Yolŋu people of Arnhem Land.\u003c\/p\u003e\u003cp\u003eA vivid cross-cultural collaboration, Waakya is ceremonial songman Daniel Wilfred, yidaki (didgeridoo) master David Wilfred \u0026amp; electro-acoustic musicians Martin Ng (turntables\/CDJ-500\/OB-4 speaker), Ben Carey (analog synthesisers), \u0026amp; Matt McGuigan (guitar\/electronics).\u003c\/p\u003e\u003cp\u003eThe ensemble tangles \u0026amp; coils audacious experimentation around mantra-like ceremonial songlines to arrive at a sound world that embodies past, present, \u0026amp; future; reflecting the aboriginal concept of time, the everywhen: the eternal present.\u003c\/p\u003e\u003cp\u003eAs much as the ideas \u0026amp; the players involved come from traditions of experimentation \u0026amp; improvisation, the intention with this project was always to make ‘songs’, unconventional ones perhaps, but songs.\u003c\/p\u003e\u003cp\u003eThese songs speak of beyond-ancient myths (Nuŋgurryu Nuŋgurryu, Standing on Smoke), stories of nature \u0026amp; totems (Guku, Waakya, Pipit) - the importance of which inspired the vinyl side-names of this release: Land, Spirits, Plants, Animals - \u0026amp; also of more personal ideas such as homesickness (Jillai) \u0026amp; sharing culture (Titjimbat Yolŋu Balanda).\u003c\/p\u003e\u003cp\u003e“Waakya is glorious. Absorbing into the floor listening.”\u003c\/p\u003e\u003cp\u003e– Michael Kucyk (efficient space)\u003c\/p\u003e\u003cp\u003eThe Yolŋu people have lived in Arnhem Land in the far north of Australia for over 40,000 years. Daniel is a Wagiläk man \u0026amp; is the ceremonial leader for the Wagiläk people, travelling the area singing manikay \u0026amp; playing bilma (clap sticks). David is a Ritharrŋu man \u0026amp; the traditional Djunggayi (manager) of the manikay of the country of Nyilipidgi. 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