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12"
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EFFICIENT 035EP
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Efficient Space honors trailblazing Australian imprint Volition Records with Volition Cuts Vol. 1. 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. No 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&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. Its 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. Further 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. Closing 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. Volition Cuts Vol. 1 is dedicated to the loving memory of Volition's visionary founder Andrew Penhallow, and key contributors Robert Racic and Edwin Morrow.
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7"
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EFFICIENT 047EP
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Luritja artist Keanu Nelson traces the afterglow of Wilurarrakutu with a two-track 7", cut from the same home-studio haze with producer Yuta Matsumura. The pair continue their singular weave of community-rooted storytelling and elemental electronics, shaped with the gear at hand. Hints 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. These remote dispatches carry a vital new voice from the heart of the desert, where tradition and sonic experimentation delicately converge.
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7"
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EFFICIENT 045EP
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Efficient Space charts Ghost Riders' North American roadmap, crashing into 1973 New York to ignite the unfiltered teen dreams of Dennis Harte. In 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 neighborhood friends, the trio hammered out raw rhythms, drawing in Brooklyn's wandering bohemians, keen to glimpse a prepubescent Alex Chilton in the making. Also 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 maximize 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. Dennis' 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. Roaring 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. Though 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.
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EFFICIENT 043LP
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Wilson Tanner return to dry land with Legends, a wine-soaked agricultural fantasy, made among the grapevines at Manon Farm in South Australia. 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. Through 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. A caricature of Australian viticulture, Legends 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.
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EFFICIENT 040LP
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Pierre 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. His 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. The new space he creates has nothing to do with smug wellness. It's a rough, do-it-yourself psychedelia, scuffed but hopeful. Not a perfect blank space to be your best self in, but instead a communal dreaming, an uncanny place where all are welcome. Until 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. Unless 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?
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EFFICIENT 041LP
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Efficient Space honors the memory of producer and MC Ali Omar with Hashish Hits, a posthumous selection from the dub rebel's self-released discography. One of ten children in working-class Liverpool, Omar drew deep influence from his father's Arabic heritage -- a thread central to his identity and sample origins. After art school and a spell clubbing during Manchester's halcyon days, he relocated to Sydney, where he co-founded the blunted downbeat duo Atone with fellow British expatriate Andy Fitzgerald. As an MC, he infiltrated the city's house, dub, jungle, and bass circuits, becoming a regular fixture at the Bentley Bar, where he commanded the mic with his versatile, rumbling baritone and charisma. Freakishly talented in the studio, Omar was a pioneer of the Akai sampler and Atari, deftly recording live sessions straight to DAT. Drawing on industry insights from his sister, Merseybeat firebrand Beryl Marsden -- who supported The Beatles on their final UK tour and was signed to Decca and Columbia -- the non-conformist sought to build a self-sufficient business model. Between 1998 and 2004, he independently issued four albums on CD through his Hashish Studios imprint, hustling copies directly to local record stores and live shows for instant returns, even hand-sewing screen-printed hessian sleeves for his final release. Uncompromising in his principles and refusing to suffer fools or charlatans, Omar relished the opportunity to collaborate with those who embodied the same spirit. Hashish Hits offers a snapshot of his inner sanctum -- Fitzgerald on the opening track's billowing smoke stacks, the serpentine vocals of Gina Mitchell and the magic hands of mixer Louis Mitchell on "On Release," and Wicked Beat Sound System's Kye on "Poor Man Beggar Man Thief." Meanwhile, "Suicide Bomber" smolders with the tension of a lost Muslimgauze relic, as the instructional "Roll Up" and "The Last Straw" spiral deeper into Omar's signature production vortex -- where space stretches in slow motion and walls reverberate with ricocheting delay. A true icon of Sydney's underground scene, the larger-than-life Omar passed away on 23 June 2009 after a valiant battle with cancer. He is remembered for his assertive spirit, larrikin humor, wild anarchic personality, and enduring mantra: "Love and live your life."
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EFFICIENT 038LP
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Simple Reality cements the short-lived legacy of Coventry DIY group Skeet. Emerging from a scene of first-generation punks and 2 Tone kids, Skeet was instigated by Gary and Nigel Meffen in 1981, fusing tightrope instrumentals with a Roland CR-8000 under the glow of projected visuals. After a cassette of their debut performance found its way to Kay Booth who worked at Inferno Records, the unsuspecting frontwoman took the liberty of adding her own vocals. Instantly embraced as a permanent member, Booth's shy delivery and open-diary expressions of social alienation and romantic rejection hovered over the brothers' scratchy guitar and agitated bass. Playing as few as ten shows, their unnerving minimalism was recorded in a suburban home studio, borrowing a reel-to-reel from Toby Lyons (The Colourfield) and a mixer from Jerry Dammers (The Specials). Record labels gestured interest until one day they were no more -- no arguments, no official split, just a silent parting of the ways and three people taking journeys in different directions. Unheard and unloved in the vaults for nearly four decades, "Brief Call" finally resurfaced via the Coventry Music Museum compendium Alternative Sounds Volume 1, followed by a micro pressing of the full suite on Chris Long's Almost Unknown imprint in 2023. Simple Reality now offers a definitive snapshot of these must-hear neurotic post-punks. Mastered by Skeet fanatic Mikey Young, newly discovered instrumental multitracks are restored alongside a live recording of their final stand. Performed atop of a trailer in a pub beer garden, the release-worthy desk tape adds three new tracks and a more energized swing at "Left On the Shelf's" apathetic techno-pop. RIYL: Fire Engines, 23 Skidoo, A Certain Ratio, Young Marble Giants, pel mel.
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EFFICIENT 037LP
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Efficient Space welcomes Th Blisks to the fold with their mutant strain of melodica dub, torched hip hop breaks, post-punk and procession song. Th Blisks' members have many notches on their collective belt. 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. A reward for those who took the time to dig it out, Th Blisks' 2022 debut How So? was a DIY creation that fully embraced its outsider roots, reveling in opportunities for connection through pop flourishes. Feeling like it might have been a one-off, they return with Elixa. With an unseen clarity of vision, Elixa 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." Elixa attempts to bottle some pinged-eye wonder at the magic surrounding, whether in the city or the bush. Informed by the old but drug into The New, it is a begrudgingly current Australien record that respectively nods at the UK's sound history.
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CD
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EFFICIENT 031CD
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A humanity-reminding suite of miracle moments, Someone Like Me 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 savior. Illuminating 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 honors the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realized 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. Throughout 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." Reaching the furthest corners, Someone Like Me secures the inaugural license 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. Compiled 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. Adorned with visual artist Chris Fallon's figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland. Also featuring The Bob Hughes Band, Jon Betmead, Robison Kaplan Ltd., and Ritchie Tierney. Original recordings range from 1966 to 1990.
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2LP
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EFFICIENT 031LP
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Double LP version. A humanity-reminding suite of miracle moments, Someone Like Me 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 savior. Illuminating 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 honors the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realized 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. Throughout 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." Reaching the furthest corners, Someone Like Me secures the inaugural license 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. Compiled 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. Adorned with visual artist Chris Fallon's figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland. Also featuring The Bob Hughes Band, Jon Betmead, Robison Kaplan Ltd., and Ritchie Tierney. Original recordings range from 1966 to 1990.
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12"
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EFFICIENT 029EP
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After a ten-year pursuit, Efficient Space finally presents Late, Late Show, the last recordings of influential Sydney-via-Newcastle band pel mel. Taped in the mid-80s, these charmingly unvarnished sessions pare the combo back to their core, producing blue-collar sophisti-pop to a danceable LinnDrum beat. From the funky disco-not-disco of "Mr President" to the effortless pop perfection of "Fool's House", the six tracks reveal a creatively open and well-oiled pel mel before they inevitably disbanded. Formed in early 1979 as a misfit sextet from steel and surf town Newcastle, pel mel were inspired by New York and UK's post-punk imports. Cutting their teeth speeding through originals and Joy Division, Wire and The Buzzcocks covers every Friday night to a regular turnout of dole bludgers, students and the under-age, the band would also cross-pollinate with electronic-leaning support act The Limp. In 1980, they decamped to Sydney to join the city's flourishing alternative music scene alongside the likes of Laughing Clowns, Tactics, The Reels, Wild West, and the M Squared crew, making an indelible mark with two albums and several singles as the only domestic signee of Factory's Australasian licensee GAP Records. Catchy and intelligently experimental without being noisy, their musicianship and enduring legacy continues to be lauded by peers. Undoubtedly some of their strongest output, this previously unreleased demo suite documents pel mel free from the pressures of a commercial outcome, naturally elevating them to a class alongside Orange Juice, Antena and Young Marble Giants.
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2LP
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EFFICIENT 032LP
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2025 repress; LP version. Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo's Ballads, a remarkable driftwerk released on A Colourful Storm in 2022. Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge -- between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose "Rainwater" (written for Hou Hsiao-Hsien's 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora. Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes' "No One Around to Hear It" (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà; the beautiful, plaintively dubby "Is It You?" by Slapp Happy; a psych-tinged reimagining of PiL's "Poptones" by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle's "20 Jazz Funk Greats." Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney's still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling. Also featuring Bhairavi Raman, Nanthesh Sivarajah, O.G. Jigg, Scala, Soft Location, Gyeongsu, CROCHE, Un, and Harry Plunket-Greene.
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EFFICIENT 032CD
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Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo's Ballads, a remarkable driftwerk released on A Colourful Storm in 2022. Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge -- between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose "Rainwater" (written for Hou Hsiao-Hsien's 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora. Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes' "No One Around to Hear It" (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà; the beautiful, plaintively dubby "Is It You?" by Slapp Happy; a psych-tinged reimagining of PiL's "Poptones" by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle's "20 Jazz Funk Greats." Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney's still-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling. Also featuring Bhairavi Raman, Nanthesh Sivarajah, O.G. Jigg, Scala, Soft Location, Gyeongsu, CROCHE, Un, and Harry Plunket-Greene.
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ENT 003
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Efficient Space publication Enthusiasms revives with Issue #03. 92 pages covering Ao-tearoa DIY folk proliferator Maxine Funke, the vocal magick of Cucina Povera, Australian devotional jazz mystery Singing Dust, Osaka portal EM Records, unsung dub specialist Sheriff Lindo and the living practice of e fishpool. View post-punk trailblazers through the lens of Rotterdam polaroid photographer Peter Graute, while Swiss artist Elise Gagnebin-de Bons exhibits her series of collages purposed for Ghost Riders. The issue also boasts imaginary mixtapes from Gavsborg, Greg Davis and Jefre Cantu-Ledesma, Mikey Young, Sonic Boom, and Troth. Perfect bound and illuminated by designer Steele Bonus.
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EFFICIENT 034LP
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Spurred 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. Ortega. An intimate collection of new recordings, Para Mi Madre is a parting gift to his mother, fulfilling a promise made in her final days. Bélver 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.) Utilizing guitar, bass, and drum machine rhythms to record the cathartic 1991 debut Luz Bel (EFFICIENT 016LP), their quintessentially Mediterranean angle on slow, reverb and echo-laden atmospherics found a home on fleeting label Noisex Music. Despite radio play and concerts around Spain, lack of distribution led to the album being largely overlooked, until Efficient Space's faithful reissue in 2020. With this newfound interest stoking Ortega's fire, the wealth and strength of Para Mi Madre's expressive impulses will woo fans and newcomers alike. Patiently moving from pastel hues, sepia-tones and Balearic nostalgia, its crystallized 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 personal and spirit-stirring memorandum documents Ortega coming to terms with the loss of his greatest champion.
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EFFICIENT 023EP
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7" with picture sleeve. Tresa Leigh is the reflection of St. Simons Island, Georgia teenager Teresa Laxamanna (né Leggett). Wooed by a Classifieds listing to audition for Philly funk and soul imprint Lyndell Records, the aspiring 15-year-old dragged her father, guitar, Fender amplifier, and microphone to perform her convincingly mature folk tales of first-time heartbreak. Winning the support of label owner Walter L Rayfield, the fresh recruit cut two originals in a makeshift motel studio on the neighboring Jekyll Island, backed by a band of unhurried session players. The 1970 recording yielded her debut 45, pairing the endearing juvenile jangle of "I Remember" with the heartsick Ghost Riders (EFFICIENT 022CD/LP) cornerstone "Until Then". After a car accident prevented Mr. Rayfield from fulfilling his release plans, an unswayed Tresa responded to Great World Of Sound's newspaper advert, baiting the prospect of gold records, major label connections, and sales of a million copies. With family and friends crowdfunding the $1,200 that the company required to produce a follow-up 7", she jetted to Nashville, recording a slicker, emotionally elevated update on "Until Then", and the symphonic slow dancer "I Miss You". In another unfortunate career misfire, the dubious label failed to deliver on any of their promises, with the artist volunteering the only surviving copy for restoration. Collating all four recordings, this brief anthology immortalizes the innocent smalltown dreams of a genuine original, inadvertently echoing the likes of Nora Guthrie, Bonnie Dobson, and Patti Whipp.
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EFFICIENT 030EP
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A double shot of Y2K digi thrillers from Sydney via Bromley electro-dub producer Jeff Dread. Part of the city's burgeoning network of blunted bass and sound system culture, Dread worked in parallel with the likes of Sheriff Lindo, Andy Rantzen, and Ali Omar, issuing two dynamite albums on Creative Vibes in 1999 and 2001. Utilizing the Atari 1020 Ste, Dread would frantically live mix up to nine tracks direct to CD-R, echoing the same rough and ready low-tech intuition as Jamaican trailblazers King Tubby, Scientist and Jack Ruby and their UK-based disciples Jah Shaka, Adrian Sherwood and Mad Professor. While unmarked discs of his indulgently durational sessions litter the archives, this plate showcases versions immortalized by two crucial compilation CDs. Wicked stepper "Dub The Farmer's Daughter" burrows the ear canal with its addictive melodica and tightly coiled acid synth lines, edited for high impact by Sheriff Lindo for his volume of Dub For the Masses (Dread would curate its successor), while "Out On A Limb" hails from Just Is, a double album sequenced by legendary Sydney queer party crew Club Kooky. A bass bin creeper that was extended with horns for his second long-player Return From Alpha One, it's this unembellished work in progress that really stings. With Dread's allegiance to local sound system heavyweights Firehouse, these totally brained studio jams are tried and tested weapons, finally blasting on the sacred 7" format.
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EFFICIENT 022CD
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A North American road trip of coming-of-age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space's latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache, and unchecked, unrealized ambition. Across seventeen open hearted ballads recorded 1965-1974, the album collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock n' roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of eight grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords' weepy break up B-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas, and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centers, often barely a stone's throw from where their contributions were originally laid. A barely teenage Dennis Harte's "Summer's Over" perhaps best taps the collection's essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John's "Twilight Zone". Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set-up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallized by Colin Young's fastidious audio restoration, the original artwork of Elise Ganebin-de Bons and an aptly penned forward from Sonic Boom. Also features Decompressed Impossibility, The Living End, The Newports, The Landlords, The Prisners Dream, The Fortels, The Bohemians, Tresa Leigh, WM. Penn & The Quakers, Carroll, and Toe Head. CD version comes as digipak and includes booklet.
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2LP
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EFFICIENT 022LP
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2023 repress! Double LP version. Includes printed inner sleeves. A North American road trip of coming-of-age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space's latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache, and unchecked, unrealized ambition. Across seventeen open hearted ballads recorded 1965-1974, the album collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock n' roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of eight grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords' weepy break up B-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas, and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centers, often barely a stone's throw from where their contributions were originally laid. A barely teenage Dennis Harte's "Summer's Over" perhaps best taps the collection's essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John's "Twilight Zone". Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set-up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallized by Colin Young's fastidious audio restoration, the original artwork of Elise Ganebin-de Bons and an aptly penned forward from Sonic Boom. Also features Decompressed Impossibility, The Living End, The Newports, The Landlords, The Prisners Dream, The Fortels, The Bohemians, Tresa Leigh, WM. Penn & The Quakers, Carroll, and Toe Head.
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LP
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EFFICIENT 027LP
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2025 repress. Hydroplane reinstate their formidable 1997 debut of sublime guitar atmospherics, fragile lyricism, and droning incidentals with an overdue vinyl reissue. An offshoot of the now-fêted The Cat's Miaow, the trio formed after drummer Cameron Smith decamped to London, charting new territory with tape loops, manipulated samples, and a borrowed Jupiter 4 in the wake of Endtroducing. Adopting a handle that Dean Wareham once considered calling Luna, Hydroplane intended to only ever release Excerpts From Forthcoming LP (1996), a single-sided 7" sonic collage, before imploding in mystery. Their label however insisted they deliver their taunted album. From the comfort of a Brunswick flat, they continued to record soaring melodies and restrained song structures to 4-track, sculpting dramatic Radiophonic Workshop cues weighted in reverb and near-perfect dream pop lead by Kerrie Bolton's empyrean vocals. Bored of industry expectation and largely ignored by local audiences, the reluctant performers followed the way of The Cannanes and formed meaningful overseas alliances by mail and phone, securing releases on Michigan outpost Drive-In and Broadcast launching pad Wurlitzer Jukebox. Championed by John Peel with twenty spins on his converted Radio One slot and even polling in Festive Fifty of 1997, the humble three-piece still walked to their neighborhood shops undetected. Previously only available as a US-issued CD, this reminiscent late-night suite establishes Hydroplane as an everlasting ember in Australia's beloved indie nexus.
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7"
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EFFICIENT 025EP
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Crossing over to Adelaide, odd wave minor players The Frenzied Bricks completely bypassed the history books with indifference. This madcap union of school friends Chris Merchant and David McCarthy cut void-entering motorik and weirdo monologues in bedrooms and suburban rehearsal studios. Rumored to be an individual, they never bothered to disprove the gossip with live performance. They did however submit aspiring demos to community radio station 5MMM, where they were fortuitously stored for four decades. The 7" marks the non-band's debut release, combining two should-be classics from the vault. "(Can I) Bridge The Gap" apathetically tunnels with Neu! Order energy, dual bass and McCarthy's laconic vocal delivery, while their only instrumental "Entropy" calls in guitarist and unofficial Brick Dave Warren to send the TR-808 into the stratosphere. Unknown until now, this is down under synth-wave at its finest. The Frenzied Bricks is pressed in an edition of 327 hand stamped white labels, wrapped in white ink printed colored card.
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7"
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EFFICIENT 024EP
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Height/Dismay were the M Squared studio-as-instrument duo of Patrick Gibson and Dru Jones. A member of Systematics and Scattered Order, Gibson was an integral part of the M Squared label and studio, where he met Jones. With an unapologetic misuse of instruments and ample time, the two sonic explorers scraped guitar strings, manipulated clarinets, and contact mic'd woks to layer their echo chamber apparitions. Collating three 1981 recordings, the then-shelved "Blood Pressure In The Sand" joins "Dusk", their contribution to archetypal cassette-zine Fast Forward. Also unreleased, "The Tinning Test" rejects formal lyrics in favor of a deadpan reading from the Australian Standard for tinned copper wire. The outsiders of the outside, these mutual minds' productions have long been overlooked as crucial pieces of the Australian DIY music puzzle. Height/Dismay is pressed in an edition of 281 hand stamped white labels, wrapped in white ink printed colored card.
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LP
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EFFICIENT 026LP
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Efficient Space presents Soft and Fragile 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. Soft and Fragile 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 pitches 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. For "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. 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 Soft and Fragile 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 respite." Presented in a redesigned sleeve showcasing the performers and their instruments, the reissue reproduces the extensive original liner notes.
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LP
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EFFICIENT 019LP
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2024 repress; originally released in 2016. Wilson Tanner's 69 returns 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. Recorded 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 combine 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.
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LP
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EFFICIENT 021LP
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Newly formed archival label Fresh Hold presents one of Australia's most mysterious jazz long players -- Singing Dust, in collaboration with Efficient Space. Almost bound for obscurity from its inception, the eponymous creation of Queensland-based jazz pianist Robert Welsh was originally issued in 1986 on Melbourne independent performance, Singing Dust resembles a unique fusion of Indian devotional song, the jazz piano styles of Bill Evans and Keith Jarrett, English folk, and Debussey's tonal impressions, bearing little similarity to the dominant commercial and subcultural music of its time. Representing a culmination of Welsh's influences in and outside of music, the dynamic collection of seven compositions accompany the Ghazal devotional poems translated by Australian poet Francis Brabazon. While Singing Dust sits loosely within the spheres of exploration that many jazz players took into world fusion in the '80s, it stands alone in its bright searing light of truth, love and austerity. A true work of dedication and posterity that will appeal to many serious music lovers, the album has finally been transferred and remastered from original tapes by Dan Elleson, superseding the imperfect 1986 pressing and fully realizing Welsh's expansive vision. Includes download code.
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