10 Tracks JAWN Interview Singapore Community Radio
Photo credit Cherlynn Lian

For many, exploring music is fulfilling and deeply personable — and sometimes the best songs arrive by happenstance. For JAWN, it happened in school.

If not for a chance encounter with a classmate putting on Kings of Convenience, he might still be hanging onto Contemporary Christian Music and Symphony 92.4.

Since then, he’s latched onto that feeling and turned it into a body of open-hearted work that evolves as he grows. While known for sparse acoustic arrangements, his latest single ‘Feel Too Much’ is pure joy, with an upbeat arrangement recorded with friends that still retains a personal touch.

“I actually recorded most of the guitars and violins in my room,” he explains. “It was an interesting experience because I thought, “You need to be in a treated room” but I was like, “F*ck it, I’m gonna record it in my closet and see what’s what”, and it turned out okay!”

To JAWN, the process is just as important, and many artists have helped him understand how that process does not need a large studio or a cavalcade of professionals to get things done.

In this 10 Tracks, he talks about the artists that have opened his eyes to music, and the ones that showed him how making it your own way is crucial — and also why Damien Rice isn’t an artist he wants to go back to anymore.



Kings of Convenience – ‘Know-How’

I was doing my art project in school because I had an art module in Junior College when I was 17. Someone put that on and I really liked it.

From there, I jumped into a lot of things, but here it was when I realized there were whole worlds of music that are apart from Delirious? or Planetshakers or Hillsongs.


Jon Chan – ‘Security’

There was this artist called Jon Chan I found while on Google just because his name was the same as mine. Turns out, he was the frontman of Plainsunset.

I discovered his album Pencil Tracings, which was among his first material. I wanna give a shoutout to his track ‘Security’ because that was the first local track I listened to that I liked. Thank you, Jon!

Listen to the track on Bandcamp here.


Sufjan Stevens – ‘To Be Alone With You’

Naturally, I had the transition from church acoustic music to inhabiting that realm of rationalizing your faith and who you are. Sufjan Stevens, very big shoutout to him!

He had his own struggles and rationalizations of sexuality, faith, and violence. One of the first tracks I heard from him was ‘Seven Swans’. It’s a beautiful track. It was the first time I heard a banjo in a track that sounded nice.


Bon Iver – ‘Blindsided’

For me, For Emma, Forever Ago broke down my preconceived notions of how a track can sound. You don’t need to have polished vocals — he recorded it all on super shitty mics. I also really like his way of song construction, because he would do vocalizations that fit that particular phrase and will find a word for it after.

He had really interesting ideas that I initially rejected — I listened out of hatred for a while, but it started to grow on me.


Sigur Ros – ‘Fjogur Piano’

The Valtari album was interesting for me — it was one of the first times I experienced an album through film and music. The great thing about Sigur Ros is that there is no barrier to appreciation.

You may never understand their language (aside from Icelandic, a good amount of Sigur Ros’ music is sung in Hopelandic, the band’s form of wordless vocals) and that’s fine.

You don’t need to in order to access whatever he’s trying to build or paint or say with these word images and music. It’s a whole moodboard that encompasses you in this world of soft voices and feelings.


John Mayer – ‘Gravity’

I can’t go through a list without talking about one John Mayer track. He’s been one of the most formative influences in my guitar playing and how I approach “band” music. he’s one of the rare modern guitarists who can make a guitar sing like a human voice.

It has inflection and imperfections. It plays into how he’s talking through his guitar, and I really like that. That was something I tried to bring into my own practice. He has really cheesy but effective lyrical imagery.


Dry the River – ‘Bible Belt’

I like the way they construct their lyrics, it’s basically biblical poetry. There’s a certain gravitas to whatever comes off the page from them.

It helps that they come from the UK — there’s the whole experience of church and state that informs their life experiences.

They have so many effortless metaphors about the practice of religion while noticing the shortcomings of life and happiness. They’re not a Christian band but they have a natural affinity for Christian imagery and metaphors.


Matt Corby – ‘Resolution’

This track is here just for his voice. If there was any voice I could have in the world, I would kope his.


Damien Rice – ‘Chandelier (Sia cover)’

It was something I found recently, and I didn’t even know he was still active in music. I was listening to it thinking, “I can get why I was into his music but that’s not a mental space I want to inhabit today.” Still, I wish him the best!


Samm Henshaw – ‘Broke’

He modernizes gospel music and there’s this element of joy I seldom get from other music nowadays. There’s a celebratory aspect to his music-making.

I just enjoy his energy. you can find it in Chance the Rapper’s stuff too — the references to family and religion, adding it all up to figure out what makes life good for them.


Follow JAWN on Facebook and Instagram.

Photo credit Chong Lingying

Saying Out Loud is a new recurring column by Chong Lingying — a book publisher, editor, and writer — where she shares her unfiltered views on work, creativity, and the conversations happening around her in Singapore.

She manages Asiapac Books, an independent publishing house specializing in illustrated and comic books on Asian culture, history, philosophy, folktales, and life skills.

In her inaugural piece, Lingying talks about the misfortune 2020 brought upon to Singapore’s creative scenes and how it affected her own workplace.


It was going to be a great year. The best ever!

Asiapac Books had an exciting publication plan for 2020: a graphic novel retelling of Elizabeth Choy’s World War II story, a Southeast Asian superhero saga, an illustrated book on the goddess Mazu, and more. A fan-backed collector’s edition of Return of the Condor Heroes was on the way.

As is the norm in book publishing, we had scheduled the new releases a year in advance, not including the years of development that each creation required.

Beyond our own publications, my team and I were starting work on Comix.sg, a new platform for Singapore comics. I had scheduled trips overseas to promote the new titles at book fairs and comic conventions. There was so much to do and so much to talk about!

And it was the last year of my twenties! I wanted to fall in love, write my first novel, publish a volume of poems, and do a painting show.

What happened? Everything was postponed, or cancelled, or downsized.


Comic artwork by Wee Tian Beng from the upcoming collector’s edition boxset of Return of the Condor Heroes. Buy it here.


The hardest thing was losing all expectations of perfection. You might think that with a great idea and great plan you’re at least somewhat likely to succeed. But none of that matters when you can’t see what’s coming. All you can really do is execute, fail, learn, and move on. Don’t forget to lubricate the painful process with copious glasses of wine, sake, beer or whatever you have in the fridge.

Bookstores were closed at one point, which was downright terrifying. If it could be done online, we did it online. We had already cancelled all new book projects. Then we let go of the warehouse and downsized our office.

Even during the Christmas season, I could see that the industry was still hurting. Bookstores are dependent on tourist dollars and lose out to international players online. I don’t think any of them are on the way back to recovery yet. Publishers have been running on the bare minimum, knowing that the little demand we have now could disappear overnight.

The small Asiapac Books team knuckled down to get through the first few months with Zoom calls, live-streaming, Facebook ads, and all that jazz.

My colleagues and I didn’t talk much about it, but as we sat one metre apart from each other there was a shared realism about the state of the company, the industry, and the economy. The company simply couldn’t take care of us. We’d have to find our own way out of the hole.

At the end of the office move, the company had one full-time employee left: me.


The messy remains after Asiapac Books’ move from their former warehouse and office.


I wish that I could say something good. I wish that I could reflect some positivity back on the smiling faces, wholesome thoughts, and balanced ruminations in my friends’ social media updates. They’re comforting, inspiring, even if a little grating on the nerves.

Wasn’t it a hellishly painful year? Wasn’t it exhausting? Reaching and grabbing non-stop for months, asking for help, frantically filling up forms? How quickly one realizes that there’s no end to it. It’s not a matter of managing risk when the uncertainty is this extreme. There’ll never be enough client work to pay the bills.

Government grants and subsidies, even loans — for most of the time, it’s less than what we asked for and with strings attached. What can we do? There aren’t many choices if you want to survive.

So, to be honest, I’m struggling. My publishing house is struggling. The book industry is struggling. The whole creative and arts scene in Singapore is struggling.

Things have been scary, but soon they’ll be just plain bad. All of the help we have had over the past few months has shown us one thing: it’s still not enough.

So what do I have for you today? A moment of catharsis, if anything.

2020, what the fuck was that?

Let’s forget about 2020 and everything else that came before it. It’s up to us to support and keep each other alive. If you’re still here, it’s because you chose to survive. Find your energy and confidence and hang on tight. Nobody will give you the power to go on. You’ll have to make it for yourself.

For 2021 and beyond, there are no rules in the game, only what you can get out of it.


Follow Asiapac Books on Facebook and Instagram.

Squelch Zines interview Singapore Community Radio
Photo credit Squelch Zines

The tradition of making and publishing zines spans decades. But even in our overwhelmingly digital, post-social media age, the zine remains an expressive medium for anyone looking to tell their own stories. Whether if it’s about punk music, film photography, obscure comics, or poetry, the art of zinemaking is resolutely DIY and accessible.

Squelch Zines was put together as a platform to showcase zines of different stripes, shapes, and interests in Singapore. Formed by enthusiasts Nicholas Loke and Janice Chua in 2013, Squelch now exists as a collective within the country’s niche and blossoming zine community.

Their Instagram page features titles from their vast repository of zines, and their ongoing show on SGCR — Squelch Zinecast, hosted by Janice — leans closer into the topics and spaces that these publications emerge from.

Get to know more about Squelch Zines through the words of Janice, who also shares a list of favourites that experiment with the medium itself.


How did Squelch Zines first come to be?

Squelch Zines was started back when Nicholas and I were still in Lasalle. We wanted to do something out of our curriculum, so we started Squelch Zines. It only started to become a zine platform after our first Singapore Art Book Fair in 2013.

Since then, Squelch Zines have evolved its platform into a library, as we see it more fitting for the local community.

Since its formation, how has the platform developed and grown into what it is now?

It first started as a project for ourselves. Since the art fair that year, we decided to use our space for people to sell their zines, which led us to have Zha Zhi Dian, which became our Squelch Zine Shop. It was short-lived as logistics and accounts got to more than we can handle.

Since then, we focused on our workshops (Zine Jams) so that more people can get exposed to the making of zines. As our collection of zines grew, we decided to turn it into a library to share with people.

Listen to the latest episode of Squelch Zinecast,
where Janice speaks with Joy Ho of Queer Zinefest,
an annual gathering of queer zine-makers from Singapore.

What draws you to zines?

The versatility of the medium and its history.

What do you look for in a zine?

Personally, I look for content that’s more controversial — something that mainstream media does not cover as much.

Otherwise, cultural stories are something I enjoy as well. I get intrigued by some of the interesting ways zinesters make their zines, where it isn’t just stories but also interaction. It’s a whole experience!

Could you share some examples of zines that take a unique approach with presentation and content?

Baby Driver
by @donutpie_mi

These are zines that explore layout and presentation — how different materials and treatments are applied, to the way content is laid out even when taken off the Internet, provided insight for me. (The photo I took of this is accompanied by another Baby Driver fanzine by Zinema)

A FriendZine
by Superandom Zine, Alif Seah @fueledbypotato

It’s a compilation of film photos of Alif’s friends, but he decided to lay them out in a uniquely shaped book that’s fit to be rolled up and stored in a regular film roll container. It’s such a cute and smart way to present a photography zine.

Letters in Arial
by Beverly Ng, @madebybeverly

Letters in Arial comprises of scanned images of envelopes, but the letter contents are neatly patched together like a collage. The little design embellishments, like the barcodes on top, add a nice relation to the experience of receiving letters. The cover piece was the fun part: it’s a little word search game on its own!

10 things you should do after you died
by Benyatip Sittiwej, @paundz

The make of the zine is nothing like a traditional zine — this one toys with the folds and layout of the paper. Benyatip uses a paper fastener as the binding tool choice. Another fun bit is that there is a page with a transparent sticker — a detachable line illustration of a ghost for you to use.

Instructions for Instructions
by Atelier HOKO, @atelierhoko

Is it still a zine? Is it just a folder of postcards? I don’t really know. But I do know it is a form of documentation and the whole content has a message to it. Atelier HOKO’s works are always something in a form of documentation.

The cover folder gives “instructions” to follow instructions. Take a postcard and you will get an instruction to do something.

There are a total of 60 postcards: each one instructs you to perform an activity in the comfort of your own home, and then to record the encounters down on the flipside of the postcard.

How would new readers find zines? Especially ones that would cater to their interests.

With the internet so available with information, we can just search with keywords! I always search for the kind of content I want and end it with a “zine”, eg. “queer” + “zine”.

Another way is to go to Instagram and search using hashtags. There are many accounts of different zine groups and initiatives post their zines and submissions! Activist zine groups are even easier to find there.

I also find artists and zines through zine fests.

Some of my go-to zine sites are:

Printed Matter
They are an online catalog — they have one of the most comprehensive databases.

Nieves
One of the oldest and most established platforms I know of. They have an online shop that sells a wide catalogue of zines.

Five O’Clock Zine
If you’re looking for a zine to get but want to know more about it, this dude here publishes zine reviews. He also has a podcast!

Broken Pencil
This is another platform that I’ve been checking out recently. They have reviews on their website and information on zine fests, with handy descriptions of each event.


Squelch Zinecast will be back with a new episode on SGCR later this January. Follow Squelch Zines on Instagram.

Slodown interview 10 Tracks R&B singer Singapore
Photo credit Slodown

The New York-based, Singapore-bred Slodown is adept at conjuring resolute moods that are now familiar territory in modern R&B.

His latest single ‘Ample Fruit’, released on Dec 18, is powered by warped sounds and twinkly synth-pads courtesy of producer WY Huang (who recently turned in an astounding Guest Mix for SGCR.)

‘Ample Fruit’ capped off a slew of singles from the artist, who has kept himself busy despite a year like 2020. It arrives at the kind of hushed intimacy that harks back to older soul records, and it’s no surprise that Slodown himself is a seasoned student of the classics.

But instead of handing in a laundry list of the usual suspects for this 10 Tracks, Slodown highlights a handful of lesser-known delights, while schooling us on the up-and-comers he believes will come to define the genre in the years (or even months) to come.

Of course, there’s also D’Angelo. No discussion of R&B and soul can omit that name.

Pore through his picks below and listen in to our conversation with the singer during his brief return to Singapore last month.



Piero Umiliani – ‘Ricordandoti’

I know very little about this guy. It’s something Spotify algorithms fed to me. I’ve been listening to a lot of movie scores recently just because I love films as well. There’s always something about how movie scores can conduct and play with your emotions without needing words or lyrics.

At the core of it, that’s something I try to do with my music — to conjure certain emotions. So for me, I feel like movie scores are a really good place to get inspired by.


Mustafa – ‘Air Forces’

This guy has only two songs out right now, both similar in vibes, but I was immediately drawn to this guy because he wears his identity on his sleeves.

He’s not shy to have symbolism and references [from his Muslim faith] in his work and he uses that. He just speaks his truth. The nature of the content is familiar — it’s still street tales that we may be more familiar with, almost doing this folk/R&B thing while drawing so much from his heritage.


D’Angelo – ‘Send It On’

That’s my favourite D’Angelo song, and probably my favourite song of all time. That’s my most-played song ever.

I’m always in the mood to listen to this song. It’s the kind of vibe that inspired me to make music the most. The feeling that I got from this song was something I wanted to create with my music.


Xavier Omär – ‘FIND ME.’

I found Xavier Omar on Soundcloud, never even knew how he looked like. No photos up. But that song ‘Blind Man’, I was like “Shit!” I think now he’s finally gotten bigger – I wouldn’t say he’s mainstream but he has at least come out of that. There’s a phase to his music now.


Jae Stephens – ‘Emergency’

I found out about her from Xavier Omar, she was featured in one of his singles. She’s a new LA artist and her shit is all upbeat and dancey, and somehow it feels really fresh. I wouldn’t be sure to call it R&B but it’s fresh to me.

I’m a bit bored – to me, the sound of R&B has become so mainstream that PARTYNEXTDOOR almost sounds like it could be on the same playlist as an Ariana Grande playlist now. There’s still the new Ty Dollar Sign album, it’s still done very well, but I’m always more excited by fresher takes on R&B that retains the genre’s soulfulness.


Lucky Daye – ‘Love You Too Much’

Lucky Daye’s blowing up, and he’s probably going to be mainstream soon. He’s blowing up in the States, and he’s also super talented. His sound is fresh and different from the regular landscape of R&B right now.


Shelley FKA DRAM – ‘Sweet Va Breeze’

Love when Shelley gets on his soulful shit, especially when it’s in that old-school vein like that.


Benny The Butcher – ‘Trade It All’

Been really enjoying this Benny the Butcher album — gives me the same feeling classic rap albums like The Infamous and Only Built 4 Cuban Linx… used to give me.


The Fuzz – ‘I Love You for All Seasons’

It just puts you in a good mood. Every time summer hits New York, that’s the song I go back to. It’s another vibe I’m trying to recreate with my more summery songs.

There’s a certain thing about it — I don’t know if it’s the “old” quality of the music, or the vocals — but it’s just so warm and soulful. It’s a blanket statement lah but a lot of new music nowadays is made to be played in the clubs or parties.

A lot of old music was meant to be played outdoors, like at a picnic. This is one of those songs that puts you in that mood.


Donald Byrd & Booker Little – ‘Quiet Temple’

This is the shit I pour whiskey and chain-smoke cigarettes to during the winter. It gets me to an emo place, but not a bad kind of emo.

As a kid, I’d always wanted to move to New York, even before I had ever seen the city myself. This song felt like New York to me. When I hear this song, I think of movies like Taxi Driver, like old New York. It’s a special song for me.


‘Ample Fruit’ and other Slodown singles are available on streaming platforms.

.gif Intriguant Hanging Up The Moon The Analog Vault
Photo credit .gif

Hang around a record store for a while and you’d hear enough people groaning about prices — or catch some sneaking a pic of a record to look up on Amazon later.

We’re not skeptics of online bargains, and there are undeniable merits to the convenience of mail. On the other hand, the realms within a physical store, with a curated space specially made for conversations, are simply hard to match.

But instead of fine-tuning our argument, we thought to talk to some musicians about their own priceless stories forged at various record stores, before coming together this Saturday to celebrate one of our own local vinyl establishments.

Their tales span the globe, but Sean Lam of Hanging Up The Moon summarizes the shared sentiment nicely: “We also need brick and mortar stores because music appreciation shouldn’t just be a passive experience. It should be a communal experience.”

From hunting an elusive record, to picking up favourite new music on tour, here’s what .gif, Intriguant and Hanging Up The Moon have to say about memories made at the humble record store.


INTRIGUANT

The one record that eluded me for a long time was Delegation’s ‘Oh Honey’ on 7”.

It’s my all-time favourite soul track and I wanted it on vinyl. I had been looking for it everywhere for quite some time — asked many record stores and no one carried it.

When I was in Tokyo, I saw an event called Captain Vinyl which was run by DJ Muro, happening at the basement club Contact. It was a soul-funk music night — good vibes all around and it was packed on a Tuesday night.

There was an area in the club where a couple of guys set out tables and were selling their records — just like a mini record flea market — in the club. That’s where I found the 7”. The whole experience of finding that record brings back so many good times in Tokyo.


.gif

Din: I found these while .gif was on our UK tour in 2018. We had an extra day in Hastings and decided to explore the shophouses by the beachside.

We randomly found this record store — I don’t even know what it’s called. I really didn’t want to buy anything because I already had too much gear to carry on our tour.

I decided to anyway — against my better judgment — and came away with these really cool finds. No ragrets.

Photo provided by Din.

Weish: I remember discovering Sunset Rollercoaster at The Waiting Room in Taiwan, before they got famous!

.gif was on tour there and in the care of the coolest and most hospitable guy, Dan, who runs a dope live house called Revolver Taipei. He brought us to Waiting Room to hang out and listen to Taiwanese music and I just recall being so happy. Taiwan’s indie scene has some legit cool stuff.


Hanging Up The Moon

Sean Lam: If I were to pick one, it would be the compilation album A Secret History by The Divine Comedy that (if I recall correctly) I bought from the long-defunct HMV at Heeren.

This “record”, like most of my collection, was on CD, as this was in the 1990s and vinyl records had yet to make a comeback.

It’s special because while I have gone through many phases and genres of music, this particular record is one that I still listen to every now and then.

I know I’m showing my age here (laughs) but listening to it also reminds me of my younger carefree days. I clearly remember listening to this album at the testing booth with my girlfriend, now wife and mother of my child. We both agreed it was awesome and bought it there and then.

Like most music lovers, I have fond memories of record stores growing up.

There were the local independents like DaDa Records and Sembawang Music that were crucial to local musicians as they were key distribution points, as well as global giants Tower Records and HMV that brought a unique shopping experience and entertained many restless youths over countless weekends. Unfortunately, none of them are around anymore.

Thankfully, because of the vinyl resurgence since 2010, there’s now a growing number of new record shops in town. From a musician standpoint, record stores are an indispensable part of the local music ecosystem, even though there’s a lot going on digitally these days.

Just like how music is making a comeback in physical format, we also need brick and mortar stores because music appreciation shouldn’t just be a passive experience. It should be a communal experience.


The Analog Vault will be celebrating its 5th anniversary this Saturday, 10th October with live performances by Hanging Up The Moon, Intriguant, and .gif.

The event will be streamed on Singapore Community Radio at 3pm. More information can be found here.

The Analog Vault Interview Sharon Seet Esplanade Singapore
Photo credit Hafizh Rizqi Laksmana (left) / The Analog Vault (right)

A name like The Analog Vault suggests an obscured zone of the rarest records, hidden to many and attainable to few.

In the game of vinyl records, where arbitrary prices of early pressings can limit the access of certain records to a distinct class of collectors (read: ludicrously rich ones), that may not be completely surprising.

However, it would be a supreme misjudgment of The Analog Vault. Since 2015, the store has served as a reliable refuge for a repository of vinyl records — spanning the worlds of jazz, soul, indie rock, hip-hop, electronic music, among other specialized genres.

While the store has had Nick Bong and Leon Wan holding fort as the store’s main faces and store managers — and hosts of our Analog Club podcast (previously AV Club) — the store’s genesis is owed to the ambitions of Sharon Seet, who established the store five years ago at a cozy unit, which now faces its current, much larger location.

Working in the finance industry by day, Seet first forged her love for the format while living in London during her early 20s.

“While I was meant to be focused on studying and working, most of my time was instead spent immersing in the amazing music scene and vinyl collecting culture,” she says, “particularly at the record stores where I learnt so much about different kinds of music.”

The Analog Vault Singapore Community Radio

Having spent time in London with its particularly rich culture of record stores, steeped in decades of iconic music, Seet carried those memories back home — gradually nursing the idea of opening a store in Singapore that captures that same exuberance she felt flipping through endless racks of records. It was with Eugene Ow Yong, owner of Vinylicious Records, who contacted her about pursuing such a venture together.

A long-standing customer of his store, she seized the opportunity to try her hand at curation, zeroing in on the kind of music she adored. “I agreed to work with Eugene on starting The Analog Vault on the premise that I could forge it to become an establishment championing jazz, hip hop, soul, electronic, and world music,” she says.

As Sharon has continued to run the store without Eugene — “[he’s] no longer part of TAV, but we remain close friends till today!” — the selection offered at The Analog Vault has only grown to include more styles of music, with a substantial section dedicated to obscure Japanese titles.

At the root of the store’s curation, however, is an undying appreciation for jazz music.

It shouldn’t come as a surprise to the casual customer entering its confines — boxsets of John Coltrane and Kamasi Washington albums are proudly displayed behind the counters, along with recent arrivals of the long-overdue Black Jazz Records reissues sitting comfortably on nearby shelves.

Bar Martha Tokyo The Analog Vault
Photo credit Sharon Seet

“Apart from financial sustainability, I also personally measure success for TAV in terms of customer happiness, employee meaningfulness, and how TAV can support, contribute to, and help grow the music ecosystem in Singapore.”

Sharon Seet, on running The Analog Vault all this while.

“While I enjoy music across a broad range of genres (and languages!), I have forged the deepest connection with the jazz genre particularly,” Seet says. She attributes it to a chance encounter listening to the 1963 self-titled album by Coltrane and Johnny Hartman on vinyl.

“It was a transcendental experience for me — listening to Hartman’s sexy baritone voice set against Coltrane’s poignant saxophone, in pure analog delight. I had stumbled onto one of the greatest albums in the jazz canon,” she recounts. “That experience alone had me hooked onto jazz and vinyl, and it is a love affair that has continued to this day.”

The album continues to be revered as a high point in the saxophonist’s career. But it also served as a gateway for Seet into a vast, almost unceasingly creative world of music that she considers “akin to a complex and engaging piece of intellectual artwork.”

The genre has also blossomed in recent years, thanks to an outpouring of newer musicians from concentrated scenes in the US, UK, Japan and Australia.

The store regularly brings in titles from these artists, including new releases by Idris Ackamoor & The Pyramids, Nubya Garcia, Zeitgeist Freedom Energy Exchange, Irreversible Entanglements, and even Jazz Sabbath, a tongue-in-cheek jazz project attempting the cavernous canon of Black Sabbath’s music.

As such, there have been several mainstay record labels that Sharon relies on for the kind of vinyl that belongs in TAV. Legacy names like Blue Note, Impulse!, Verve, Riverside, ECM Records, Columbia, Analogue Productions, along with newer ones like Brownswood Recordings, Mr. Bongo, International Anthem, 22a, Strut Records, !K7 are mainstays in the store’s catalogue.

Sourcing records from Europe, Japan, and the US, Seet makes it a priority to constantly devour new music through “record label websites, music review websites, Instagram pages, online vinyl stores, and Discogs”.

Reviews, sometimes found on Discogs, have been crucial to decide if an album’s vinyl pressing is adequate enough to be stocked in her store. The website maintains a database of over seven million vinyl records listed, each title armed with a comments section for users to pour effusive or critical reviews onto. “Good quality vinyl pressings are key,” she maintains.

Honing her analytical skills from years of collecting vinyl — and subsequently running The Analog Vault — led her, Nick, and Leon to establish TAV Records, an independent record label focusing on local and regional artists.

Beginning with the vinyl pressing of Fauxe’s Ikhlas, a collection of hip-hop beats playfully recontextualizing samples of old Singaporean and Malaysian music, it’s an extension of Seet’s mission to solidify the store as “one of Asia’s leading proponents of analog music culture and fine music.”

Just this year, amidst the perpetual pandemic, the label has put out .gif’s Hail Nothing in April, and are now preparing the release of Intriguant’s third album, Spirits.

While record sales of these titles have been made primarily through the store, Seet has used this outlet with Nick and Leon to build out a network of worldwide distribution, although that has proven to be no easy task. “Increasing our distribution continues to be a focus and challenge for us,” she admits.

Intriguant Spirits vinyl mock-up Singapore Community Radio

The vinyl mock-up for Intriguant’s Spirits, which will be released on vinyl on November 20th.

The pandemic has been a considerable obstacle for the vinyl record industry — the annual Record Store Day holiday, where exclusive titles are pressed in limited quantities for ravenous customers, accommodated social distancing measures by splitting its list of releases into three consecutive monthly release dates.

Record pressing plants have faced temporary shutdowns, and the obfuscation clouding the fate of the US postal service has made future imports uncertain.

The Analog Vault, like many stores, have taken to selling their titles online to feed and nurture demand — their debut podcast episode, which you can stream below, explains further.

All of this, coupled with the uncertainty that comes with any independent business selling a niche product, results in a venture some would consider risky. For Sharon, she has her sights fixed on the long-term.

“Apart from financial sustainability, I also personally measure success for TAV in terms of customer happiness, employee meaningfulness, and how TAV can support, contribute to, and help grow the music ecosystem in Singapore,” she explains.

Like how The Analog Vault was shaped by her vivid memories of London record stores, her plans for TAV beyond 2020 is inspired by another cherished analog destination of hers: Japanese jazz kissaten, enduring old-school hideouts where music lovers congregate for listening sessions and fine alcohol. The ongoing photography project Tokyo Jazz Joints documents this domestic phenomenon in all its classy glory.

Ideally, what would this space look like? She imagines it “flanked by superlative audiophile analog systems, amazing whiskies, and a space for live jazz performances”. It is still a dream — made all the more distant with existing nightlife restrictions — but the lasting work of The Analog Vault makes a convincing case that there’s always room for spaces like these in Singapore.

Even if that New Yorker cartoon can ring true for some, it’s the memories and stories made around these slabs of wax that make the “expense and inconvenience” worth it.


The Analog Vault will be celebrating its 5th anniversary this Saturday, 10th October with live performances by Hanging Up The Moon, Intriguant, and .gif.

The event will be streamed on Singapore Community Radio at 3pm. More information can be found here.

10 Tracks Fzpz Singapore Community Radio
Photo credit Fzpz

If you’ve paid attention to the Singaporean beat underground over the past few years, the name Fzpz would be familiar — even if you still struggle to pronounce his name (phonetically, it’s pretty straightforward: eff-zee-pee-zee).

The producer, real name Jarren Lim, has dutifully put out releases over the past few years — however, you’d find most activity on his modest Soundcloud page than anywhere else.

2018 was a significant milestone for him, as he teamed up with electronic music label Darker Than Wax for his EP Hidden Personas, which saw him delve deeper into his hip-hop roots. 2019 was a year in which Lim quietly dropped individual tracks sporadically, along with a “name-your-price” release on Bandcamp titled fourfour, a nod to the EP’s pervasive direction towards classic house music.

In 2020, Fzpz has taken the greater leap to release his debut album, titled Death Signs. Inspired by slow-burning R&B jams from nocturnal radio playlists, rather than the boom bap sound he’s made his name with, Death Signs is an accomplished piece of work that displays Fzpz’s versatility in full force.

On this episode of 10 Tracks, we spoke to him about putting the album together, its impressive list of collaborators, and the songs on his playlist that might have influenced his current sonic trajectory.

Listen to the podcast below and check out what he has to say about each track.

Fzpz – ‘Love and Resent’

Fzpz: This was the most personal work I’ve done to date until Death Signs. Heavily influenced by R&B elements from the late 80s and stealing a cheeky bass lick from Mike Porcaro, Toto’s bassist — I tried exploring chord qualities and progression that could steer the song into a brighter mood as it progressed.

Oftrt – ‘Takeout’

I’ve been listening to tons of local music for the past year and Oftrt is one of the latest producers I’ve been rinsing. Oftrt challenges the soundscapes time and time again in his tracks.

The first time I watched him live was at Intriguant’s Uploading event and he is, by far, my favourite local producer to date for the past year. He takes dub to the next level in this track, ‘Takeout’.

Tim De Cotta – ‘Lying Eyes’

His latest single, ‘Lying Eyes’, has got me in the disco boogie vibe and NAztyKeys totally slays it in the solos for this one. I’ve been a long-time fan of TAJ and L.A.B. , both oozing of Soul and R&B which he is part of. I’m a sucker for the synthesizers and jabbing basslines. I’ll also be doing a remix of it soon!

.gif – ‘LET’S GO’

Probably the most unique sounding duo of Singapore, in my opinion. They’re taking the electronic genre with stride and I loved every moment of HAIL NOTHING. Their live presence is a must-catch, coupled with Weish’s mesmerizing vocal looping and Din’s abstract tones.

‘LET’S GO’ is also accompanied by a music video which I adore, directed by VadBibes. He directed the MV of the remix I did for Charlie Lim’s ‘Better Dead Than A Damsel‘.

YRFN, Khally – ‘Tek It Slo’

Part of Allure Records, all tracks from the label are bangers. These guys make me reinstate my faith in the next generation’s drive for Singapore’s music. Most, if not all, tracks are produced by Danish, and this one’s modern take on baile funk was refreshing. I’ve been listening to a ton from these guys and I’ve got to say Khally is one to look out for.

Gema – ‘Tek It Slo (feat. MickeyLEANO)’

Sensual cuts from Jema. A sequel of his first album, Sextape II keeps up with time with Jema’s hush storytelling. I’ve always been a fan of his eclectic take on electronic music.

I played a little guitar in the intro track of the album as well. It was so raw when I doodled and he just took it. That’s what I vibe with when collaborating — everything going right, and not overthinking things.

Fauxe – ‘To the Moon’

Fauxe was the very first beatmaker I came across in 2013-2014 who was extremely proactive in pushing the beat scene.

He dug me up from the Bandcamp days and was very much like an elder brother to me. His latest endeavour, Altruism, celebrates collaboration and the live ensemble aspect of his music. This one, in particular, is my favourite of the album.

Flying Lotus – ‘Coronus, The Terminator’

Been listening to You’re Dead! a ton recently. I really can’t believe it’s been 5 years. My friend Go Yama ended off his 365 project with ‘Never Catch Me’ — a project where he records a short clip of music-making, guitar shredding, and the likes.

Needless to say, Flylo has been such an inspiration to me and to all beatmakers from all styles I’m sure. The entire Low End Theory and Brainfeeder scene has been such an influence in my music as well.

Intriguant – ‘Turn (feat. Charlie Lim)’

Recluse is probably my favourite album so far from Intriguant. In this one, the well-accompanied arrangements, coupled with Charlie Lim’s strong songwriting and docile instrumentation, are always something I go back to.

He’s got so many great artists on Recluse as well. I’ve also been listening to his latest album Kindred, which is much heavier and just goes to show how versatile he is.

Cravism – ‘white lights’

The epitome of lush jazz and lofi beats presently in Singapore, Cravis is one of the beatmakers I listen to when in my chill mode. I love the changes in particular from this track and the smooth and out of sight licks. I also managed to catch his set with Maya Diegel last year at Uploading as well. Excellent chill beats from the two to unwind to.

10 Tracks Fzpz Singapore Community Radio
Photo credit Fzpz

If you’ve paid attention to the Singaporean beat underground over the past few years, the name Fzpz would be familiar — even if you still struggle to pronounce his name (phonetically, it’s pretty straightforward: eff-zee-pee-zee).

The producer, real name Jarren Lim, has dutifully put out releases over the past few years — however, you’d find most activity on his modest Soundcloud page than anywhere else.

2018 was a significant milestone for him, as he teamed up with electronic music label Darker Than Wax for his EP Hidden Personas, which saw him delve deeper into his hip-hop roots. 2019 was a year in which Lim quietly dropped individual tracks sporadically, along with a “name-your-price” release on Bandcamp titled fourfour, a nod to the EP’s pervasive direction towards classic house music.

In 2020, Fzpz has taken the greater leap to release his debut album, titled Death Signs. Inspired by slow-burning R&B jams from nocturnal radio playlists, rather than the boom bap sound he’s made his name with, Death Signs is an accomplished piece of work that displays Fzpz’s versatility in full force.

On this episode of 10 Tracks, we spoke to him about putting the album together, its impressive list of collaborators, and the songs on his playlist that might have influenced his current sonic trajectory.

Listen to the podcast below and check out what he has to say about each track.



Erkin Koray – ‘Yağmur’

Safuan:It was sometime in 2014. We were at my place trying to figure out how we could do NADA musically to accompany the visual art piece we were exhibiting. This was one of the first tracks I pulled out.

I then played Gonjasufi’s ‘Kobwebz’ and explained to Rizman how we could adopt such a sampling technique and he can just sing over it. It was the start of it all, I guess. After that, we started picking out old songs from Southeast Asia and fleshed out 4-5 songs within weeks.


The Swallows – ‘La Obe’

Rizman: It’s the ‘60s in Singapore, at the height of Pop Yeh-Yeh. These guys were playing songs in Baweanese and this particular one hit the charts in Germany. True story!

The NADA world is built on fabricated history and mythologies. We are like pranksters who are constantly pulling the audience’s legs with our ideas and creations. But the fact that The Swallows actually existed and left their mark globally with their own brand of hedonistic sounds, it’s mind-blowing.


Sir Richard Bishop – ‘Solenzara‘

Safuan: Personally, the musical lens of NADA would not have been possible without the mention of either Richard Bishop, Alan Bishop, or the band they used to be in, Sun City Girls.

Eclectic is one of the most overused and abused terms in music and music journalism these days. Whenever I’m going through periods of self-doubt, I will just go back to any of their works. Through their works, they have also taught me how to appropriate the music of others with respect while pushing the envelope to make it your own.

It’s always a delicate balance, especially when it involves the historical culture and heritage which are not ours, i.e. sampling a Thai song or adopting an Ethiopian musical scale.


Alleycats – ‘Suara Kekasih‘

Rizman: This is a perfect example of what used to be a guilty pleasure but then became a staple to listen to after we started NADA. Once, we were in a dressing room and for some weird reason, a transistor radio was blaring one of the Malay channels.

This song came on, we started singing along and discussing how musically rich the track is. It was one of those moments of realization that cemented the idea for us to rely on our own idiosyncratic thoughts or gut feel for whatever we are doing.


Guess What – ‘Al Khawarizmi‘

Safuan: With NADA, it’s always important to have a specific imagined world in mind whenever we are creating or performing. Guess What is one band I look up to when it comes to this methodology.

This song is from an album of the same name where they paid homage to Muḥammad ibn Mūsā al-Khwārizmī, a Persian polymath from the 8th century who produced influential works in mathematics, astronomy, and geography. Through the album, they painted their own magical world just via music, of what it could have been during Al Khawarizmi’s time.

They did the same thing on an earlier album. This time, it was a musical portrait for Yuri Gagarin, the Russian astronaut who was the first human to journey into outer space.


Dengue Fever – ‘Ethanopium‘

Rizman: Mulatu Astatke and Ethiopian jazz, music from a faraway place, yet it sounds like home. There’s just something about it, especially this version by Dengue Fever, an American band that does Cambodian rock covering an Ethiopian piece. The idea of global mish mashing or cultural clashing is always fascinating. Whenever we run out of ideas, the first thing we go to is “what if we combine ________ with ________”.

Safuan: This song was also featured in a Jim Jarmusch film, Broken Flowers. The deep, dark, and absurd worlds he’s created through his films is another source of inspiration for us.


The Stoned Revivals – ‘Stardust Galaticka‘

Rizman: We are fans and friends of the band so we are probably biased when it comes to this. The 90s were our formative years when it comes to experiencing music — going to gigs, buying demo tapes, the full works of exploring music pre-internet.

Though we only met slightly later, with NADA forming a couple of decades after, it won’t do any justice if we didn’t include a Singapore-made track from back then. And this is something special from such a great album.

Safuan: It’s the least celebrated song which deserves more attention (‘Venus with Braces’ too). The guys made do without their signature jangling guitars, experimented with electronics, and kept it minimal.


Sote – ‘Brass Tacks‘

Safuan: The past year or so, especially when the pandemic started, I grew tired of recreating nostalgic sounds or just the idea of nostalgia in general. I wanted to look ahead instead of immersing myself in the past, now more than ever when the future is so uncertain.

I started thinking about how we can create a NADA world that is undeniably futuristic but still strongly echoes a sense of a cultural past. While searching for points of reference, I came across the works of Sote, one of Iran’s foremost experimental composers and sound artists.

The way he blends Persian music with electronics opened new doors for me. It’s definitely a trajectory we want to pursue right now.


Y-DRA – ‘Koplotronika‘

Safuan: We have always kept our ears close to the sounds coming out from the thriving scene in Yogyakarta. This Y-DRA output by Yennu Ariendra is something I can’t stop listening to the past year.

He managed to twist the happy celebratory sounds of the masses that are dangdut koplo into something dark, brutal, and still danceable (somehow).

Gems like this serve as a constant reminder to us on how malleable music or genres can be. It’s really up to our imagination to where we want to bring it to.


Sharifah Aini – ‘Kudaku Lari‘

Rizman: It’s only fair to end this with a crowd favourite. It’s the only song we’ve actually sampled in this list. ‘Kudaku Lari’ is an ecstatic number that can take you places.

For us, we like to have random conversations which involves concocting unbelievable scenarios where the Malay music world collides with the realms of our other music influences.

When we decided to sample this, we fantasized about a version that can be played at the infamous Studio 54 in New York and how it replaced Donna Summer’s ‘I Feel Love’ as the anthem for the era.

Safuan: Basically, this is how NADA works behind the scenes. Instinctively we just rely on the cultural references we share and grew up with, use them as shorthands to communicate ideas between ourselves, have a good laugh about it, and then we get to work.


10 Tracks Fzpz Singapore Community Radio
Photo credit Fzpz

If you’ve paid attention to the Singaporean beat underground over the past few years, the name Fzpz would be familiar — even if you still struggle to pronounce his name (phonetically, it’s pretty straightforward: eff-zee-pee-zee).

The producer, real name Jarren Lim, has dutifully put out releases over the past few years — however, you’d find most activity on his modest Soundcloud page than anywhere else.

2018 was a significant milestone for him, as he teamed up with electronic music label Darker Than Wax for his EP Hidden Personas, which saw him delve deeper into his hip-hop roots. 2019 was a year in which Lim quietly dropped individual tracks sporadically, along with a “name-your-price” release on Bandcamp titled fourfour, a nod to the EP’s pervasive direction towards classic house music.

In 2020, Fzpz has taken the greater leap to release his debut album, titled Death Signs. Inspired by slow-burning R&B jams from nocturnal radio playlists, rather than the boom bap sound he’s made his name with, Death Signs is an accomplished piece of work that displays Fzpz’s versatility in full force.

On this episode of 10 Tracks, we spoke to him about putting the album together, its impressive list of collaborators, and the songs on his playlist that might have influenced his current sonic trajectory.

Listen to the podcast below and check out what he has to say about each track.

Melting Bridge Evening Chants cassette
Photo credit Evening Chants

Fzpz – ‘Love and Resent’

Fzpz: This was the most personal work I’ve done to date until Death Signs. Heavily influenced by R&B elements from the late 80s and stealing a cheeky bass lick from Mike Porcaro, Toto’s bassist — I tried exploring chord qualities and progression that could steer the song into a brighter mood as it progressed.

Nigel Lopez Evening Chants
Photo credit Evening Chants

And with the year still powering through cautiously, Evening Chants have a slate of upcoming releases that signal further depths into the label’s expanding ethos.

What the heck does that mean? You’ll have to read my conversation with Lopez and Ho to find out, where they speak freely about running Evening Chants, Kwaidan’s repress, their schedule of upcoming releases, and what “horror musique concrete” sounds like.

Watch the first episode of Midnight Ambient Hour with Evening Chants on Singapore Community Radio above.

Meitei Evening Chants Kitchen Label
Photo credit Evening Chants

Hey guys! How was the circuit breaker for yourselves and Evening Chants?

Nigel: Hey Dan! I’ve always been a homebody, so I have to say that I selfishly enjoyed the circuit breaker. It definitely gave me some space to breathe and somewhat relax. I can’t say that much of my lifestyle changed.

Jasmine: The circuit breaker was great for me. I like staying at home and I don’t have any complaints being near my cat all day for the past three months! Been reading a lot more and having more time for myself!

Have the events over the past few months changed the course for the label’s plans?

Nigel: We were due to release the repress of Meitei’s Kwaidan in May. Unfortunately, due to the pandemic, the pressing plant we use in Dublin had to temporarily pause operations, which meant that we had to put our plans on hold as well. Other than that, we’re still on schedule for our upcoming releases!

Jasmine: That’s right! Due to delays in production, we took the time to pre-prepped ourselves on the release by liaising with artists and exchanging design ideas so that we can plan ahead and send them out once it was open again!

Stepping back to a few months ago, you guys handled a breakthrough release with Meitei’s Kwaidan on vinyl. For a tape label, why was vinyl added to the equation?

Nigel: I’ve always wanted to put something out on wax, but due to the costly nature of the medium, I’ve always been averse to it. However, I felt like it’s about time I took some sort of ‘risk’ and shake things up on my end, presenting the label with new challenges and opportunities.

Being a naturally risk-averse person, I only decided to press on vinyl after seeing the immense success that Meitei’s debut album Kwaidan got, and was fairly confident going into it. Now I’m hooked and wish that all of our releases can get pressed and released on vinyl. Hopefully, we’d be able to do it eventually.

Was the process different from getting your usual releases pressed?

Nigel: For sure. It’s definitely a more intricate format, which requires test pressings and intense scrutinizing before giving the green light. Moreover, the medium itself is significantly larger in size than a cassette tape, which means more space to play around with. Jasmine did an incredible job designing the vinyl artwork and layout and shaping the rest of our label’s identity on wax for all of our releases in the future. We have a very beautiful insert that will come with the upcoming Kwaidan repress that we’re very excited about!

Another difference would be in terms of shipping. Vinyl is relatively heavy and bulky, and as such, not only was it more expensive, but I had to make sure I had the right packaging materials and ensuring that it reaches the listeners safely.

Jasmine, how was the experience like doing artwork for Kwaidan’s vinyl release?

Jasmine: Evening Chants has given me the opportunity to directly communicate with the artist to find more ways to help visually translate, reflect, and amplify the experience of the music/record. I’ve always found that as one of the key responsibilities of a designer.

The feedback has been great so far and I am currently working with Meitei to do his other collaterals outside of EC. For the reissue this time, we’ve included an insert which is accompanied which a text-based commentary for the album to bring the experience even more. Meitei, of course, has helped pick beautiful Japanese artworks that captured the inspiration found in his soundscapes.

Meitei Kwaidan vinyl repress
Photo credit Evening Chants

Is vinyl a format you’re still thinking about for future releases?

Nigel: Of course. As mentioned, if we could, I would press all of our releases on wax. But due to the costly nature of it, and how we are an independent label, we have to be more selective in which we choose to release on vinyl. Sometimes an album is just meant to be on tape and not on vinyl.

Jasmine: I agree with Nigel. Although I think we also look into other ways to help make the physical releases more interesting. For example, all our cassette tapes have an OBI band with a hand-embossed logo and our upcoming release includes a story booklet in the cassette.

So now that we’re entering a period for music where COVID-019 continues to rage on, what’s your take on the label’s future moving forward?

Nigel: We’ve already shifted away from the traditional record label since streaming took over, so I don’t see COVID-19 affecting Evening Chants in any way as we operate mainly online. Occasionally, we organize live shows here in Singapore, but we do not have any fixed schedule when it comes to it. I guess, when the right opportunity comes, then it comes. But, we don’t see it happening anytime soon.

One change that we do see happening is how our artists are going to tour. It is extremely unfortunate that this is the case, but hopefully, things will get better in time to come and they’ll get to share their music in the best way that they can: live.

Jasmine: On top of that, I definitely see us experimenting with different formatting. I would like to see our releases put out in more innovative ways in order to give and help the artiste reach a bigger listening audience that they deserve.

Are there certain decisions taken differently?

Nigel: We have taken into account that people are more wary of how they spend their money. Especially with this uncertainty, many people have lost their jobs or are at risk of doing so. As such, their priorities have changed and rightly so. I have to admit that it does feel a bit surreal releasing music in such times, but like myself, music will always be an important constant and it is only right that we continue to contribute to this the only way we can – to put out more amazing releases.

Do you believe it has affected the label’s use of physical formats?

Nigel: With the temporary closures of the vinyl pressing plant, it has accumulated some backlog in terms of operations, which has resulted in our orders taking longer than usual. Thus, we had to shift some of our releases to a later date.

Jasmine: I’ve got an extra soft spot for physicals — I feel that if it’s done nicely and well thought-out, people would still try to acquire them at the right cost.

Ever since the label has gained followers with each release, has it been a priority to engage with them?

Nigel: We try our best to keep them updated as much as we can on social media. We also keep in touch with them with our new releases via Bandcamp’s messaging system (which is incredible, by the way). We are immensely grateful for the support and love that we get from the community.

Could you tell us about what’s on the schedule for the label in 2020?

Nigel: It has been pretty quiet on our end since the Melting Bridge release due to personal commitments. But this year, we’re very excited to be working on a few releases that are all due for the second half of 2020. Apart from the Kwaidan repress, we have a few new releases lined up.

We have been working on one of the upcoming releases for awhile now by an incredible artist that not only dabbles in music but also art. So, we are very excited about introducing this highly overlooked artist to everyone. The best way to encapsulate the release is if the movies Midsommar and The Blair Witch Project had a baby, it would be it both sonically and aesthetically. I would also describe it as “horror musique concrete”.

Another one of our releases that we’re excited about is from a musician who has been composing music for films, documentaries and tv shows on Adult Swim, Netflix, etc. The album takes us into his own world of celestial soundscapes and personal life, completely disconnected from any of his professional work.

We also have an upcoming release from one of our familiar names, where we’ll be releasing our most “dance-iest” record so far, but of course, with an Evening Chants twist to it – keeping it weird.

12. Just to cap it off, what’s been spinning on your turntable lately?

Nigel: I’ve bought so many records during this period! But here are my more regular spins in the recent weeks:

Craig Kupka — Crystals: New Music For Relaxation 2 (Smithsonian Folkways)

Side A’s “Trombones of Lithia” is a gorgeous 20-minute composition with meditative, gentle and warm brass textures and layers. Very aptly named New Music For Relaxation 2, this album delivers exactly what it promises. A+ ambient/drone record.

Maxwell Sterling — Laced With Rumour: Loud-Speaker Of Truth (Ecstatic)

I’ve never heard of Maxwell Sterling before this release but immediately became a fan. This album originated from a “multi-channel installation commissioned by Nottingham Contemporary in 2018”. (Boomkat).

An intricate mosaic of jazz sensibilities with a strong ambient foundation, this album brews some sort of a fog throughout its 40-minute runtime. While it leaves me in an amnesiac state by the end of it, I keep wanting more and flip the record all over again.

Lamin Fofana — Dark Water (Black Studies)

I saw Lamin Fofana in Berlin last year at an old Franciscan monastery (alongside Kara-Lis Coverdale as well). He opened the evening with an ambient DJ set that instantly sucked me in and left me with a profound experience.

When I went back that night, I started doing some research on his work and have been waiting for him to release more music. Then came Dark Water, which released in June this year. This ambient record epitomized the very same feeling I had when I saw him in Berlin –peculiar yet highly intriguing synths and organic textures pieced together to create an incredibly cohesive sound. This album is not on vinyl, but really hope it gets pressed eventually.

Jasmine: I think the new Green-House and Skee Mask are great! I’ve been going back to The Depreciation Guild and Computer Data a lot too, it’s so enjoyable and always manages to lift my mood up while working.

Skee Mask — Iss006 (Ilian Tape)

Computer Data — Verlust (Lost Palms)

This article was originally published on The Analog Vault.