Japan Tour: Osaka (28.07.17)

We are stoked to be heading to Osaka to play at Club Circus alongside some incredible artists.  Kafuka, who has recently released on Project Mooncircle, will be playing live to celebrate this release, and the line up also features Hush Hush labelmate dznt, and Metome, who was one of our inspirations when we produced Separation.

From Club Circus:

オーストラリア・メルボルン在住のミュージシャン兼プロデューサーRob Mastertonによるソロ・プロジェクト Super Magic Hatsと、関西からドイツレーベル”ProjectMooncircle”より初EPをリリースしたKafukaのダブルリリース祝スペシャル!

Release Live:
Super Magic Hats (Hush Hush/PROGRESSIVE FOrM/Gaga Digi)
Kafuka (project:mooncircle)

Keita Kawakami (koolSwitchWorks)
Hideo Nakasako (shrine.jp/TYPE)
dznt (Hush Hush)
Might whales

Details here


Beat Collective Sessions 3

Our next gig will be Beat Collective Sessions 3 at The Workshop Bar in Melbourne on July 4th.

Join the Beat Collective crew for an evening of live electronic music in the beautiful inside-outside surrounds of Melbourne’s Workshop Bar.  Other artists on the night will be Brkn Fixie, Spectoral, Rosaline Yuen, Out of Place, Orches, Martiln, Ben Willis, and Electric Animals.

For more information check the Facebook page for this event or the shows page here.


Announcing: Wish

Our second LP, Wish, will be out March 22nd via Tokyo-based electronic music label PROGRESSIVE FOrM.

The LP will feature collaborations with Mayumi (Chelsea Terrace, Gray Nightly), Rosaline Yuen, and Chris Oldfield. The amazing cover art is by Izumi Fontana. Mastering is by Adam Straney at Breakpoint Mastering.


Winter Winds Vol 4

Released 21st January 2017

Our track “Emotion” features on the latest compilation from Svnset Waves.  WINTER WINDS vol. 4 is Svnset Waves’ annual winter release. Featuring artists from around the globe, this album sets out to capture the literal and metaphoric feeling of the cold rushing in and out of our lives during the cold months.

Emotion is a brittle and hazy track forged in a cold Melbourne winter (northern summer) from a mix of field recordings, live instrumentation, and samples of everything.  Emotion captures a feeling of longing and a desire for the warmth of connection.



2016 review: September

Fabric closed, which led us to lament about the musical heritage which had been lost since we left London.  Turnmills, The End, The Cross… we cut our teeth here, we lost and then found ourselves, we made friends and made memories, we danced til dawn and back again.  As much as life is both fluid and cyclic, it’s sad for us that those who follow will never have access to the same experiences.  The world is the more sanitised and bland for places like these no longer existing.

Back to the present, our remix for Passerine was released.  It was a hard one to pull off in terms of the concept we came up with and the samples we wanted to use, but somehow it worked.


2016 review: May

In May, we launched our debut album into the world.  It came out on digital and tape, both of which are available here as well as the usual streaming and digital places, as well as a few record shops around the Seattle area.  Here’s the awesome video for Transpose that kept our friend Tessa busy for half a year, but which won her a Vimeo staff pick for her first animation –

2016 review: April

With our album release locked in for May, we worked on our special launch live set.  A note on these: people tend to slate electronic music live for being “hit play” or whatever, or that there’s no particular skill or effort that goes into playing.  They might have a point, it is possible to just hit play and then spend the next hour occasionally pressing a button so that it looks like you’re doing something.  The thing about playing electronic music live is that there is a near infinite number of ways to do this, so there is a near-infinite spectrum that ranges from press play, have a beer, whatever, right through to improvising everything on the spot.  For our own part, we have spent the last few years constantly thinking through what it means to play live, and how to present something that is on the one side manageable enough for one person with two hands to play, but on the other side, has enough spontaneity and improvisation to make it fun.  For the last couple of years, we’ve done a full a/v set where possible, which places certain parameters on the way the set has to be laid out given the limitations we have (amount of hands, amount of RAM).  As well as this, the visual component especially takes a long time to prepare.  In this case basically all of our free time for two and a half months.  We did that specifically so that we could present a single hour of music the way that we wanted to present it.  And it was worth it.