Snow on Higher Ground is the debut album from actor Keegan Joyce. The album is acoustic, and described by Joyce to have an 'Australiana folk sound'.
Joyce first released music on his YouTube account in February 2016. He premiered the song 'New Bridge Over Deadman's Creek' with Jane Patterson, which would become Track 1 on the album.
The album was released on 1 September 2016, initially available on iTunes and Bandcamp. Later, Joyce released purchasable album notes and vinyl copy of the album (limited to 300 copies) on his website.

If you've seen Courtney Barnett and her band in the past year, you know this one. It's a more vulnerable headspace for the wry lyricism that has become Barnett's trademark; her most direct contemporaries might be bands like Parquet Courts and Speedy Ortiz, their clever poetry itself recalling Pavement, but rarely have any of these groups been so cutting. "Depreston" is Barnett's somber tale of house-hunting in the suburbs of Melbourne, a sad neighborhood with few cafés and visible crime, heavy with an emptiness you can feel in this spacious, mid-tempo music. The song is rooted in a dilemma of all artists—that of finding a cheap place to live on the outskirts, of embracing domestic self-reliance and just brewing your own coffee—but it winds its way into a poignant ballad of memory, death and growing.
It's telling that Barnett has a background in photography; her songs capture fleeting, quotidian details that are full of truth. It is a photograph that sets the existential tone of "Depreston", as Barnett pokes around this cheap old house with a realtor, and learns that its last resident had died: "Then I see the handrail in the shower," Barnett sings, wistfully and a bit detached, "A collection of those canisters for coffee, tea and flour/ And a photo of a young man in a van in Vietnam." Her mind races, and as Barnett negotiates her own impending relationship to adulthood, she reminds us of what comes after it with empathy and care. Anyone who's sorted through a grandparent's dusty belongings before the apartment is sold off knows the feeling—that of opening an old book to find a startling relic that wakes you up, artifacts that loom with meaning, the ephemera of daily life that echoes on and on.

The new album Tell Me How You Really Feel follows her critically acclaimed 2015 debut album Sometimes I Sit And Think And Sometimes I Just Sit, and a recent top 10 collaborative record, Lotta Sea Lice, with Kurt Vile. One of the most distinctive voices in music, Courtney is known for mixing witty observations with unflinching self-assessment - fast forward to now and although all of the cleaver turns of phrase and an eye for story telling are still there; this new collection of songs see a more serious and outwardly tone capturing the current social landscape yet still retaining moments of intimacy and warmth. As the world becomes more familiar with Courtney Barnett these songs feel comforting and emphatic yet that raw energy and the ability to make the listener think still remain.

All songs written and performed by Tangled Thoughts of Leaving.
Tangled Thoughts of Leaving is
Ron Pollard - Piano, Synth
Ben Greene - Drums, Noise
Paul Briggs - Guitar
Luke Pollard - Bass, Samples
Recorded and mixed by Ron Pollard at Studio Sleepwalker's Dread in North Dandalup, the cultural hub of Western Australia
between January 2017 and January 2018.
Mastered for CD/digital by Simon Struthers at Forensic Audio.
Horns on Binary Collapse by:
Dan O’Connor - Trumpet
Matt McGlynn - Trumpet
Jonathan Brittain - Trombone
James van de Ven - Trombone
Vocals on Inner Dissonance by Jess Nyanda Moyle and Ron Pollard.
Drawings by Teo Treloar from the series, ‘Another Grey World’.
Layout & design by Luke Pollard.

Australian four track CD pressing of the second single lifted from their Top 10 gold-selling debut album Walking On A Dream. Features two versions of 'We Are The People' (Main Version and Sam La More Remix) plus two versions of the first single, 'Walking On A Dream' (Kaskade Remix and Danger Remix). EMI. 2009.

'brace, brace' is Julia Reidy’s soaring Slip return: a dread-tinged incantation unfurling from breath-down-the-neck field recordings, auto-murmured voice, synthetic hum, and irrepressible guitar kinetics.
Reidy's signature 12-string playing - precise, burrowing, rhapsodic - dominates the LP's outer cuts, framing a plaintive electric centre. Blooms of arpeggiations and desolate strums re-inflect slow-moving pitch sequences; the music feels at once on fire and graceful, inevitable.
Perhaps most surprising is how organic 'brace, brace'’s expanded palette feels. Reidy's electronics are subtly eerie extensions, alien resonances of her playing, both embedding her instrument and making it somehow unreal. This strange smear of body and apparition is neatly nailed in Reidy's sung-to-herself vocals, coaxed out and encroached upon by autotune.
Succeeding issues of her work by Feeding Tube and Room 40's A Guide To Saints, 'brace, brace' is a definitive statement from a blazing, restless talent.
The LP tours with visuals from Suze Whaites. Whaites' projection environment is built from the coruscant light sources and surface reflections with which her video footage is made, creating mutable vistas at once microscopic and panoramic, domestic and sublime.
'brace, brace' [SLP046] is available on vinyl LP and download from February 2019. Mixed and recorded by Sam Slater. Mastered by Joe Talia. Artwork by Suze Whaites. Distributed by Boomkat.

Australian sound artist JASMINE GUFFOND presents “Degradation Loops”, initially a sixteen day process of sonic destruction created for an art exhibition.
Australian sound artist JASMINE GUFFOND’s “Degradation Loops” started out as a sixteen day long composition for an exhibition at Sydney gallery 55 in December 2016. Literally using the ‘degrade’ object from the MaxMSP programming software, “Degradation Loops” gradually and completely bit crushed her 2015 album ‘Yellow Bell’. A process of sonic destruction unfolded in response to a group show where visual artists destroyed and reassembled their work, to create new work, and to question the dominance of commercial imperatives within art. Here GUFFOND has especially created a thirty minute variation for the vinyl medium.
Engaging the process of bit crushing, in “Degradation Loops” the sampling rate and bit depth of the audio signal is step by step, gradually, and completely reduced. The algorithmic unraveling of these tracks renders them increasingly discordant and unpredictable as time passes. Using intricate and highly articulate audio loops from an existing authored work, sound gradually becomes noise. Beauty is broken down allowing another type of beauty to emerge. By deliberately deconstructing the audio signal of otherwise highly deliberative compositions, “Degradation Loops” speaks to a contemporary audio realm where principles of High Definition dominate, in an overall musicscape preconceived as uniform. An industry standard sampling rate of 44.1kHz, and a bit rate of 16 was established by Philips and Sony with the Compact Disc format in 1982. At the time this became an encoding standard by which to communicate, listen, and make music.
JASMINE GUFFOND is a composer and sound artist from Sydney, Australia, who lives and works in Berlin, Germany. Focused on electronic composition across music and sound art contexts, her practice spans live performance, recording and the capacity of sound installation to interrogate site. Through the sonification of data she addresses the potential of sound to engage with contemporary political questions. Her music draws upon influences from experimental electronic, drone, techno and avant-garde. Working with abstract sound as much as traditional musical forms to create a concordant relationship between a sound that holds emotive power and musicality, and a sensitive microscopic study of electro acoustic phenomena.
Jasmine has exhibited internationally including Akademie der Künste (DE), Deutsche Oper (DE) and the Museum of Contemporary Art (AU), performed live internationally at music and electronic art festivals, and recorded music for CD and 12inch vinyl releases with the Staubgold, Monika Enterprise and Sonic Pieces labels. She completed the Sound Studies, master in arts program at the Universität der Künste, Berlin Germany, 2015 and received the ‘Working Grant for New Music und Sound Art’ from the Berlin Senate in 2016.

City of Satellites; a band of two people from two Australian cities. Jarrod Manuel lives in Adelaide and contributes vocals, guitars and synthesizers; Thomas Diakomichalis lives in Sydney and contributes drums, synthesizers and programming. Thomas and Jarrod initially began writing music inspired by the shoegazer, stoner and grunge heroes of their high school days, but over time the influence of the ’80s music of their formative years has become more pronounced and more deeply explored.
Initially struck by the challenges of incompatible technologies and living in different parts of the country, Jarrod and Thomas were forced to develop a simple yet reliable approach to producing their music at distance. Recorded works in progress were physically mailed back and forth and developed in isolation, often resulting in serendipitous joint compositions. While technologies have progressed - and City of Satellites is now not as dependent upon Australia Post - this notion of a remote collaboration persists, and helps define the spaces and contrasts in City of Satellites’ sound.

2017 release from Sydney's post-rock trailblazers. During a recent reddit AMA, bassist/keyboard player Alex Wilson described the third sleepmakeswaves opus as having the "up-tempo pace and intensity" of their previous album "but there are more straight-up riffs and overall, it's angrier, sadder, and heavier."

Sleepmakeswaves are an instrumental rock band from Sydney, Australia, formed in late 2006. Drawing influences mainly from but not limited to post-rock, they mix driving metallic bombast with textured electronics.
来自澳大利亚的Sleepmakeswaves是为一支器乐型后摇新团，Sleepmakeswaves同样也受着Mogwai,Explosions in the sky,Mono,SigurRos等团体的影响。他们的作品中有着利落铿锵的旋律，让人热血沸腾。乐队对力度拿捏很有分寸，曲调走向变幻莫测，让人感觉大气中却又不失温柔的气质。

Sophie’s new album, Wide Asleep, is near completion. Wide Asleep marks an incredible step in Sophie’s compositions, writing her most dazzling and poignant pieces yet. Strings are provided by cellist Peter Hollo (Fourplay, Neil Gaiman) and violinst Jay Kong. Sophie produced Wide Asleep and the album was engineered by Tim Whitten, responsible for recording some of the most unique and atmospheric music of the last two decades by The Necks. We are giving Wide Asleep the most fitting way to be released - in a beautiful, distinctive vinyl edition. Wide Asleep will contain images from renown Sydney photographer Jacob Ring, with design from the award-winning Mark Gowing. Jacob’s images will cover not only the front and back of the album, but the Preservation label will also include four more images inside the edition. It will be something to cherish.
People love vinyl. It's big, beautiful and sounds wonderful, but making it is a very expensive process. To ensure we can realise it, we are looking for Sophie’s fans - those who already know and love her music and those who are new in discovering it - to order the record here in advance as a Pozible pledge before its production. Taking part in this Pozible campaign to secure your copy of Wide Asleep brings us one step closer to making this fantastic release. We're offering some very special rewards for people who pledge here to produce Wide Asleep onto vinyl. 'Drift' is an exclusive album of intimate solo recordings, only available here through this campaign as a download and handmade CD-R. You can get these special recordings through this Pozible campaign along with all the other rewards on offer. Only 150 copies of this unique handmade CD-R edition will be produced. We hope you will be a part of making something special in the best way!
Meeting our target, the Wide Asleep vinyl will be ready in the middle of 2016 on Preservation, with copies and their rewards sent to pledgers upon its release.