For his new release Antonymes reworks four tracks by fellow Hidden Shoal artist Slow Dancing Society, one from each album, by melding their shimmering atmospheres with the piano-led minimalism which is quickly becoming the former’s trademark. It’s immediately clear from the results that this is neither a traditional remix project nor a case of borrowing from one’s peers to embellish one’s own musical vision. The piano blends seamlessly with the electronics to create a unified field of sound – there is no sense of one element playing backing track to the other.

Throughout this EP I got the impression of standing on a threshold, on the verge of entering or exiting, at a moment of transition or change. Deep breath / held breath. In the first track, “The Grey Sea And The Long Black Land”, the feeling is more definitely one of moving out, onwards and upwards, of embracing the world with hope and optimism. “A Feeling Of Being Closer”, on the other hand, closes the release by ushering me in to a narrow and intimate space. The rising piano lines, always pointing onwards and upwards, give a firm sense of direction to the expansive soundscapes of the original tracks. A moment’s hesitation is allowed, but only for a moment.

Antonymes’ album “The Licence to Interpret Dreams” was released to much acclaim earlier in the year, and “We Don’t Look Back For Long” looks set to further bolster the artist’s reputation, as well as winning Slow Dancing Society some deserved new fans. The piano has featured in a number of highly regarded releases this year, and it is interesting to see how the instrument continues to be integrated in innovative ways with the ambient scene’s traditional electronics. “We Don’t Look Back For Long” is available in limited edition CD format with a hand-numbered letterpress sleeve made by Antonymes, and also as a download, with Wil Bolton bringing mastering life and warmth to the proceedings. Another worthy addition to Hidden Shoal’s diverse catalogue!

- Nathan Thomas for Fluid Radio

Pre-orders available from the Hidden Shoal

www.antonymes.co.uk
www.myspace.com/slowdancingsociety
www.music.hiddenshoal.com

There is no maelstrom, no swell of overwhelming sound. Antonyme’s first full-length work, The License to Interpret Dreams, is defiant in its fragility; in fact, the work is so over-wrought that it teeters on the point of collapse. It seems its purpose is to carry on a prolonged moment of respite despite the fact that it shudders under its weight and poignancy.

Each piece is a wonder, much like encountering different facets of the same being, finding something new to love about someone: an unintended twitch, a new wrinkle, freckle. To think you know something or someone so deeply and be surprised by what is still to be discovered. A guarded laugh may at times burst out into a full-fledged explosion. An undefined glance. I can also imagine knowing someone so deeply but encountering them in a store or street, without accompanying them, and seeing them exist outside of your life together, as if you’ve never met or known one another. Who is a person you care deeply about when they’re not with you? On this work, I began to look at people I’ve known and places I’ve visited in a new light, questioning everything I’ve ever known, and whether what I’ve known was conjured and an extension of myself. I listen to “Doubt” and I hear scattered words and experience an assortment of images, and I wonder whether what I see is me, or, as I understand myself to be.

A finite layer of gossamer shrouds the album from the start, as “A Fragile Acceptance” gradually seeps out of the speakers. A serene hush floats in and, intermittently, notes pick up out of the silence. A wave of strings emerges from the silence and shares a kinship with the sensation of an epiphany, of knowing everything all at once before it completely escapes you. I felt lonely in its absence, when it subsides, but became used to the emptiness so effortlessly filled in with the right note or the right shift, at the right time.

“Womb of the Great Mother” is barely there. I was directly connected to it without noticing; it was affecting what I was doing, whether I would stop and stare, entranced, while finishing some work, it began to inform my thinking and my doing. I suppose the purpose of some music is to barely exist and creep into your being. The many diluted definitions of ambient music try to express this point but what they fail to accept is that your mind moves with the music, you become aware, and it washes over you. Music should never exist at the perimeter and Antonymes’ work permeates your being from all angles. The listener plumbs the depths, occasionally rising for air on “Landscape Beyond an Open Window”; the wind cuddles around you before “Endlessly” wisps you away from the bracken, the charming foliage, and the shrubbery.

There is so much to experience and so much the music will conjure for the listener. The music on “The License to Interpret Dreams” can influence how one views the world, their inherent sensibilities, of knowing, and, finally, of returning.

- Review by Michael Vitrano for Fluid Radio

Available through Stashed Goods

We recently caught up with Ian Hazeldine, aka Antonymes to discuss key aspects of the upcoming album ‘The Licence To Interpret Dreams’ released through Hidden Shoal Recordings…

The Licence To Interpret Dreams… An interesting title… Why that name?

If I hear something that sounds interesting, I’ll write it down. I’m forever making notes, as I have a really terrible memory. I was throwing out an old phone and I came across the title in a series of notes that I had made. Unfortunately I didn’t make a note of where I’d heard it, but I’m pretty sure that it was most likely from something on BBC Radio 4.

Was there an overall vision when starting out to produce this album with regards to the sound that you wanted to achieve?

Not really. I hadn’t done anything as sophisticated as developing a sound palette for the album. I tend to gather ideas as very short pieces as I go along. I didn’t really know that I was making an album for a long time, I was just accumulating material with no specific destination. Things just developed and as I added elements to each piece. I knew that I wanted to produce something richer, but I suppose it formed the sonic landscape on its own.

Other artists have been introduced to some of the compositions. Did you always know who you wanted to work with or did ideas formulate as the album grew?

I’ve worked with James Banbury [cello] many times over the last six years or so, mainly as a graphic designer for his label, Service Audio Visual. I’d originally recorded A Light From The Heavens for Beauty Becomes The Enemy Of The Future, and James supplied the beautiful cello parts that really brought it to life, so I always knew that he would be on the album He’s such an accomplished and experienced string arranger, and I knew his contributions would always be prefect.

I’ve known Christoph Berg for quite some time and I was really overjoyed when he agreed to play on the album. His input on the album extends far beyond the pieces he plays on. His encouragement and ideas were really important, and really pushed me on tracks like A Fragile Acceptance and The Door Towards The Dream. I’m really looking forward to working on more projects with Christoph in the future.

Jan Van Den Broek fronts the astonishingly beautiful June 11. His inclusion on the album was really out of the blue, but when Paul Morley presented me with the words for Doubt I really couldn’t think of anyone else to deliver them.

What was the process with regards to recording and how easy did you find it working with other artists?

For me, often the recording process can be very quick, as a lot of what I do is improvised. As I don’t play particularly well, and I tend not to like re-recording parts, so there is usually a lot of “manipulation and reconstruction”. This is the lengthy part of the process for me. Even on the simplest of pieces I can be working for weeks, so working with other musicians, people that can really play is a great way of speeding up the process.

With Christoph and James I didn’t need, or want to give them to much direction. They pretty much did what they wanted, with just a vague sense of what I was looking for. I was more interested in what I knew they were capable of. I think the only thing I was prescriptive about was the cello on A Fragile Acceptance, where I actually sent the specific parts to James to play. Paul’s words on Doubt came out of me listening to Bright Red, by Laurie Anderson. I love the way that she and Lou Reed deliver the words on the title track. Jan Van Den Broek delivered the words perfectly, and also did a great job on the vocal treatments. Collaborating has opened up many possibilities for me, and I’m looking forward to doing much more.

Was this something that happened quickly or did this aspect take a long time?

I’ve never really been a prolific worker, and because graphic design work often gets in the way, things do take a long time. It’s more deliberation than action. After I’ve written something, I’ll listen to it a lot over a couple of days, then just leave it for a while. Coming back to something a month or two later makes the world of difference. I’m never really in any hurry with my music. Hidden Shoal have been waiting for about two years for this album, but it wasn’t right for a long time, a lot of pieces got discarded, or completely changed.

Are there any influences that impacted on the recording of the album?

For me the biggest impacts on my music last year, when I was recording most of the album where 4 artists: Clem Leek, Field Rotation, Nils Frahm and Greg Haines. I think that Greg’s album Until The Point Of Hushed Support made the biggest impression. Although my album sounds nothing like Greg’s, and is nowhere near as accomplished, it gave me the notion that I could be more ambitious.

The artwork…Visually it’s stunning. Can you tell us more about this and why you went for that cover image? Is it interlinked with the music?

I didn’t really think about the cover until the record was finished, but I always knew that I wanted to continue the visual theme from the original release of Beauty Becomes the Enemy of the Future on Cathedral Transmissions. I’d bought a beautiful victorian photograph for that cover from Castle Books in Hay-on-Wye. Earlier this year I took a trip back and after a couple of hours searching I found the perfect image that I thought really connected with the music.

It was only after a bit of research that I found that the location was Rydal Waters in England’s Lake district. By a curious coincidence, the day my copies of the album arrived from the pressing plant we were on our way to the Lake District for a few days. We were staying in Ambleside, a short distance from Rydal Waters. It seemed fitting to take the album to the location that the cover image came from Slightly strange to stand where the unknown photographer had stood, probably over a hundred years previously.

Paul Morley’s sleevenotes are also very important to the overall feel of the cover. I think he’s written something really incredible for this one, really encapsulating the intention of the album.

From a visual perspective you also made a short film to go with the release. Is filmography an important aspect to your work, and if so will we see this side of your creativity developing in the future?

I really enjoy making films, although it’s really time consuming, as I post process each frame individually. I’m hoping to give it a little more time to find a better way of doing it, but yes, I’ll be doing a lot more in the future.

Being signed to Hidden Shoal must have been a great experience. How did this come about and what has been the main difference working with a larger label compared to doing self releases?

I’ve had a connection with Hidden Shoal for about three years now. They were actually the first label I contacted, after only writing two pieces as Antonymes. Cam, their label manager, was enthusiastic from day one, but I didn’t feel that was ready to release something with them straight away. We kept in touch and I kept sending him things and putting off discussing any timings. Finally, last year I felt I couldn’t put it off any longer, and set to work properly. I really couldn’t find a better label for me, they’re truly wonderful and very organised.

They’ve taken all of the hard work out of releasing a record. In the past I’ve had to spend weeks, probably months, making up things by hand, which generally means you don’t end up with several serious scalpel injuries, and only make a few dozen copies.. That said, I’m still going to be doing occasional short-run bespoke releases too.

Many people we have spoken to always ask when we will see a live Antonymes performance. Is this something we can expect to see soon and are there plans to perform the album live?

I really have no desire to perform live. I did a couple of things with Paul Morley last year, The Big Chill in the summer and at the Southbank Centre just before Christmas. I just brought my parts on CD and sat in the audience. I’m really not a performer. My memory is such that I don’t think I still play more that one or two pieces that I’ve recorded. I don’t feel the need to physically replay anything I’ve ever written in a live context. I’m considering making some longer films though, and writing music to accompany them, which I’d send out to “perform” for me.

What can we expect to see next from you musically and visually over the rest of the year?

Hopefully some surprises. I’m currently working on a series of gentle collisions with Drew Sullivan. His first three albums as Slow Dancing Society are being reissued in CD through Hidden Shoal and I’m remixing a track from each, plus one from his latest album. These will form an EP. I’ve done one already, and it’s sounding really good.

I’ve also got something out on Colin Herrick’s Time Released Sound label later in the year. Seven pieces I wrote and recorded between Christmas day and new year’s eve last year. They’re all piano pieces, although I have played some violin on one track. It’s a 3″ CD that’s going to come with an engraved piano key! Colin doesn’t take half measures when it comes to extravagant packaging.

After that I’m going to start work on some short films, including a very special one for Dead Pilot. I’ll be launching a photography website later in the year, if I have time, to sell prints of my work. Digital photography doesn’t age, and I want my work to have a life outside of the computer domain. They’ll be limited prints and will change every season. I love to make work for myself!

………………..

‘The Licence To Interpret Dreams’ is released through Hidden Shoal on 21/04/11.
The label are also offering up a free track here

Watch out for a full review of the album over the coming days plus pre orders coming soon to Stashed Goods…

www.antonymes.co.uk
www.music.hiddenshoal.com

Hidden Shoal Recordings today announced the release of the first track and accompanying music video taken from the eagerly awaited fourth album by US ambient artist Slow Dancing Society. Both single and video are now available for free download…

Following on from the ebullient warmth of the critically acclaimed Priest Lake Circa ’88, ‘…and to the dust we shall return’ is the perfect introduction to Drew Sullivan’s latest ambient epic, Under The Sodium Lights. Accompanied by a stunning video by Latvian filmmaker Ieva Balode, this glorious seven-minute song sees the gradual accretion of reverberant guitar tones, emerging from the silence as sparse reflections across the stereo field. Slow searching melodies overlap and accumulate before a descending bass figure carries the song home to its elegiac conclusion. The song, like all Slow Dancing Society releases, resonates with a rich emotional core – and the choking realisation of our own transience.

The video for ‘…and to the dust we shall return’ was created by Latvian filmmaker and artist Ieva Balode. Currently studying at the Latvian Academy of Art, Balode has taken part in many exhibitions in Latvia, and has also presented her own solo exhibition in the capital, Riga, where she currently lives and works. – Hidden Shoal

Download the track here
Download the track and video here

Video Credits:
Director, designer, editor: Ieva Balode
Camera: Kaspars Cirsis, Vents ?bolti?š
Grip: Dainis Juraga
Special thanks: Latvian Academy of Art-Visual Communication department, T?lis Balodis and Ingr?da Balode, Ieva P?gozne, Simona Jonaite.

www.agora.hiddenshoal.com
www.myspace.com/slowdancingsociety

Have been a huge admirer of this label for some time now as they continue to release outstanding material…

The Heart

Perth’s mythic isolation is oft romanticised. The most isolated city in the world according to popular media. Whilst there is a thread in this romanticism that rings true, we think there is a more interesting notion of distance at play with our artists. Over the last 10 years we have witnessed a minor retreat from the stage to the home studio amongst our musical kin. It is this inner space and padding from the outside that has nurtured a purposeful and useful remoteness. A space where unresolved aesthetics gambol with an unrestrained playfulness. We embrace this space, as do our artists; each in their unique voice.

So much aural wonder lay around us and reached no further than one hundred people. “Lets make a device to hurtle our work into the world”, “sure….sure……yeh…..lets do that.” and thus Hidden Shoal Recordings was born early 2006 in Perth, Western Australia.

Just listen from a distance to the distance. Work it out later.

The Body

Hidden Shoal Recordings’ current catalogue includes releases that slip between the edges of experimental ambient work, shoegazing pop, post-rock and indie rock. The label has earned a reputation for releasing exciting and engaging new independent music unbound by genre or style. Hidden Shoal Recordings was recently chosen as one of the top ten favourite labels of 2007 by Textura magazine and has been dubbed “This generations 4AD” by prominent New York radio host DJ Mojo.

The Hidden Shoal Team

www.hiddenshoal.com

Press Releases:

• 135. September 29th, 2009 – Elisa Luu Chromatic Sigh Album Official CD Release.
• 134. September 28th, 2009 – Apricot Rail ‘Pouring Milk Out The Window (Tin Man Spilt Milk Remix)’ Single Release.
• 133. September 25th, 2009 – Wes Willenbring ‘Oh, Most’ Single Release.
• 132. September 22nd, 2009 – Sankt Otten Morgen wieder lustig Album Official CD Release.
• 131. September 17th, 2009 – Mukaizake Signing.
• 130. September 15th, 2009 – My Majestic Star ‘Crampling’ Single Release.
• 129. September 10th, 2009 – Elisa Luu Chromatic Sigh Album Digital Pre-Release.
• 128. September 1st, 2009 – Sankt Otten Morgen wieder lustig Album Digital Pre-Release.
• 127. August 11th, 2009 – Down Review From Here, For Anyone EP Release.
• 126. August 5th, 2009 – Elisa Luu ‘The Garden’ Single Release.
• 125. July 30th, 2009 – Sankt Otten ‘Lustig, lustig demain encore lustig’ Single Release.
• 124. July 23rd, 2009 – Tarcutta Self-Titled Album Official Release.
• 123. July 21st, 2009 – Elisa Luu Signing.
• 122. July 9th, 2009 – Down Review Debut Single Release.
• 121. July 4th, 2009 – Apricot Rail Debut Album Release.
• 120. June 30th, 2009 – Down Review Signing.
• 119. June 23rd, 2009 – Tarcutta Self-Titled Album Digital Pre-Release.
• 118. June 11th, 2009 – Tangled Star That Time EP Release.
• 117. June 2nd, 2009 – Apricot Rail ‘Pouring Milk Out The Window’ Single Release.
• 116. May 26th, 2009 – Sleeping Me Cradlesongs Album Release.
• 115. May 19th, 2009 – Tarcutta ‘You’ve Gotta Crawl Before You Walk Before You Waltz’ Single Release.
• 114. May 18th, 2009 – Apricot Rail Signing.
• 113. May 14th, 2009 – Tangled Star ’seabirdtown’ Single Release.
• 112. May 5th, 2009 – Hidden Shoal Recordings Third Birthday.
• 111. April 28th, 2009 – Sleeping Me ‘Legs Like Gravestone’ Single Release.
• 110. April 22nd, 2009 – Tangled Star Our Man in Eden Hill EP CD Re-Issue.
• 109. April 2nd, 2009 – The Caribbean Scott Solter Re-Populates The Caribbean EP Release.
• 108. March 27th, 2009 – HC-B Soundcheck for a Missing Movie Official CD Release.
• 107. March 16th, 2009 – Tarcutta Signing
• 106. March 3rd, 2009 – HC-B Soundcheck for a Missing Movie Digital Pre-Release.
• 105. February 26th, 2009 – The Caribbean Single Release.
• 104. February 21st, 2009 – The Caribbean Remix EP Announced.
• 103. February 14th, 2009 – Hotels’ Where Hearts Go Broke Album Release.
• 102. February 13th, 2009 – Jumpel’s Deuxième Bureau Official CD Release.
• 101. February 5th, 2009 – HC-B Single Release.
• 100. January 30th, 2009 – Sleeping Me Signing.
• 99. January 27th, 2009 – Jumpel’s Deuxième Bureau Digital Pre-Release.
• 98. January 16th, 2009 – Hotels’ ‘Hydra’ Single Release.
• 97. December 22nd, 2008 – Hotels Signing.
• 96. December 20th, 2008 – HSR 4th Label Sampler Album East-West Section Release.
• 95. December 17th, 2008 – Jumpel ‘Quicken Belts’ Single Release.
• 94. December 16th, 2008 – Ghost In The Water Cardinal Red EP Release.
• 93. December 11th, 2008 – Sankt Otten Tiefgang EP Release.
• 92. December 4th, 2008 – HC-B Signing.
• 91. December 3rd, 2008 – The Slow Beings ‘Nil By Rote’ Single Release.
• 90. November 25th, 2008 – City Of Satellites The Spook EP Release.
• 89. November 11th, 2008 – Fall Electric Measure And Step Album Release.
• 88. October 30th, 2008 – RL/VL Chagrin Album Release.
• 87. October 23rd, 2008 – City Of Satellites ‘Moon In The Sea’ single Release.
• 86. October 14th, 2008 – Fall Electric ‘Faithless Friend’ single Release.
• 85. October 1st, 2008 – RL/VL ‘Kweens’ single Release.
• 84. September 23rd, 2008 – Sankt Otten Eine Kleine Traurigkeit Album Re-Release.
  
• 83. September 12th, 2008 – City Of Satellites Signing.
• 82. September 9th, 2008 – Rich Bennett Music For Underwater Supermarkets Mini Album Release.
• 81. September 1st, 2008 – RL/VL Signing.
• 80. August 26th, 2008- My Majestic Star Too Late, The Day Album Release.
• 79. August 19th, 2008- Sankt Otten ‘Fernfahrer’ Single Release.
• 78. August 12th, 2008- Rich Bennett ‘Aisle 8: The Underwater Supermarket’ single Release.
• 77. July 31st, 2008- My Majestic Star ‘and having a reason why’ Single Release.
• 76. July 29th, 2008- Fall Electric Signing.
• 75. July 22nd, 2008- Slow Dancing Society Priest Lake Circa ‘88 Album Release.
• 74. July 8th, 2008- Iretsu Name our Numbers, Numbers EP Release.
• 73. June 26th, 2008- The Slow Beings We Know Why The Earth Moves CD Release.
• 72. June 20th, 2008- Sankt Otten Wunden Gibt Es Immer Wieder US CD Release.
• 71. June 17th, 2008- Slow Dancing Society ‘A Warm Glow’ single Release.
• 70. June 5th, 2008 - Iretsu ‘Name our Numbers, Numbers’ single Release.
• 69. May 20th, 2008 – The Slow Beings Album ‘We Know Why The Earth Moves’ Digital Release.
• 68. April 22nd, 2008 – The Slow Beings ‘I Waste The Sea’ single Release.
• 67. April 8th, 2008 – Ghost In The Water Tooth Released.
• 66. April 8th, 2008 – Monocle’s Outer Sunset Tonevendor distribution.
• 65. March 28th, 2008 – The Slow Beings Signing.
• 64. March 11th, 2008 – Toby Richardson Evergreen Album Release.
• 63. March 6th, 2008 – Jumpel ‘Cleo’ Music Video Release.
• 62. March 4th, 2008 – Colour Kane ‘Broken’ Music Video Release.
• 61. February 28th, 2008 – Ghost In The Water ‘Clean Sinks and Folded Laundry’ Single Release.
• 60. February 26th, 2008 – Tangled Star Our Man in Eden Hill EP Release.
• 59. February 22th, 2008 – Ghost In The Water Signing.
• 58. January 18th, 2008 – Monocle Outer Sunset CD Release.
• 57. December 13th, 2007 – Tangled Star tosleepingpeople Single Release.
• 56. December 11th, 2007 – Sankt Otten Album Release.
• 55. December 4th, 2007 – The Retail Sectors Mini Album Release.
• 54. November 27th, 2007 – Monocle Album Release.
• 53. November 22nd, 2007 – Glassacre Single Release.
• 52. November 20th, 2007 – Toby Richardson Single Release.
• 51. November 6th, 2007 – Slow Dancing Society Album Release.
• 50. November 1st, 2007 – Bury the Sound and Glassacre US CD Re-Releases.
• 49. October 30th, 2007 – Sankt Otten Single and Video Release.
• 48. October 20th, 2007 – The Retail Sectors Signing.
• 47. October 9th, 2007 – Iretsu Album Release.
• 46. September 18th, 2007 – Iretsu Signing.
• 45. September 10th, 2007 – HSR Exclusive US CD Re-Releases.
• 44. September 4th, 2007 – Beautiful Lunar Landscape EP Release.
• 43. August 21st, 2007 – Cheekbone EP Release.
• 42. August 17th, 2007 – Monocle Signing.
• 41. August 7th, 2007 – Jumpel Album Release.
• 40. July 24th, 2007 – Beautiful Lunar Landscape Signing.
• 39. July 17th, 2007 – Chris Mason Album Release.
• 38. July 9th, 2007 – Jumpel and Cheekbone Signings.
• 37. July 6th, 2007 – Chris Mason Single Release.
• 36. July 3rd, 2007 – Bury the Sound EP Official Release.
• 35. June 21st, 2007 – Bury the Sound EP Pre-Release.
• 34. May 16th, 2007 – Bury the Sound label signing.
• 33. May 1st, 2007 – HSR 1st Birthday and 2nd Sampler Album Release.
• 32. Apr 24th, 2007 – Colour Kane album official release.
• 31. Mar 27th, 2007 – Wes Willenbring album official release.
• 30. Mar 20th, 2007 – Colour Kane album pre-release.
• 29. Feb 26th, 2007 – Wes Willenbring album pre-release.
• 28. Feb 15th, 2007 – My Majestic Star official ep release.
• 27. Feb 12th, 2007 – Wes Willenbring label signing.
• 26. Feb 6th, 2007 – Sankt Otten official album release.
• 25. Feb 1st, 2007 – Tangled Star official album release.
• 24. Jan 30th, 2007 – Colour Kane single release.
• 23. Jan 26th, 2007 – Dilatazione official album release.
• 22. Jan 26th, 2007 – Colour Kane label signing.
• 21. Jan 22nd, 2007 – Slow Dancing Society official album release.
• 20. Jan 16th, 2007 – The Hero Cycle ep release.
• 19. Jan 10th, 2007 – Sankt Otten album pre-release.
• 18. Dec 15th, 2006 – The Hero Cycle single release.
• 17. Dec 12th, 2006 – The Hero Cycle label signing.
• 16. Dec 6th, 2006 – Sankt Otten single release.
• 15. Dec 4th, 2006 – My Majestic Star ep pre-release.
• 14. Nov 27th, 2006 – Moongoat ep pre-release.
• 13. Nov 23rd, 2006 – Sankt Otten label signing.
• 12. Nov 20th, 2006 – Tangled Star “It’s Now or Later” pre-release.
• 11. Nov 14th, 2006 – Moongoat label signing.
• 10. Nov 11th, 2006 – Dilatazione “Too Emotional For Maths” pre-release.
• 9. Nov 8th, 2006 – Tangled Star label signing.
• 8. Nov 6th, 2006 – Slow Dancing Society “The Sound Of Lights When Dim” pre-release.
• 7. Nov 3rd, 2006 – Dilatazione label signing.
• 6. October 26th, 2006 – Slow Dancing Society label signing.
• 5. October 24th, 2006 – Enargeia “Gulag! 25.9.98? live release.
• 4. July 18th, 2006 – Toby Richardson “Golden Days” ep release and Itunes distribution deal.
• 3. June 8th, 2006 – Label sampler album release, Enargeia “UFO: Stryker Force” release and Glassacre “Slow Attack” release.
• 2. May 9th, 2006 – Holding Pattern “Motor Eye” release, Chris Mason “Up Down Up” release.
• 1. May 2nd, 2006 – Label launch, Wayne Harriss “Aerospace” release and My Majestic Star “Ideas Are The Answer” release.