Hi Michael! Tell us a bit about your record label, Efficient Space.

I started Efficient Space in 2015 as an outlet for music I felt deserved another life, mainly overlooked Australian records from the ’80s and ’90s. In more recent years, the label has been championing contemporary artists too. I run the label myself, with a lot of trusted collaborators brought in across different projects.

What sort of music are you interested in releasing?

Efficient Space works across all genres, from club music to post-punk, indie pop, ambient, dub, modern classical, and more. If it still moves me after 100 listens, it’s on the table. I’m always compelled by an underdog story too.

What makes your label different?

Perhaps it’s our genre-agnostic approach and the fact that it’s genuinely hard to anticipate what we’ll do next? A lot of our artists are complete unknowns at the time of release. Generally, labels aren’t so comfortable launching new artists from ground zero with no existing audience or track record, but I live for the thrill.

Can you tell us about some of the recent releases that people should check out?

Melbourne-based duo Bhairavi Raman and Nanthesh Sivarajah make levitational, dawn-breaking music from Carnatic and Western forms, showcased on their album Syncretic. There’s also our retrospective on Sydney dub rebel Ali Omar, who channelled his father’s Arabic heritage into some absolutely blunted bass experiments.

Where can people buy your records?

We’re stocked at all good record stores across Australia (shout out to Rocksteady, Naturestrip and Wax Museum for holding it down in the Melbourne CBD). Otherwise, support us directly via Bandcamp.

What are you listening to right now?

Papunya Sunset, the soon-to-be-released second album from Luritja artist Keanu Nelson, American cellist Charles Curtis and BTS’ ambitious rebrand Arirang.