Posted on

(sham015) Undecisive God self-titled CDR now on Bandcamp

Undecisive God’s self-titled 2001 album is the latest addition to the Shame File Music Bandcamp page, part of our digital reissue lockdown project.

The ambient/noise guitar pieces on this album still stand up pretty well; although I’m unsure about the cover of The Dead C’s “Outside”, but it remains for the sake of archival completeness. I wrote to Bruce Russell at the time to get his permission to release said cover, which he granted. I agreed that if it ever became a hit I would cut him in on the moolah – Clinton

Posted on

NEW RELEASE (sham110) Various Artists “Music Under Lockdown: Melbourne 2020”

Music Under Lockdown: Melbourne 2020 – Free download/pay what you feel (all funds go towards production costs)

A collection of music made by Melbourne artists whilst under lockdown in 2020. Solo projects, remote collaborations, rare in-person recordings, works-in progress, sonic therapeutics. A document, and a gift. A tribute to creativity, resilience, and empathy.

There have been many submissions, too many to include in this already nearly 3 hour long (!) compilation, and more submissions have been promised as well. Therefore, submissions will stay open until the end of 2020, for tracks made during lockdown (which for the moment we hope ends on 9 November), and be considered for a possible Volume 2 instalment in the new year.

Posted on

(sham070) Ernie Althoff “Moggs Creek Picnic Ground” digital version now available

Ernie Altoff’s “Moggs Creek Picnic Ground” 2012 field recording album is available digitally now for the first time. The digital version has been remastered by John Campbell as one single track for continuous listening pleasure. The download comes with a PDF of Althoff’s liner notes as well. Copies of the original CD (with 70x 1 minute tracks) still available.

Posted on

(sham071) Clinton Green & Andrew McIntosh “Kasoundi” digital version now available

Clinton Green & Andrew McIntosh’s 2013 collaborative album “Kasoundi” is available online for the first time. I can’t remember for sure, but I feel like we were both quite into the whole Jeph Jerman sound-of-objects thinking when we made this album.

One final copy of the original glass-mastered CD remains (SOLD OUT).

We have a final 3 copies of the original digipak left over spare from the print-run, available now with a CDR of the album.

Posted on

Two new Judith Hamann albums imported from Blank Forms (USA) pre-orders

Shame File Music is importing Judith Hamann’s two debut albums from Blank Forms. Pre-orders available now, stock due to arrive in Australia late November 2020; import numbers will be based on these pre-orders, reserve yours to avoid disappointment (and horrendous overseas shipping costs):

Shaking Studies LP

Music for Cello and Humming CD

NOTE: Production delays in the US means stock is unlikely to arrive before January 2021.


Posted on

(sham056) “Artefacts of Australian Experimental Music: Volume II 1974-1983” digital version now available

Ten years ago, Shame File Music released the “Artefacts of Australian Experimental Music: Volume II 1974-1983” double CD. It’s now available digitally, along with a full PDF of the original liner notes on download:

Artefacts of Australian Experimental Music: Volume II 1974-1983

Copies of the double CD are also still available.

The seminal original instalment “Artefacts of Australian Experimental Music: 1930-1973” is also available digitally, with a few copies of the original CD left.


Posted on

Call for Submissions: “Music Under Lockdown – Melbourne 2020” compilation album

Shame File Music invites submissions from sound artists/musicians in Melbourne who have made/ are making recordings this year during the various COVID-19-related lockdowns, to be collected into a digital compilation album.

Music Under Lockdown will document this unique time for artists in Melbourne. We ask for recordings made during, and in some way in response, to the various levels of lockdown we have and continue to live under. They don’t necessarily need to be high quality performances or recordings, I’m more interested in how they reflect lockdown and our responses to it.

I recognise and acknowledge artists in other cities and countries also living and working in these unique circumstances to various degrees, but this particular collection will focus on artists in Melbourne.

Please submit to :

  • audio recording (.wav file preferred), clearly identifying the track and artist name.
  • some text describing the recording, the circumstances in which it was made, where (location, suburb, etc), and how it responds to lockdown (these texts will be included in the liner notes).

As this will be a digital-only release, there is no limit on maximum track duration, however it your track is very long, it needs to be for a good reason.

UPDATE – Music Under Lockdown: Melbourne 2020 is out now. Submissions of tracks made during lockdown (made before 9 November) remain open until the end of 2020 for a potential Volume 2.

Posted on

NEW RELEASE (sham108) Great Rack “sample pack”

Looking for a lockdown project? Great Rack comes to the rescue with the release of “sample pack”, a pack of 100 free samples, that Emily Bennett invites you to do with what thou whilt.

The A3 Korg Signal Processing Rack was the mainstay of Great Rack, the alias of Emily Bennett, in the improvising experimental trio Great Rack and an Empty Club Reverb. The machine’s 1988 volatility has been distilled into a downloadable pack of 100 vocal samples ready to be chopped and sampled for future music and beat making.

What started as a semi-daily project for Bennett documenting and recounting share house living and collective collaborations with experimental improvisers and music-makers in Melbourne from 2017 to 2019, “sample pack” has resulted in a distinct collection of samples and micro-loops sent through a chain of effects for each preset.

Each track has been mixed, mastered and co-produced by artist and sound-maker Marco Cher-Gibard. The pack also features special guests throughout who were playing and performing with Bennett, giving brief glimpses into the improvised and experimental scene at the time.