4000 Records

Ghostlight

Jamie Trevaskis + James Lees

‘Ghostlight' brings together the expansive guitar textures of celebrated producer/musician Jamie Trevaskis (Crying/The Heavy Light) with the atmospheric piano and percussion of James Lees (Ghostwoods, Silver Sircus).

Building on their long-time friendship and working relationship together in the studio on recent releases for James’s projects Ghostwoods and Silver Sircus, this project sees Jamie and James collaborate together as musicians for the first time.

The project began as a series of extended guitar instrumentals recorded by Jamie in his Northern NSW hinterland studio - full of atmosphere, drone textures, broken chords and shimmering echoes. Alternating between the calming/ethereal to the foreboding/chaotic with all the spaces between, these soundscapes spoke of Jamie’s strong connection to place and time, seemingly telling a story of an unknowable past or a shadowy memory.

‘Ghostlight' brings together the expansive guitar textures of celebrated producer/musician Jamie Trevaskis (Crying/The Heavy Light) with the atmospheric piano and percussion of James Lees (Ghostwoods, Silver Sircus).
Building on their long-time friendship and working relationship together in the studio on recent releases for James’s projects Ghostwoods and Silver Sircus, this project sees Jamie and James collaborate together as musicians for the first time.
The project began as a series of extended guitar instrumentals recorded by Jamie in his Northern NSW hinterland studio - full of atmosphere, drone textures, broken chords and shimmering echoes. Alternating between the calming/ethereal to the foreboding/chaotic with all the spaces between, these soundscapes spoke of Jamie’s strong connection to place and time, seemingly telling a story of an unknowable past or a shadowy memory.

Ghostlight by Jamie Trevaskis + James Lees

Ghostlight (Original Mix)

Mettle (Original Mix)

Mettle

Yearning (Original Mix)

Yearning

Sway Together (Original Mix)

Sway Together by Jamie Trevaskis + James Lees

Sway Together

Echo Chamber (Original Mix)

Echo Chamber by Jamie Trevaskis + James Lees

Echo Chamber

Sleepwalking (Original Mix)

Sleepwalking by Jamie Trevaskis + James Lees

Sleepwalking

Afterimage (Original Mix)

Afterimage by Jamie Trevaskis + James Lees

Afterimage

The Third Sunday (Original Mix)

The Third Sunday by Jamie Trevaskis + James Lees

The Third Sunday

Velella

East of West

‘Velella’ refers to Velella velella—the “by-the-wind sailor,” a colonial hydrozoan whose way of life, floating across the surface of the open ocean, carries it by the wind to many places, as we hope our music does for our listeners.

Recorded live in Brisbane by the extraordinary Melbourne-based sound engineer Siiri Metsar, this album further extends the band’s unique sound and style, inviting listeners to immerse themselves in its finely-crafted soundscapes and improvisations.

Over the eight years of their collaboration, East of West have developed an intuitive musical relationship, flourishing through their dynamic interplays, virtuosic unison melodies and expressive soloing. Gajić’s compositions explore gentle melodic motifs nested in uptempo passages set to Balkan-influenced rhythms, interspersed with moments of mesmerising musical sparseness.

“I had two new ideas for this album” Gajić says. “One of them was to arrange tunes allowing for improvised sections to become more open and interactive, and to be as important part of the recording as the melody. I believe we managed to achieve this in a couple of tracks and I am quite pleased with that. Another thing I wanted is to give more opportunity for Malindi to express herself on percussion. She always carefully crafts her percussion arrangements, but this time she had a few more opportunities for open solos which she played rather beautifully.“

Philip Griffin, the trio’s oud player and a highly skilled naturalist, has also contributed two compositions to this album: a Distinct Lack of Parrotfinch - a driving piece in the unusual time signature of 50/8 - whose title links to his adventures in search of the elusive bird. His second piece, Camille, was written for his god-daughter. 

‘Velella’ refers to Velella velella—the “by-the-wind sailor,” a colonial hydrozoan whose way of life, floating across the surface of the open ocean, carries it by the wind to many places, as we hope our music does for our listeners.
Recorded live in Brisbane by the extraordinary Melbourne-based sound engineer Siiri Metsar, this album further extends the band’s unique sound and style, inviting listeners to immerse themselves in its finely-crafted soundscapes and improvisations.
Over the eight years of their collaboration, East of West have developed an intuitive musical relationship, flourishing through their dynamic interplays, virtuosic unison melodies and expressive soloing. Gajić’s compositions explore gentle melodic motifs nested in uptempo passages set to Balkan-influenced rhythms, interspersed with moments of mesmerising musical sparseness.
“I had two new ideas for this album” Gajić says. “One of them was to arrange tunes allowing for improvised sections to become more open and interactive, and to be as important part of the recording as the melody. I believe we managed to achieve this in a couple of tracks and I am quite pleased with that. Another thing I wanted is to give more opportunity for Malindi to express herself on percussion. She always carefully crafts her percussion arrangements, but this time she had a few more opportunities for open solos which she played rather beautifully.“
Philip Griffin, the trio’s oud player and a highly skilled naturalist, has also contributed two compositions to this album: a Distinct Lack of Parrotfinch - a driving piece in the unusual time signature of 50/8 - whose title links to his adventures in search of the elusive bird. His second piece, Camille, was written for his god-daughter.

Green Clouds (Original Mix)

Green Clouds

Small Hero (Original Mix)

Small Hero

Spring Street (Original Mix)

Spring Street

Gathering (Original Mix)

Gathering

Overseas (Original Mix)

Overseas

A Distinct Lack of Parrotfinch (Original Mix)

A Distinct Lack of Parrotfinch by East of West

A Distinct Lack of Parrotfinch

Dancing Leaves (Original Mix)

Dancing Leaves

Camille (Original Mix)

Camille

Velella (Original Mix)

Swirls

Zenekar

‘Swirls' is the adventurous debut album from Zenekar – a collaboration between global music travellers Catharina Kemp (clarinet, bass clarinet, composition), John Reeves (button accordion), Samuel Vincent (double bass) and Dave Kemp (percussion, composition).

Recorded at Alchemix Studios (aka Bluey Music HQ!) with Marly Lüske at the controls, ‘Swirls' is a journey through ten compositions that run the gamut from African based rhythmic styles, through Eastern European harmonic systems, to free flowing jazz inspired improvisations.

‘Swirls' is the adventurous debut album from Zenekar – a collaboration between global music travellers Catharina Kemp (clarinet, bass clarinet, composition), John Reeves (button accordion), Samuel Vincent (double bass) and Dave Kemp (percussion, composition).
Recorded at Alchemix Studios (aka Bluey Music HQ!) with Marly Lüske at the controls, ‘Swirls' is a journey through ten compositions that run the gamut from African based rhythmic styles, through Eastern European harmonic systems, to free flowing jazz inspired improvisations.

Dark Waltz (Original Mix)

Dark Waltz

Native Gardenia (Original Mix)

Native Gardenia

Flat Five Jive (Original Mix)

Flat Five Jive

Swirls (Original Mix)

Lament for a Holiday Tango (Original Mix)

Lament for a Holiday Tango

Hemiola (Original Mix)

Hemiola

Byzantine (Original Mix)

Byzantine

October Rain Dance (Original Mix)

October Rain Dance

Dirge and Dance (Original Mix)

Dirge and Dance

After the Bell Tolls (Original Mix)

After the Bell Tolls

No Statue

ff8282

'No Statue' was initially completed in September of 2025, though the whole album was re-recorded after a life changing event; the re-working of a finished project into a raw sound drenched in space and melancholy. In its newly completed state, this album is a monumental achievement within the small but talented Meanjin ambient space, another step forward into the world of experimental composition and production.

Much of the album’s mood and inspiration are drawn from a single scene from The Sopranos, in which underling Chrissy walks out to sit on the steps of his boss’ house to contemplate his future. This scene strikes the heart as a tranquil moment that would impact his entire life, specifically his loneliness and drug dependency.

“If there is an overarching visual for the project,” says April, “It is that scene in which a scared boy stares into the distance past you and fumbles for a cigarette.”

'No Statue' is not a continuation of ideas past but a sprawling mass of music that shifts and evolves, a project dedicated to a decade of living and breathing the wonderful world of ambient and classical music.

'No Statue' was initially completed in September of 2025, though the whole album was re-recorded after a life changing event; the re-working of a finished project into a raw sound drenched in space and melancholy. In its newly completed state, this album is a monumental achievement within the small but talented Meanjin ambient space, another step forward into the world of experimental composition and production.
Much of the album’s mood and inspiration are drawn from a single scene from The Sopranos, in which underling Chrissy walks out to sit on the steps of his boss’ house to contemplate his future. This scene strikes the heart as a tranquil moment that would impact his entire life, specifically his loneliness and drug dependency.
“If there is an overarching visual for the project,” says April, “It is that scene in which a scared boy stares into the distance past you and fumbles for a cigarette.”
'No Statue' is not a continuation of ideas past but a sprawling mass of music that shifts and evolves, a project dedicated to a decade of living and breathing the wonderful world of ambient and classical music.

burden’s landing (Original Mix)

burden’s landing

ellieti (Original Mix)

ellieti

aug16 (Original Mix)

aug16

fruit.png (Original Mix)

fruit.png

doir (Original Mix)

doir

London / half the day (Original Mix)

London / half the day

I could have been (Original Mix)

I could have been

performensica41 (Original Mix)

performensica41

and all the while a great wind… (Original Mix)

and all the while a great wind… by ff8282

and all the while a great wind…

…carries me across the sky (Original Mix)

…carries me across the sky

zurick (Original Mix)

zurick

whenyou refleeing (Original Mix)

whenyou refleeing

life in cycle

fhae

'life in cycle' traces the quiet inevitability of existence through the metamorphosis of a butterfly — from birth to death, from stillness to motion, from knowing nothing to knowing too much.

It begins inside ‘the egg’ — calm, unaware, enclosed. The world is small, safe, and unformed. Then it cracks open, and everything expands. The creature begins to move, to eat, to exist. It experiences the bliss of early life, ignorant yet full of wonder.

But change comes. It feels it deep within itself: an ache to grow, to evolve, to become something else. Fear and solitude take hold. It builds a shell around itself, a cocoon, a home — a space to dissolve, to rebuild, to wait. Inside the cocoon there is warmth, uncertainty, comfort. It is safe, suspended in transformation.

Emerging feels like being reborn. The air is different, sharper, wider. The butterfly has wings now but they are fragile and wet, waiting to harden. Patience becomes strength. And when it is finally strong enough to fly the sky feels infinite. It is not alone anymore for the air is filled with others — butterflies, dragonflies, bees, birds, planes — all moving through the same air.

When it finds another, it’s not clear whether it’s love, lust, or simply instinct. The connection is erratic, chaotic, beautiful — creation through collision. Eggs are laid, and new life begins. But then comes the question: what now?

The butterfly isn’t ready to die. Its life has felt fleeting — a blur of growing, changing, connecting. Its wings weaken, its body slows, yet memory and awareness linger. It resists the inevitable, stubbornly holding onto the world it’s only just begun to understand.

And then, it surrenders. The drone overtakes it, soft and endless. Death arrives not as an enemy, but as a completion. Because at least it lived. At least it loved. 

'life in cycle' traces the quiet inevitability of existence through the metamorphosis of a butterfly — from birth to death, from stillness to motion, from knowing nothing to knowing too much.
It begins inside ‘the egg’ — calm, unaware, enclosed. The world is small, safe, and unformed. Then it cracks open, and everything expands. The creature begins to move, to eat, to exist. It experiences the bliss of early life, ignorant yet full of wonder.
But change comes. It feels it deep within itself: an ache to grow, to evolve, to become something else. Fear and solitude take hold. It builds a shell around itself, a cocoon, a home — a space to dissolve, to rebuild, to wait. Inside the cocoon there is warmth, uncertainty, comfort. It is safe, suspended in transformation.
Emerging feels like being reborn. The air is different, sharper, wider. The butterfly has wings now but they are fragile and wet, waiting to harden. Patience becomes strength. And when it is finally strong enough to fly the sky feels infinite. It is not alone anymore for the air is filled with others — butterflies, dragonflies, bees, birds, planes — all moving through the same air.
When it finds another, it’s not clear whether it’s love, lust, or simply instinct. The connection is erratic, chaotic, beautiful — creation through collision. Eggs are laid, and new life begins. But then comes the question: what now?
The butterfly isn’t ready to die. Its life has felt fleeting — a blur of growing, changing, connecting. Its wings weaken, its body slows, yet memory and awareness linger. It resists the inevitable, stubbornly holding onto the world it’s only just begun to understand.
And then, it surrenders. The drone overtakes it, soft and endless. Death arrives not as an enemy, but as a completion. Because at least it lived. At least it loved.

the egg (Original Mix)

the egg

hatches from egg (Original Mix)

hatches from egg

caterpillar (Original Mix)

caterpillar

creates the cocoon (Original Mix)

creates the cocoon

inside the coccon (Original Mix)

inside the coccon

emerges from the cocoon (Original Mix)

emerges from the cocoon

dries its wings (Original Mix)

dries its wings

flight (Original Mix)

flight

mates / lays egg (Original Mix)

mates / lays egg

death (Original Mix)

death

Conglomerate

Dual Dialect

On Dual Dialect’s second EP, ‘Conglomerate', ominous synth arps ascend like stairs on a ziggurat. Enigmatic sax melodies encircle the listener, abstract pads converge like skyscraper refractions and slow, glitchy beats crumble like sedimentary rock. The EP glares into the ominous structures that surround us, awaiting their impending collapse.

Foley shares, “My background is in indie, glitch, electronica and ambient sounds, so this collaboration with Andrew Garton who is an accomplished jazz player, draws out a new musical language for me.”

Garton reflects, “I have enjoyed weaving melodies upon layers of atmospheric pads and crushed beats, definitely a new world for me! The different processes that we've organically arrived at with very little discussion have led me down very open avenues of improvisation and collaborative composition. It feels like we are crafting something unique in this release.” 


Andrew Foley - laptop, synths
Andrew Garton - saxophone, woodwind, brass, effects

Produced by Dual Dialect
Mastered by Andrew Garton
Artwork by Andrew Foley

On Dual Dialect’s second EP, ‘Conglomerate', ominous synth arps ascend like stairs on a ziggurat. Enigmatic sax melodies encircle the listener, abstract pads converge like skyscraper refractions and slow, glitchy beats crumble like sedimentary rock. The EP glares into the ominous structures that surround us, awaiting their impending collapse.
Foley shares, “My background is in indie, glitch, electronica and ambient sounds, so this collaboration with Andrew Garton who is an accomplished jazz player, draws out a new musical language for me.”
Garton reflects, “I have enjoyed weaving melodies upon layers of atmospheric pads and crushed beats, definitely a new world for me! The different processes that we've organically arrived at with very little discussion have led me down very open avenues of improvisation and collaborative composition. It feels like we are crafting something unique in this release.” 
Andrew Foley - laptop, synths
Andrew Garton - saxophone, woodwind, brass, effects
Produced by Dual Dialect
Mastered by Andrew Garton
Artwork by Andrew Foley

Intro - Imperial (Original Mix)

Intro - Imperial

Conglomerate I - Climb the Pyramid (Original Mix)

Conglomerate I - Climb the Pyramid by Dual Dialect

Conglomerate I - Climb the Pyramid

Interlude - Geo_corp (Original Mix)

Interlude - Geo_corp

Conglomerate II - Algorithm Rituals (Original Mix)

Conglomerate II - Algorithm Rituals by Dual Dialect

Conglomerate II - Algorithm Rituals

Interlude - Collap_sing (Original Mix)

Interlude - Collap_sing

Conglomerate III - Meme-leak Mosiac (Original Mix)

Conglomerate III - Meme-leak Mosiac by Dual Dialect

Conglomerate III - Meme-leak Mosiac

Interlude - Bow to Billionaires (Original Mix)

Interlude - Bow to Billionaires by Dual Dialect

Interlude - Bow to Billionaires

Conglomerate IV - Blue-screen Bebop in the Key of Doom Flat (Original Mix)

Conglomerate IV - Blue-screen Bebop in the Key of Doom Flat by Dual Dialect

Conglomerate IV - Blue-screen Bebop in the Key of Doom Flat

My Neon

Ghostwoods

Led by musician/composer James Lees, the languorous, atmospheric music of Ghostwoods has been gradually blinking into existence since the lockdown winter of 2020. Isolated and with time to kill at his home in Mt Nebo/Jinibara Country, James turned to composing and tinkering on the piano with the sparse and spooky fragments that would become the first collection of Ghostwoods compositions.

'My Neon' was created with much less planning than typically goes into a James Lees project. Particularly in the studio, Lees is usually meticulously prepared when approaching a session but challenged himself to be more free and leaving space to be playful and experiment.

As with many instrumental pieces, the narrative/theme/meaning is left to the listener to manifest. There are shared intrinsic links between the album’s six tracks, some even unwittingly inhabiting similar musical motifs in their early stages. After being carefully shaped and chiseled in the studio, those shared compositional affinities linger in the tracks and connect them as a whole even with each tune having a distinct stylistic identity.

“The more I work on Ghostwoods music, the more I understand what it is actually about," says Lees. “Having always been used to working with singer/songwriters, I am very concept-based and the instrumental setting of Ghostwoods subverted and challenged that for me. As we do more recording, and more live shows, the music and the project itself is teaching me what it is about. It’s such a fascinating and satisfying process.” 

Led by musician/composer James Lees, the languorous, atmospheric music of Ghostwoods has been gradually blinking into existence since the lockdown winter of 2020. Isolated and with time to kill at his home in Mt Nebo/Jinibara Country, James turned to composing and tinkering on the piano with the sparse and spooky fragments that would become the first collection of Ghostwoods compositions.
'My Neon' was created with much less planning than typically goes into a James Lees project. Particularly in the studio, Lees is usually meticulously prepared when approaching a session but challenged himself to be more free and leaving space to be playful and experiment.
As with many instrumental pieces, the narrative/theme/meaning is left to the listener to manifest. There are shared intrinsic links between the album’s six tracks, some even unwittingly inhabiting similar musical motifs in their early stages. After being carefully shaped and chiseled in the studio, those shared compositional affinities linger in the tracks and connect them as a whole even with each tune having a distinct stylistic identity.
“The more I work on Ghostwoods music, the more I understand what it is actually about," says Lees. “Having always been used to working with singer/songwriters, I am very concept-based and the instrumental setting of Ghostwoods subverted and challenged that for me. As we do more recording, and more live shows, the music and the project itself is teaching me what it is about. It’s such a fascinating and satisfying process.”

Dreamless (Original Mix)

Dreamless

Terminal Bliss (Original Mix)

Terminal Bliss

Saturnine (Original Mix)

Saturnine

Liminal (Original Mix)

Liminal

Brighter Now (Original Mix)

Brighter Now

Terminus (Original Mix)

Terminus

Drone Prompts II

vintage credenza

Chris Perren

Timothy Fairless

'Drone Prompts' is an abstract/ambient EP series created by vintage credenza (John Russell).

In this unique project, a simple drone/soundscape - created by Russell - is shared with a talented Meanjin friend, who then transforms the initial sonic prompt into a distinctive new piece.

Some choose to build upon the track by adding layers, textures and/or instruments, others chop and rework it and others transform the source prompt into something so far removed from its beginnings that it's completely unrecognisable.

The artists are given no briefing or direction.
Each artist receives a unique drone prompt designed specifically for them.

The possibilities are endless.
The creations are remarkable.


This second installation of the series features incredible and eclectic contributions from Ghostwoods, ff8282, Chris Perren, and Timothy Fairless.

'Drone Prompts' is an abstract/ambient EP series created by vintage credenza (John Russell).
In this unique project, a simple drone/soundscape - created by Russell - is shared with a talented Meanjin friend, who then transforms the initial sonic prompt into a distinctive new piece.
Some choose to build upon the track by adding layers, textures and/or instruments, others chop and rework it and others transform the source prompt into something so far removed from its beginnings that it's completely unrecognisable.
The artists are given no briefing or direction.
Each artist receives a unique drone prompt designed specifically for them.
The possibilities are endless.
The creations are remarkable.
This second installation of the series features incredible and eclectic contributions from Ghostwoods, ff8282, Chris Perren, and Timothy Fairless.

DUSK (Original Mix)

DUSK

ðrone (Original Mix)

ðrone

Aren’t We in Love (Original Mix)

Aren’t We in Love by vintage credenza, Chris Perren

Aren’t We in Love

Mirage (Original Mix)

Mirage by vintage credenza, Timothy Fairless

Mirage

a thin membrane between her hands

Throughout their artistic career, ff8282’s output has shifted across various genres, though always returning to the home they created within ambient music.

'a thin membrane between her hands' stands as a precise and distinguished culmination of this artistic journey. Written and recorded largely across the span of 12 months, ATMBHH developed across various releases and locations. Sessions of frustration often resulted in additions to heavily distorted and mangled pieces like ‘resolut’ and but to the censored, an emerging method of creation for April, as previously the central need of the project was served before inclusions of the creators emotional state.

Across the album there is a strong sentiment of apathy and loss, exposing sensitive suggestions to the internal world of ff8282.

The music for each piece began as vague sketches that were elaborated and bought out through placing new instruments beside them. Some tracks continue April’s inclusion of string arrangements, while others feature found sounds and musical elements created through granular synthesis and other convoluted methods.

Recording was completed in isolation: the first person to hear the demos that would evolve to ATMBHH was John from 4000 Records. The inclusion of another person during the creative process was a first for ff8282, though this new step for the artist was one that was welcomed greatly as both parties shared a mutual love for championing all sides of the musical realm.

Throughout their artistic career, ff8282’s output has shifted across various genres, though always returning to the home they created within ambient music.
'a thin membrane between her hands' stands as a precise and distinguished culmination of this artistic journey. Written and recorded largely across the span of 12 months, ATMBHH developed across various releases and locations. Sessions of frustration often resulted in additions to heavily distorted and mangled pieces like ‘resolut’ and but to the censored, an emerging method of creation for April, as previously the central need of the project was served before inclusions of the creators emotional state.
Across the album there is a strong sentiment of apathy and loss, exposing sensitive suggestions to the internal world of ff8282.
The music for each piece began as vague sketches that were elaborated and bought out through placing new instruments beside them. Some tracks continue April’s inclusion of string arrangements, while others feature found sounds and musical elements created through granular synthesis and other convoluted methods.
Recording was completed in isolation: the first person to hear the demos that would evolve to ATMBHH was John from 4000 Records. The inclusion of another person during the creative process was a first for ff8282, though this new step for the artist was one that was welcomed greatly as both parties shared a mutual love for championing all sides of the musical realm.

4000 RecordsBrisbane, Australia

4000 Records
Brisbane, Australia