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Clan Analogue launch Sublime Wavelengths at Radio Bar

Clan Analogue launch Sublime Wavelengths compilation with a night of frequency modulation at Radio Bar

Australia’s pioneering electronic music collective Clan Analogue explore the mysterious art of FM synthesis as they launch their new compilation Sublime Wavelengths: The Cosmic Bliss of FM Synthesis. An epic night of frequency modulations takes place at Radio Bar, 357 Brunswick St, Fitzroy, on Friday the 19th of September, from 8pm until late. The shimmering tones, intricate modulations, and futuristic landscapes of FM synthesis will be given a full workout, with live sets from the artists featured on the comp, as the night moves through modulatory phases from leftfield abstract electronica through to electronic funk and techno.

The Sublime Wavelengths launch begins its cyclic phases at 8pm with the percussive dub-tech of Sussiguala performing a corpus of composed and improvised dark techno.

BluNjin follows with a suburban dreaming set of nostalgic evolving FM soundscapes, moving from melodic funk to melodic techno.

Acidalius returns to the Clan Analogue stable with a set of modern IDM, the “I” standing for introspective, introverted and intricate renditions of digital textures, bass and beats, bridging the sounds of 1995 and 2025.

Techno improvisor extraordinaire Mr Rachele will give his machine collection a full FM engine exploration, maxxing out sine wave modulations to the fullest.

Marcus Newman closes the night with crafted hypnotic and rhythmic live techno built with layers of hardware-driven grooves, evolving textures and pounding bass drums.

So what is FM synthesis? In the late 1960s electronic music composer John Chowning experimented at Stanford University with the sonic possibilities of cross-modulating the frequencies of sine waves configured in carrier and modulator relationships. This technique was adopted by Yamaha in the 1980s as the sound design principle for their new DX7 synthesizer, which became one of the best-selling hardware synthesizers of all-time. Still confused? Think of a violinist using vibrato faster than the eye can see…

Hear manifestations of FM synthesis in all its transcendant sonic glory at Radio Bar, 357 Brunswick St, on Friday the 19th of September with the launch of the new compilation Sublime Wavelengths, with live sets from Sussiguala, BluNjin, Acidalius, Mr Rachele and Marcus Newman, from 8pm to late.

Sublime Wavelengths: The Cosmic Bliss of FM Synthesis is out now on all streaming and download platforms.

CA061: Sublime Wavelengths | Various Artists

SUBLIME WAVELENGTHS: The Cosmic Bliss of FM Synthesis
Out now from Clan Analogue

Q1. What is FM synthesis?
A1. The cheesy sounds of mid-80s pop music
A2. A technique enabling sound designers to tap into the underlying mathematical structures of the Universe
Q2. Can both of these be true?

Australia’s pioneering electronic music collective Clan Analogue explore these important questions with their dazzling new release – Sublime Wavelengths: The Cosmic Bliss of FM Synthesis. This compilation takes listeners on a journey through the shimmering tones, intricate modulations, and futuristic landscapes of FM synthesis. Sublime Wavelengths is a celebration of the iconic synthesis method of frequency modulation which revolutionised sound design in the 1980s and defined an era of electronic music.

The artists on Sublime Wavelengths explore FM synthesis in all its manifestations. Jacek Tuschewski and Darrow explore the transcendant qualities of frequency modulation with their expansive contributions, while KOshowKO and Boris Divjak each embrace driving rhythmic and melodic possibilities with their cosmic melding of digital precision and human expression. Meanwhile experimental harpist Kris Keogh pushes sonic transformation to the limit with a mutated strain of crushed and squished FM processing while Sussiguala creates an unrelenting rhythmic structure pulsing with dubbed-out sine wave modulation. The technology employed from the artists’ studios ranges from the classic 1980s Yamaha DX7 synthesizer, heard on contributions from Infinity Deck and BluNjin, to the newest hardware, VST synths and coding environments, such as those used by Acidalius and Marcus Newman. Sublime Wavelengths doesn’t neglect the party vibe of 80s-flavoured pop, with celebratory grooving contributions from Swinging Tasty Bag and Just the Tip-pet. The compilation culminates with the high energy sounds of Mr Rachele before dissipating into hypnotic closing tracks by Intermodd and Cylan.

So what is FM synthesis? In the late 1960s electronic music composer John Chowning experimented at Stanford University with the sonic possibilities of cross-modulating the frequencies of sine waves configured in carrier and modulator relationships. This technique was adopted by Yamaha in the 1980s as the sound design principle for their new DX7 synthesizer, which became one of the best-selling hardware synthesizers of all-time. Still confused? Think of a violinist wiggling their finger faster than the eye can see for the most cosmic vibrato you’ve ever heard.

“This album is both a love letter to FM synthesis and a showcase of how it continues to inspire new generations of sound artists,” says Clan Analogue’s Tieran Kimber. “We wanted to reveal the unexpected warmth, chaos, and beauty that FM synthesis can bring when placed in the hands of creative minds.”


The album reflects the collective spirit of experimentation that Clan Analogue has nurtured since the early ‘90s, while embracing the retro-futurist charm and crystalline complexity that FM synthesis offers. Whether you’re a synth enthusiast, an electronic music aficionado, or simply a listener ready for a sonic adventure, Sublime Wavelengths invites you to tune into a higher frequency.

Sublime Wavelengths is dedicated to the memory of Jacek Tuschewski who passed away prior to the release of the compilation. The album is available for download from Bandcamp and for streaming on all standard platforms. The album will be launched at Radio Bar in Fitzroy on Friday, September 19th.

Tracklist:

1. KOshowKO l The Cosmic Book of FM
2. Boris Divjak l Sleepless
3. Jacek Tuschewski l The Cosmic Bliss of Frequency Modulation
4. Kris Keogh l Hyperdexed 2
5. Sussiguala l Liminal Space Aesthetic
6. Darrow l Going Through a Phase
7. Infinity Deck l Pattern Recognition
8. BluNjin l Funki Funghi
9. Swinging Tasty Bag l Again and Again
10. Just the Tip-pet l Late to the Party FM
11. Acidalius l Freqvanseemods
12. Marcus Newman l Interlinked (live)
13. Mr. Rachele l Ring Around the Machines
14. Intermodd l Oswald3
15. Cylan l Mourning

Released in September 2025

Executive Producer: Tieran Kimber
Design: James Wingrove
Label support: Nick Wilson
Mastering: Darren Ziesing at Millennium Mastering, except track 1 mastered by Martin Koszolko
Listening panel: Wade Clarke and Marcus Newman

CA059B: Valley Forge | Burning In My Soul

Reclusive cinematic electronica maestros Valley Forge release their new single Burning In My Soul on Clan Analogue, the follow-up to last year’s enigmatic “Alright” release.

“Burning In My Soul” embodies the Valley Forge sound – lush, genre-blended soundscapes that bubble and seethe with pulsating layers of electronics with unrelenting drums and percussion, now inflected with the influences of classic 60s soul music. The lead track features the ethereal voice of Pru Clearwater, whose plaintive siren-like vocals add a spiritual and wraithlike vibe to the glistening Valley Forge sonic aesthetic, providing a life-affirming answer to the existential dread heard previously in Kamahl’s voice on his “Wayfaring Stranger” Valley Forge collaboration.

Valley Forge frontman Freeman Lowell says of this release, “Burning has been gestating over a good number of years – back to the days of the old Antares Harmony Generator which we used on the vocals. It’s been a regular inclusion in the VF live set so it’s great to finally get an official release. To me it evokes the old songs of the Louisiana Bayou, there’s just something swampy and verdant about it… a little bit ghostly, a little bit spacey… a crossover between tranquility and intensity.”

The single’s “flipside” track, “The Elephant’s Foot” is an instrumental elegy inspired by the Chernobyl nuclear disaster, filled with sombre and sinuous bass, melancholic pads, flickering sequences and insistent Geiger counter percussion. The title refers to the radioactive mass of corium discovered eight months after the meltdown which became a modern day Medusa – lethal to anyone who viewed it without the aid of a protective suit. Today Chernobyl remains a pawn in geopolitical struggles and a warning of the darker side of humanity.

Says Freeman Lowell: “The Elephant’s Foot” needed to capture multiple concepts: impenetrable blackness, danger, stark post-nuclear landscapes, pride and loss – and I wanted to install a sense that at the song’s “core”, for want of a better word, there’s a vast and powerful energy source that is simply hiding – crouched and waiting, while it gradually weakens over the centuries.”

Valley Forge’s previous guest collaborators have included artists as diverse as Kamahl, Single Gun Theory and Tom Ellard. On this release the enigmatic and soulful vocals of globetrotting new age singer Pru Clearwater lift the song into the aether while the groove keeps on burning.

Look out for the forthcoming new album from Valley Forge, coming soon from Clan Analogue. In the meantime enjoy Burning In My Soul with its double A-side track “The Elephant’s Foot”.

Track Listing:
1. Burning In My Soul
2. The Elephant’s Foot

Released June 2025.

Volunteers wanted to test Future Security Agency audio

Volunteers wanted to test Future Security Agency audio – are you eligible?

Do you have the aptitude to hear the decrypted Future Security Agency data? Assessment criteria include musical awareness, psychological resilience & physiological stamina

Take our eligibility test to check your suitability. Click here to apply.

Clan Analogue have finally completely decoded the mysterious Future Security Agency Partial Decryptions into its purest form.  A small number of musically-competent volunteers are required to “test listen” to these fully decoded, and potentially hallucinogenic, audio snippets.

In 2021, Clan Analogue were contacted by an anonymous source asking for assistance in decrypting a unique dataset. Despite their scepticism, our IT team agreed to look into it, assembling an entirely-airgapped rack server constrained within a Faraday cage so as to safely examine the data without risk of wider network contamination.

The patterns that emerged matched those of audio encoding frameworks, in an as-yet unencountered ultra-high resolution quantum audio format. Remarkably, certain recurring temporal patterning within the data indicated a correlation with music. 

Before vanishing, our source left us a warning that the data could be dangerous, hinting at possible retribution from an unknown source due to the effects these sounds could have on listeners. 

During the decryption process a piece of corrupt tri-code was initially discarded as noise. After applying several Fourier transform equations, it was realised that this was actually some kind of metadata stamping algorithm. The name Future Security Agency emerged, along with an image, possibly a key to the data’s original source.

A handpicked team of Clan Analogue artists worked at decrypting the data, reconstructing the waveforms within the perceivable audible frequency spectrum. These select artists, Chamberz, Tim Marcus Moore, Kable54, Reductionist and GJ Hannah, were each given a discrete portion of the data to reconstruct as best they could. In 2022 we made these reconstructions available as the Future Security Agency Partial Decryptions. 

In January this year our IT team were stuck, making no further progress in decoding the data. A breakthrough occurred when we managed to sneak some time with a CSIRO hyper-qubit quantum computer, on the pretext of developing the perfect reverb plugin as an Australian export opportunity. Utilising the processing power now available, we realised the sidechain noise contained an encrypted blockchain. Running it through proprietary cryptocurrency decoding software gave us the breakthrough we needed. We now believe we have in our possession the completely-decrypted Future Security Agency audio.

We are however, hesitant to make this audio more widely available as yet, due to both the warnings given when we received the original data and some strange experiences reported by Clan Analogue’s team of decrypting artists. 

Hallucinations, hyper-real dreams, visions of alternative social structures,… these mental experiences became familiar to our audio technicians.

Because of these dangers, we are not yet making this significant audio available for all to listen to. 

Instead, Clan Analogue are looking for capable volunteers to “test listen” to some short snippets of the pure audio.  Prior to listening, volunteers will be assessed for their suitability, according to criteria of musical awareness, physical stamina and psychological resilience.

If you believe you are able to hear this audio, click here to access our diagnostic online test.

Record Your Stories From the Field

Clan Analogue is looking for submissions for its new compilation album, exploring the creative potential of field recordings in music-making.

We’re pleased to announce that we’ve extended the submission deadline for this compilation to March 14th, 2025, giving contributors extra time to fully engage with their sonic environments and refine their pieces.

Use only the sounds of your surroundings to craft a unique musical narrative. These could be from your home, neighbourhood, daily commute, favourite walk, natural location, or workplace. Any part of your sonic environment can be featured in this project.

Transform Field into Music

Feel free to reconfigure, edit, or manipulate your recorded sounds in any way that helps convey a narrative or evoke emotional meaning in your music. Techniques such as sampling, granular synthesis, sequencing, and tape manipulation are all welcome. However, please refrain from using synths or other instruments—your field recordings should be the sole sound source.

Preserve the Sense of Place

 We’re looking for musical tracks, not pure field recordings, but we encourage you to retain the sense of space and atmosphere your recordings represent.

Optional: Video Art

 You also have the option to document your environments through video and submit a corresponding video art piece alongside your music.

Along with your submission, please include details about where and when your sounds were recorded, as well as what production techniques were used to create your track.

Photos from the field are also encouraged.

Submit by: March 14th, 2025

Maximum track length: 6 min

Provide your track information and upload your audio file (WAV or AIFF) with any associated photos or video via this link

Grab your phone, field recorder, or any portable device and start documenting your sonic world!

For any enquries about this release contact martin [at] clananalogue [dot] org

The Creative Vibes Years – now on Bandcamp

After a brush with late-90s mainstream music industry success via a deal with Festival Records, Clan Analogue felt the need to re-establish its cutting-edge credentials when the 21st century rolled around. So in 2001 a new distribution deal was signed with groovy indie Sydney label Creative Vibes, home of funky and hip artists including Gotye, Spoonbill and The Bird. For the following six years Clan Analogue released a series of albums which are amongst the most popular and enduring in its back catalogue.

Clan Analogue have now made available for the first time on Bandcamp this collection of much-loved releases, spanning the years from 2001 to 2007. Download in the format of your choice or take a listen via streaming and enjoy the sounds of Clan Analogue’s Creative Vibes years!

Solid Gold: Cognition Four (CA028) was the last release compiled by Clan Analogue’s then Label Manager Gordon Finlayson before he retired from the independent electronic music scene to become a jet-setting intellectual property lawyer. As Gordon had a plane to catch some of the proofreading on the artwork was a bit rushed, so if you have one of the original CDs you may spot some amusing typos. Other than that, this is classic early 2000s electroclash with some legendary tracks by Artificial & DJ Toupee, Andy Rantzen & General Electrik, B(if)tek, Itch-E & Scratch-E, Bleepin’ J Squawkins, and more. Still sounds great in the clubs!

An Englishman In Ibiza (CA029) by Disco Stu somehow became Clan Analogue’s closest thing to a commercial hit single, getting high rotation airplay on Triple-J and becoming the station’s most-requested song for a fortnight or so. Disco Stu was the alter-ego for experimental sounds artist Ian Andrews and this was the follow-up to the first Disco Stu album Adult Themes which we had released a few years earlier. The track “An Englishman in Ibiza” had actually already been released by Nicole Skeltys on her Stoner Classix label but it took the Clan Analogue and Creative Vibes partnership to get this some wider attention. We don’t question the tastes of the record-buying public and were happy for this rare moment of mainstream popularity!

Habitat: Environmental Sound Research (CA030) was originally intended as the follow-up to Clan Analogue’s Aphelion One release of the late 90s. Exploring the ambient and abstract areas of Clan Analogue’s artistic output this fairly leftfield release from 2002 was nonetheless nominated for Best Compilation in the Australian Dance Music Awards. Some of the notable artists included were Sydney sound artists Kazumichi Grime and Shannon O’Neil, Adelaide’s indietronica duo Pretty Boy Crossover, and Melbourne’s legendary industrial psychedelic rock group Clowns Smiling Backwards.

During this era we usually paired compilation albums with a complementary artist release, so in 2002 we also released Any Number Can Play (CA031) from Adelaide indietronica duo Pretty Boy Crossover, a collaboration between Jason Sweeney and Cailan Burns. This was a mini-album with four tracks and four accompanying remixes by some interesting leftfield artists including Kazumichi Grime.

Defocus: Low Res Productions (CA032) continued the exploration of electronic music styles quite removed from club and rave cultures. Released in 2003, this compilation explored lo-fi, glitch and indietronica styles, so was a fairly diverse collection but certainly an interesting one! Some notable artists featured include Deepchild, Dark Network and Two4K.

Late Set (CA033) from Dark Network is one of the most-loved releases in the Clan Analogue catalogue, continuing to attract new fans with its chilled hypnotic grooves made with classic analogue gear. A mainstay of Clan Analogue’s chill-out rooms Dark Network often played lengthy sets in the late hours and they go deep into that sonic territory with this album.

Clan Analogue returned to the dancefloor with the compilation Doppler Shift: Electro Selections (CA034) released in 2004, but with a cheeky 80s synth-pop influence coming to the fore. New Clan Analogue artists Valley Forge and Lunar Module made their first appearances here, joining some great long-time Clan contributors such as Itch-E & Scratch-E and General Electrik.

After they won an inaugural B(if)tek WINK Award Clan Analogue recognised Sydney electro duo Bleepin’ J Squawkins as an act to watch. In 2004 we released their debut album Floppydisco (CA035), featuring a batch of short and sharp electro-pop tunes. “Minerva Moog part 1” even made it onto Triple J’s daytime playlists with its catchy electro groove and enigmatic narrative.

By 2006 the age of iTunes and legal downloads was upon us, so Clan Analogue started releasing singles and shorter EPs along with compilation albums and artist releases to take advantage of this new-found format freedom. The first such release was the single Over & Over Dub (CA036A) by Dsico, an advance track from the forthcoming compilation Clan Analogue In Version. The single included a catchy post-punk-flavoured “B-side” called “Stone’s Throw”.

Clan Analogue In Version: Dub Selections (CA036) is one of the rare releases in Clan Analogue’s catalogue which actually includes the name of the collective (although it is often shortened to just In Version). Executive Producer Scot McPhee (Victor X-Ray) sent out MIDI files of classic reggae basslines that artists could use to develop their dub tracks, in classic soundsystem style. The result is a unique combination of dub innovation and classic reggae tradition which sounds just as contemporary today. In Version includes some great contributions from Andy Rantzen, Winduptoys, Kazumichi Grime and others.

Originally put together as a promo collection to try to secure a distribution deal with a Hong Kong label, Inverted: Further Dub Selections (CA036B) became a limited edition companion CD for those who bought Clan Analogue In Version in physical format. The EP was another dub release, however these were more dub-influenced tracks rather than purist in their style, with artists mixing dub elements into their music in their own way.

An advance single in the leadup to the forthcoming release of the Winduptoys album, Melbourne’s psychedelic dub duo released Switch On (CA037P) in 2006 with a bunch of alternative mixes and obscure rarities which brought their exotica influences to the fore.

The debut Winduptoys album Double Exposure (CA037) released in 2006 was Clan Analogue’s last release through Creative Vibes. An experimental electronic masterpiece, Double Exposure mixed elements of dub, psychedelia, exotica, industrial music, found sound and general sonic weirdness. Enjoy!

The Promise EP (CA036K) from  KOshowKO was released in 2007 at the tail end of our time with Creative Vibes. KOshowKO’s track “Promise” had been included on the Clan Analogue In Version compilation and the EP collected this track along with a bunch of alternate mixes and remixes plus an otherwise unreleased “B-side”. Although CDs were pressed, the release emphasis was moving towards iTunes and other platforms for digital downloads by this stage.

101 Lock Groves (CA-LG101) was not a Creative Vibes release as it was released completely independently, however we include it here because it belongs in this era. This was originally a vinyl-only release coordinated by Nathan Elliot-Watson (Null Object) featuring 101 locked grooves by 28 different artists – very useful for some extra sonic spice in late night DJ sets! These loops have never before been available in non-physical format. We have made them available under a Creative Commons license so use as you will, although we would appreciate attribution please!

And finally, something that was never released at all. In 2002 Clan Analogue prepared to release the long-awaited debut album from Sydney industrial techno artist Null Object. But the abrasive qualities of Null Object’s uncompromising sound proved too much for the gentle ears at Creative Vibes and they didn’t want to release it. However while the “to release or not to release” debate was going on, one of the tracks was pressed onto a Creative Vibes vinyl promotional EP, which also included tracks by Disco Stu and Pretty Boy Crossover on the Clan Analogue side and some tracks from Sydney label Groovescooter on the other. If you have a copy of this rare release, count yourself lucky! In the meantime, enjoy this rediscovered hard industrial gem created with Null Object trademark vintage analogue gear and distortion aesthetic, the track “Stan Astad Is My Dad” which we are now releasing as CA03X.

We Want Your Frequency Modulations!

Important update: due to a multitude of sine and triangle wave emissions from the studios of Clan Analogue artists across the country, we are extending the deadline for submissions to the FM compilation by two weeks.

Please get your FM tracks to us no later than Monday the 12th of August. We look forward to hearing your work!

Read below for more details on this project:

Clan Analogue are seeking tracks for their new compilation album, a celebration of FM synthesis.

Just over 40 years ago, in 1983, Yamaha released the DX7 synthesizer and inaugurated a new age of digital FM synthesis. To celebrate the rich history of this innovation in sound creation, Clan Analogue are looking for new explorations of FM synthesis for their next compilation album.FM synthesis takes many forms. Whether you use a classic Yamaha DX7 or its Dexed emulation, Operator in Ableton Live or Native Instruments’ FM8, FM-patched modular rigs or analogue synths with FM functionality, your contributions are welcome. 

FM synthesis was the sound of funky basslines and keyboard riffs in many 80s pop hits but was also heard in the hypnotic ambience of Brian Eno and experimental compositions by FM guru John Chowning. Whatever your inspiration, we invite you to move beyond the preset to explore sounds of the future, the past or a sideways alternative reality.  

Submissions are being accepted up until the 31st of July. [now updated until the 12th of August].

Please make sure you check the following points:

  • We want new work that has not been released 
  • We would also like you to submit a 30-second video of yourself in the studio creating your FM sounds – this doesn’t need to be professionally produced, just capture the vibe of your process
  • We would like a WAV file submitted for consideration by the due date. Email a download link to tieran [at] clananalogue.org
  • As we are an Australian electronic music collective, we prioritise submissions from Australian artists, however we may also accept some international contributions

Any questions related to this project, please ask Tieran – tieran [at] clananalogue.org

We look forward to your creative genius!

CA060: David Prescott-Steed | Shadow Music

Prescott-Steed plants shadows in eardrums

Melbourne electroacoustic sound artist David Prescott-Steed releases his first album on Australia’s legendary Clan Analogue, the expansive and evocative Shadow Music.

Shadow Music immerses the listener in shifting ambiences, fragments of found sound, granulated modular synthesis, weather-worn strings and percussion. The album is inspired by the Jungian concept of the shadow self, with eight tracks that twist and turn into fragmented distortions of identity, neurodiversity, alienation, hyperfixation, love, loss, and memory. Caliginous stream-of-consciousness vocals punctuate post-industrial soundscapes, kicking up sonic dust along the way.

“These psycho-spatial interiors are personal”, says David. “Among my creative projects, the archive of songs grew. There was a gravitational pull to create them, yet they remained like paintings in the corner of an attic, not quite discarded but rarely mentioned. It felt like the right time to bring them into the light.” Shadow Music is an adventure in sonic surrealism, a murmuring in the shadows, now extracted, inspected, and given a home in your ears.

David Prescott-Steed has contributed music to Clan Analogue’s Coordinate and Distance compilations. Shadow Music is his first full-length release with the label.

Shadow Music will be launched at Clan Analogue’s event Sonic Selections, Spectral Visions, taking place at LongPlay Bar & Cinema, 318 St Georges Rd, North Fitzroy, on Saturday the 14th of October. Tickets can be purchased from the Melbourne Fringe website.

Track Listing:
1. Underfoot
2. New Canopy
3. NYE
4. Plume
5. Road
6. Embers
7. Another Runt
8. Ghost Money

Released October 2023.

CA059A: Valley Forge | Alright

Valley Forge return and announce it’s Alright

After more than a decade of silence, Valley Forge are back with a new release, the new EP “Alright”, out now from Clan Analogue.

Valley Forge began making waves in Sydney’s electronic music scene in the early 2000s with their signature blend of synth-pop and alternative electro-rock. A string of releases on Clan Analogue helped build a loyal fanbase and critical acclaim for releases including their epic 2011 album Artificial Heart, the collaboration “Wayfaring Stranger” with Australian music icon Kamahl, and the single “Follow Suit” which included remixes by Boxcar and Single Gun Theory.

Their new single “Alright” is released as a 6-track classic 90s electro-pop maxi-single available on CD, download and streaming on all major platforms. It features four eclectic remixes of the title track, including one by Australian electronic pioneer Tom Ellard of Severed Heads, and the propulsive B-side “Rage-Fear-Love”.

“Alright” is a testament to Valley Forge’s ability to create lush soundscapes with an anthemic melodic hook, shimmering harmonics, pulsating electronics and thought-provoking lyrics, all packaged within a tightly composed pop song structure. The track will also appear on the forthcoming new Valley Forge album, scheduled for release next year. 

Valley Forge frontman Freeman Lowell says, “Like a lot of other artists’ output from the last few years, “Alright” was seeded by the global COVID-19 pandemic and the subsequent lockdowns that affected the entire world. Its theme is that you have zero control over a great many things in life, and sometimes you simply have to keep your foot to the pedal and turn that corner, without knowing what the outcome will be.”

The opening track is what, in the 80s, would have been referred to as a 7-inch mix – a big sounding, alternative electronic pop track designed to bounce off the back of an arena, filled with swirling wah-wah guitars, chunky drums, two resonant basslines, synth arpeggios and lush pads drenched in phasers, choruses and reverbs.

The ‘Hair Cut’ (Track 2) is close to a traditional 12” version of the title track, remixed by Tom Ellard of Severed Heads with additional synthesised percussion and electronics.

Track 3 slows down with the stripped-back ‘Ambient Mix’, dropping the BPM and emphasising the sonar-inspired percussion hits, filter-sweeps and vocoders while adding arpeggios which syncopatically echo into the musical distance.

‘Alright: The OxyMix’ (Track 4) captures the spirit of 70s new-age synthesis, with phased string synths, minimal compurhythms and unison-lead synth sequences cascading downwards from analogue heaven, reminiscent of a certain European electronic pioneer/synth god.

The B-side, ‘Rage-Fear-Love’ raises the pulse rate with a driving bassline, skittering percussion, melodic leads and vocoded vocal samples, telling a tale of atomic-era emotional dysregulation, rising to a fever-pitch of side-chained sonic mayhem and a bit-crushed crescendo.  

The final track is an instrumental version of the ‘Ambient Mix’, a chilled-out environment where the soundscape becomes an exploratory listen. Interpolating sequences rise and fall as they float among waves of delay-riddled atmospherics, accompanied by pulsing subharmonic bass and buoyant, airy percussion.

While Valley Forge’s earlier material is largely instrumental, their collaboration with Kamahl proved to be a pivotal moment for the band, and was the catalyst for vocals to make more of an appearance in their material. Valley Forge’s writing has always been a fairly organic process – driven by a deep love of sound design and layering. “Alright”, however, was written with one ear tuned to classic pop sensibilities. Its influences can be heard in much of the British Alternative hits of the 90’s & the 00’s as well as, dare they say it, The Beach Boys and Electric Light Orchestra. “We have always loved harmonies, especially when they tend to be a little melancholy.” Valley Forge also count among their many influences the likes of Depeche Mode, Orbital, LFO, Recoil, Scritti Politti, Jesus Jones and PWEI.

Valley Forge’s audio gear list has also grown over the last decade, comprising an array of vintage and modern equipment in both physical and digital formats, moulded through extensive buying, selling and trading of synths, samplers and drum machines. “It’s kind of a Swiss Army-style toolkit now, where everything does something different and you know exactly what each bit of kit is best at. We mix as we build, and we tend to have a lot going on in each track, so the ability to sculpt frequencies while still maintaining clarity and separation is absolutely vital” says Lowell, “Also we’ve gotten technically better at mixing and shaping that soundscape over the years, thanks in part to the incredible control you have over tiny details. We still like to eschew all that every now and again though, and leave something in that has a bit of wobble or “artistic” imperfection.”

“We’re thrilled to be back and to share our new music with our fans. We may have been quiet for the last decade but we never stopped making music. This EP, and the upcoming new album, hopefully showcases our growth as electronic producers and our willingness to push ourselves into a more speculative and pop-centric songwriting space.”

For a limited time, purchases of the “Alright” CD from Bandcamp come with a groove Valley Forge lapel pin. Head over to the Clan’s Bandcamp merch page via this link:

Track Listing:
1. Alright
2. Alright (Hair Cut)
3. Alright (Ambient Mix)
4. Alright (Oxymix)
5. Rage-Fear-Love
6. Alright (Ambient Instrumental)

Released September 2023.