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Almost Ghosts

Glasgow-based microlabel


adios nervosa / Syzygy Juice / Pearling / he knows theory, i have machines / Laureate / [...]

"Always digital, ever-hyper, mid-fi, New Nu, art-clunk, synth-puff, hyper-popped, nearly present, almost ghosts."

[[est. aug 21 2020]]

Featured in The Skinny Zap [Sep 17 2020]

[sep 19 2020]
[[[[digital showcase - adios nervosa, Syzygy Juice, Kitchin Wizard,    Salad Culture, Daisy Miles, Kinbote, Hard Licker, Crush Mouse,  Zema, Helena Celle, Patrick Shand

AG001: SUPER OBLIQUE VINYL PYRMIAD!!!! - adios nervosa
[NOV 1 2020]
[[[[quadruple-sided single

Ag002: VAPORWAVE poetry vol 1 - DJ laureate 
[nov 8 2020]

Ag003: ARENAS DE PERDICIÓN - adios nervosa 
[nov 15 2020]
[[[[O.S.T.ensible soundtrack for fictional video game

Ag004: DUBLIn - adios nervosa
[nov 22 2020]

Ag005: dj set - syzygy juice
[dec 4 2020]

Almost Ghosts Present... IAN'S UNIRONIC dEcisions 
[jan 17 2021]

Ag006: an adios nervosa song - adios nervosa
[mar 23 2021]

AG007: Akoya II - PEARLING
[Apr 2 2021]

Ag008: Podoloski VST at Night - he knows theory, i have machines
[APR 8 2021]

[APR 21 2021]
[[[[VJ'd at the AFTERPARTY

[[aug 21 2021 🚀]]

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Logo design by Stewart Lawson


| there are 2 meanings in label: there’s the ~cultural narrative~ of a label, the stories and iconoclasm (Factory Records, Sarah Records &c.) & then there’s the actual business of being a label, bodies that enter into beneficial monetary relationships with musicians


|| we are firmly the former. No money in this digital palace of ours lmao 


||| believe it or not, we’re not businesspeople


| collective would also work as a term to describe us. We offer ourselves to the most forward-thinking Scottish electronic musicians, those on the extremity of pop, as a


||  ~promotional digi-machine for their work~


|| ~a crossroads to enable collaboration between different artists~


|| ~music event creators, from livestreams 2 the real-life club variety~




||| 4 songs from 4 artists, released semi-frequently


| Want 2 be involved?????? Say ‘heyyy’ at [email]


| xoxoxo

Glasgow, May 2021


Ian Macartney


music by the non-musician………...2 be another way of writing; storytelling without language + the sensibilities of language…………not the dismissal of technique & music theory, but a different placement; to come to this construction as writer-making-music versus musician, + the knowledge music-making will inevitably collapse in2 musicianship, so having fun with the whole futile errand…………what happens in that distance+difference? the berlin-based fashion/arts journal 032c jack self & editorial make the case for the big flat now, in which “the information we make and share travels through media that lack hierarchy or centrality [...] if all information is treated as equal, it attains a flatness. anyone can become a publisher, generate revenue and attain relative fame. value is created through a closed circuit of meritocracy. content providers are rewarded by the platforms relative to the mimetic and seductive qualities of their content”............all writers must be multidisciplinary in this century. so the development of soundscapes is involved in this work, lmao………….if developed civilisation continues (i.e. while the purview & envelope of ~digital culture~ is around) a universal literacy of platforms can be cultivated, from the visual (premiere pro &c.) to daws;  the production of music, the painting of it, the quilt&tapestry, the visual(textual?) dimension of music added in the advent of technology……… an interview i can’t b bothered re-finding deep in the depths of the internet (lmao) the filmmaker hal hartley talks about how he learned from his cinematographer, michael spilling, that “all art is mediated by technology”............meta-pop is highly tied 2 literature this tech-mediation is negotiable, ambivalent, because literature (“analogue literature”, for lack of a better term, “offline literature”, page-stuff, yknow, what-is-thought-of-as &c.)  is the only popular artform that does not require digital technology  for it to be received (production, however, printing, very much so, obvs, at least in the way we know books in the 21st century) but meta-pop is not an exception, it is the field………...a whole new multiverse of relations………...“i capture accidents”, as it were; 1 comes 2 the synthesizer/software/both and from the conversation, captured then augmented &c., comes the song…………quoting agnès gayraud from her book dialectic of pop, historically the synth was a separate category from ‘instrument’; it has vast wild ambitious qualities, a distinct category………...“left to express itself, the machine escapes all traditional instrumental mastery [...] sat before an electronic machine, a series of integrated circuits or a panel of potentiometers hooked up with interlinked cables connecting various modules, the player is no longer a master instrumentalist, but witness to a process”’s dialogic, bby!!! & this is what grounds meta-pop............ also involved, as u can expect, is self-awareness............from conceptual interrogations (i.e. lyrics, theme blah blah) to actual musical self-awareness (the recording of a synth being played, not the output; the empty fall of the keys &c.)............ self-consciousness but not, like, in a nerd way lol………...meta-pop as  v v v fun pop, pop that’s popped & floating on up up up……… meta-pop distinct from hyperpop and other such variations? eh, probably not, i dunno………’s meta as in, beyond, but also as in metaxis, inbetweeness………... outwith-pop, the pop of between…………O 2 be pop obscured!!!!!!!!!!!!  


Glasgow, May 2021

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