Artist Spotlight: Koalips


We asked our Russian release artist Koalips to answer us a few questions for our monthly artist spotlight interview. Enjoy!

Can you tell us a little about yourself? Where are you from? What do you do for a living? When did you first become interested in producing music?

I was born in a small town called Kaluga, it is a nice place, not far from Moscow. At the age of 16 I successfully passed exams in Moscow university of fine chemical technologies and I left Kaluga for Moscow. In 5 years I get a degree of Engineer in semiconductor materials and have to do my army service for one year. Now I am back and looking for job.

I like electronic music since my school time, when my elder sister gave my CDs with music of famous artists like Prodigy, Tiesto, Aphrodite and so on. At the age of 16 I started to produce my own sounds.

You seem to focus a lot of your work on IDM and electronic sounds, why the focus on this style of music and not something else? Have you ever tried or felt interest in producing other genres?

I always try myself in different genres: ambient, dub techno, industrial, downtempo. But I always make my sounds deep and atmospheric. So you can recognize me in any genre but I started in IDM because it is music without any borders. Music is a hobby for me and I always just make it the way I like it. So IDM allows me to do it.

What's your current setup?

I tried different sequencers: Cubase, FL studio, Reason, Ableton and Presonus Studio One. I decided to make music in Presonus Studio One. In my opinion it is the best sequencer for producing music. For my live performances I use Ableton Live, Akai ldp8 and iPad with Touchable application. Touchable is a nice application which allows you to control all loops and sounds in your Ableton Live set. But I am going to buy Akai APC 40. I also have a midi keyboard from M-Audio.

Most of your releases have been through different netlabels. Why netaudio? Have you ever tried the “traditional” distribution models aswell?

I have more then 15 releases. I tried all ways of distribution: netaudio, online stores (iTunes, beatport etc.), physical distribution. All of them have their positive and negative sides. Releasing music through netlabels is the best way to promote your music especially when you are a new face on the music stage. I don't care about my royalties from selling music, labels usually don't pay money to artists anyways, despite contracts. All money I earn from music I spend on music (I buy vinyl and mp3).

You have a strong presence promoting yourself on social networks, do you feel it's a crucial step in getting your sounds heard?

In my opinion the best way to promote your sounds is live performances. But the music I make is not so popular amongst people, so I don't have many gigs. Social networks help you to find people with the same taste in music and promote your sounds among them

Have you ever played live? Do you have any plans to do so? Why/why not?

Yes, I have played live. I always play my own tracks using Ableton Live because I represent myself as a musician not as a DJ. I always work on my live act, trying to make it better.

Any release you are most particularly proud of?

This fall my album Mistral will be released on CD. It is my first physical release and I am very proud of it.

Thanks for your time! Any last words?

Music is the only thing which make our world brighter.

Filed under Artist Spotlight, Interviews.

Artist Spotlight: Hezzel



Interview with Alexander, the man from Latvia with two releasing projects on Enough Records: macabro and Hezzel.

Thanks for agreeing to answer a few questions! How did you get involved producing music?

Hello from Latvia!
Well, it all started in the end of my school years, when I suddenly got an old out-of-tune soviet acoustic guitar, that got me interested, so i learnt the chords and even wrote some songs of my own :)
There was (and it actually exists now) an amazing learning program called GuitarPro, it allowed to play tabulatures via standard midi-sounds, using a wide spectrum of instruments, drums etc, and not a long time had passed before i started trying to create my own melodies and songs there. Later, after maybe 3 years i opened cubase for the first time, and continue to use it now too.

Why did you end up focused on the darker genres? Or do you produce other type of sounds aswell?

I was never focused on the lighter genres to begin with :)
I have never liked “sweet” trance-house sequences, and can't stand them now either… However i don't consider myself focused on some special genres, i just like to play with sounds and try to recreate the atmosphere which influences me on that given moment of time. Maybe it is more of a sound-design thing than making actual music, but i don't think that's a bad thing, at the end of the day it's the mix of the music component and the sound component that matters to the final listener.
That is actually one thing that i honestly dislike about the “darker” scene – a lot of the artists lack sound-design in their works, and it gets really boring to listen to a bunch of guys who got hold of a synthesizer or another “music-thingie” and just decided to record the sounds without actually knowing how to operate it. However there are plenty of artists who succeed because they break the music rules, because of course, it's art, you know :)

What's your current hardware and software setup?

I use mainly Cubase and a bunch of vst-plugins. I also own two Korg Electribes, and a couple of another Korg products (that's not advertisment, their stuff is just cheaper and they have a great choice :D ) I have also recorded guitar for some tracks.
Still, i don't use hardware often, because it can take a looooong time and a mile of wires to connect all these things. Software offers more possibilities for sound production and editing too.

Can you shed some light on the conceptual differences between macabro and hezzel? Or is macabro just the beatless form of hezzel?

I published my first tracks (those created in GuitarPro) on some specialised internet-forums under the name of macabro, which i took from Steven King's book Danse macabre; but the macabr-e was already taken when i had to register an email there, so i had no choice and choose a spanish form that ended with an -o :)
Hezzel saw the light of day in the end of 2008, when i realised that i wanted to create more club-oriented and distorted dance music, while macabro got left behind as my more romantic alter-ego.
You asked about my relationship with the darker genres before, and actually i would say that macabro is darker than Hezzel, while Hezzel is rather feeling-less (which is intentional)

Why did you decide to promote some of your albums as netaudio? And why through Enough Records? :)

Well why, i would agree to be published on Universal Audio as well :)

Still, netlabels were a logical choice when i felt that i had my first album ready (macabro – Witness on Liminal Records)
My next release was on Chinese netlabel Bypass, which was owned by a really friendly and helpful guy who helped me create my most “popular” release if we see download number on
When i came to Enough with macabro – Envelopes i wanted to find something new, because the sound became more “modern”, piano-and-glitch, so it took me about a month to check different net-labels, their artists and their popularity etc… In the end there were only 3-4 labels which i liked, so i was happy to receive a positive answer from Filipe “ps” from Enough :)

It was different with Hezzel, i released all my stuff on a popular Russian industrial label Absetzer, who gave me all the promotion on the internet i needed and even more!

How do you see the future of music industry shaping? Is independent releases through bandcamp the future?

Yes and no..
YES, because independent releases rule the music world already (however quantity does not equal quality);
NO, because there still are a bunch of big labels in every music genre which decide what the music industry will sound like in the near future. Also less-popular artists always get recognized after someone compares them with well-known artists from big labels, so the labels will always have a great influence on the scene. Even though you might like independent bandcamp releases better, they are basically nothing before someone calls your band “new Coldplay” or something…

Can you tell us a little more about the local latvian electronic scene?

Yeah, well, we have plenty of local house- and dubstep- djs, and even more punk- and indie-rockers…
When it comes to the genres that would interest me more, such as techno or rhythmic noise etc then not so much actually happens here; most of the time it's easier to go to another country to see the performers you like than to wait for them to come here. :(
I truly hope that financial atmosphere will get better and more concerts will be organized here in the nearest future.

Care to share news and some of your plans for the future?

I hope to release a new Hezzel album on CD in 2014, but i don't want to give some further details before the contracts are ready and signed, sorry :)

Thanks for your time! Any last words?

Thank you all!

Also, if anyone is located near Riga in the end of august, then you are invited to our local industrial festival Nakts Maina (Night shift) which will gather artists from such well-known labels as Hands Productions and Ad noiseam, and of course Sturm on one stage.

Filed under Artist Spotlight, Interviews.

Artist Spotlight: .Crk



We got in touch with Hugo de Almeida, the guy behind the .Crk artist moniker. We asked him a few questions about his background and creative process, he was kind enough to answer. He has released 3 EPs with Enough Records to this date: Dematerializing Sound Theory, Informal Definition and Trojan Horse.

Hello Hugo, thanks for agreeing to answer a few questions. Can you tell us how and when did you first got interested in electronic music?

Hello, honestly my interest in electronic music began when I had for the first time access to production software, I remember playing with trackers on my first PC I had become completely addicted, since then and regarding the fact that music is something that has always been part of my life, the whole process has been automatic…

How old are you now, what do you do for a living?

I am 30 years old and I am a help desk supervisor.

Can you describe us your type of sounds? Are IDM and breakcore accurate definitions to your sound?

I think so. *laughs* I do not know (and never knew) the definition of the genre of music that I do… I just limit myself to produce in a spontaneous way, no rules, no formulas…

Can you name some of your influences?

Me, my life, whiskey, my cats, the world, vodka, girls. Everything.

How did you get interested in this spectrum of sound production in particular?

I have no idea, i think the same way that all people feel attracted to a specific genre, one of the things that I love in the production process is all the meticulous and assertive work behind that production, the “bipolarity” of the mix between something melodic and something abstract, almost complex…

Do you produce any other genres?


What kind of hardware and software do you use?

Hardware: My PC + M-Audio Ozone.
Software: FLStudio, NI Kontakt, Battery, Reaktor (love Reaktor), etc

What made you decide to share your work under netaudio? Is it still valid nowdays?

Music belongs to everybody. All my songs up until this moment will remain free online.

Your currently favorite platform for music distribution seems to be Soundcloud. Am i right? Can you tell us why and what could be improved in that model?

Exactly! I like soundcloud because it allows waveform format, moreover they were friendly and promoted my work during the annual soundcloud meeting. I have no opinion regarding any kind of improvement to that model.

The IDM / breakcore scene in Portugal isn't very active. Do you follow it? Can you tell us a little more about it?

*laughs* In my opinion IDM / breakcore scene in portugal non existant. I just follow the idm and breakcore through the music I hear, the genre itself is not active in Portugal and I think it will not be for some time…

Are there any plans to show your work live? Why not?

Currently i do not have any plan. I think this answer says it all. *laughs*

What release of yours are you the most proud of?

I think Informal Definition EP.

Filed under Artist Spotlight, Interviews.



New music platforms come and go with the tides of time. Enough Records was built on the love of discovering and promoting new music, so we like to check out other platforms when we spot them, just to see if they’re any good or not and maybe get pleasantly surprised.

One such platform, which we have been recently been testing the waters, is Earbits – Free Online Radio. We’ve only uploaded music from 3 of our artists so far: Jenifer Ávila, M-PeX & Makrox and Daizy. Check it out.

Filed under Label Relations, Netlabel Reflections.

Artist Spotlight: Megatone


Marcel 'Megatone' Gherman

Our staff member Filipe ‘ps’ Cruz got back in touch with Enough Records release artist Marcel Gherman, also known as Megatone. He was kind enough to answer a few questions for us.

Hello Marcel, thank you for agreeing to answer a few questions! Your bio says you are a Musician, radio DJ, journalist and prose writer from Moldova. Most people haven’t even heard of Moldova. Can you tell us about your country and how you got involved with music?

Well, about Moldova, our history was a constant struggle for survival and this situation continues even now. As one medieval historian said, “we’re in the path of all evils”. One of the most essential aspects that you should know about Moldova is that there is no particular Moldovan ethnicity, nor Moldovan language. Throughout the history the territory of Moldova has been part of Romania, and we are actually Romanians , speaking Romanian language. From 1812 to 1918 we’ve been taken over by Russian Empire, and from 1940 to 1990, by Soviet Union. During these periods we have been imposed to call ourselves “Moldovans” and to claim that we speak “Moldovan language”, but that is already politics. I think we have many affinities with Portuguese people, especially thru our common Latin heritage, and we even have an equivalent for the precious Portuguese word Saudade, our equivalent is “Dor”, which is a special kind of nostalgia. In fact, we and the Portuguese people even look a bit the same.

I had a very strange path in music. My interest in it began when I was a child, when I entered music school to study piano. I remember how after watching an old film about vikings, with Kirk Douglas, I was so impressed that I composed a simple “March of the Vikings”. But soon my interest for music ended because I didn’t really see a sense in music, I didn’t think music has any power to change something, to have a real effect on a person. My interest for music returned at the beginning of the 90ies, when I discovered techno music. There was a real magic about it, a lot in common with African music and the power of archaic magic rituals that we, people of the modern age, feel so nostalgic about. Throughout the 90ies I was obsessed with techno music, and since I was 15 years old, for nine years, between 1994 and 2003, I hosted some weekly shows on electronic music on the National Radiostation of Moldova. It was fun. Also since 1994 I wrote a header about techno music in a popular magazine. I made my first techno track recorded in a professional studio in 1996. Afterwards, during the 2000ies, I discovered a lot of interesting music – early electroacoustic music – Xenakis, Stockhausen, Ligeti, industrial – Einsturzende Neubauten, Throbbing Gristle, Japanese noise scene – Merzbow, Ryoji Ikeda, Aube, Masonna. So my musical interests shifted to IDM and then to Drone. I think there is also a strong tribal vibe in Drone music. I believe that we have become too civilized, that an important part of our identity has been amputated by positivist materialist society, and that we feel the need to recover the contact with the spirits of nature and with the old gods, of course, if they really exist.

I also have a curious interest in a different kind of music. For several years I had taken some individual lessons of classical music composition from a professional composer and symphonic conductor, initially I took these lessons in order to develop my skills in electronic music, but later I discovered in me a real passion for orchestral film and game music, which can be observed in two albums of mine, Pure Land and Tales Of Knights And Magic.

I know you are also a radio DJ, active since the 90s. What can you tell us about the musical culture in your country especially regarding electronic music?

In Moldova there were traditionally a lot of music schools, both in the urban centers and in the territory, so there are many musicians here, who practice pop music, folk, classical, and even jazz. So we may say that Moldova is a very musical country. There are also some electronic music artists and since the middle of the 90ies we have regular electronic music parties organized. That is mostly drum’n’bass, uplifting trance and house styles. Ambient music is less developed here, but all our DJs and producers are well informed about all styles of electronic music. And there are also some artists who write ambient music, not many although.

What can you tell us of the netaudio scene is Moldova and the surrounding countries? Are there many active netlabels? Are they in contact with local event promoters?

In Moldova there is a good netlabel called Silent Flow, specialized in ambient and IDM. In Romania there were since the end of the 90ies some very good ambient and IDM projects and artists such as NSK, Outer Sanctum and Mythos Micleusanu, the latter is from Moldova. There are a few dark ambient and drone netlabels and artists in Ukraine, to mention just netlabel Clinical Archives. Unfortunately in Moldova there are no event organizers specialized on ambient, but instead the is the Black Makler Promo group, specialized on drum’n’bass, and Avalanche group, oriented on uplifting trance.

You released two albums through Enough Records under your artist name Megatone. First Space Voyage in November 2006 [link] and Imago Mundi Nova in September 2008 [link]. Both of them electronic ambient with a certain mysticism. Is that feeling a common trait across all your musical work? Can you share with us why you are interested in those type of sounds?

Yes, I always like music with idea. I like to think about how my music “functions” and act upon the listener. I think that this method can also be applied to my essays and prose. I always hope that my music and prose would be something more than a mere aesthetic pleasure, would bring some “revelation”, some knowledge. As I said before, I think there is a lot in common between electronic music and old spiritual traditions, like shamanism, Dyonisiac rituals, Roman Saturnalia, or the orgies of drinking the juice of Soma as described in the Vedas. Electronic artist is a modern shaman that leads people into an initiation journey.

In some countries, justified by the financial crisis, we been having heavy cuts on financial supports to culture. How is the situation in Moldova for financing arts and culture?

We have the same problem here in Moldova, although even in the past our cultural sector didn’t have much financial support. It’s a question of survival, but nevertheless, here in Moldova there are still many good professional writers – poets, novelists and essayists, several literary and culture magazines, musicians and painters, and several theatre companies, among them the Eugene Ionesco Theatre Company which for many years organizes an international theatre festival with guest companies even from Japan and India.
It is a problem for the authorities and the society in general to understand the importance of arts and culture, which develop the moral quality and the intelect of each individual, and by this have a key role in building the society.

With the proliferation of access to the internet there is a large access to diverse musical culture. But i can’t help feeling that people are overwhelmed with too much available content and have become passive consumers, waiting for things to come to them instead of feeling the need to search and discover something new. And what usually is being served is commercial marketing. Do you feel this is a problem in promoting culture nowdays?

Yes indeed. Internet has made available a treasure of music and culture, in fact the entire world heritage is available at each person s fingertips, yet not many dare to discover all that marvel. I think that all cultural actors have the mission to remind the public the true importance of arts, not just as an entertainment, but also as mean to make life more complete.

I read on your website you been awarded the writers union of Moldova award for debut for the year 2012 for book of prose “Cartea Viselor” (“The Book Of Dreams”) released in 2011. Can you tell us a little more about it?

My book is a collection of fantastic stories about dreams and visionary experiences. I think it has a lot in common with the music that I write. The stories take place in many exotic countries – India, Saudi Arabia, Kenya, Peru. It’s a combination of many influences, from postcyberpunk to surrealism, from Borges and Lovecraft to Castaneda.

Thanks for your time! Any last words?

Throughout the years Enough Records has developed a marvellous catalogue of music. I wish to send my greetings to all Enough Records artists. Also recently I was reading about famous Portuguese writer Fernando Pessoa, and on this occasion I learned many things about Portugal, and am amazed how beautiful and unique Portuguese culture is. I wish you all the best. And a special thanks to you, Filipe, for this wonderful opportunity to answer to your interview.

I invite you all to visit my site:

Filed under Artist Spotlight, Interviews.

What is Enough Records?


Was poking an indie artist on twitter, telling him it would be cool to release something from him through Enough Records if he’s interested. The answer was ‘What’s Enough?’ A perfectly valid question if you don’t know us. Which got me thinking of writing this article to sum it up nicely.

Enough Records is a netlabel. That means we distribute music online free for download. We are non-profit. We run it because we love promoting new music. We been operating since 2001. Our catalogue has 320 album/ep releases, 20 compilations and 18 mixtapes released to this date.

Our terms of release are the following: By agreeing to release with us you are granting us non exclusive rights to distribute your music under creative commons by-nc-sa license through our label online, free for download and in promotional physical media, always in non profit regime. Any profit we make (donations, radio payments, some music distribution site sales, etc) is rechanneled to more promotional material of the label and the artist. You’re free to re-release the tracks wherever and howhever you see fit, as long no one comes asking us to take the tracks from our catalogue offline.

That means we package your release of 320kbps mp3s, high quality artwork and additional information text file. Fix the id3 tags. Rename the files into our filename standard. Zip everything up and upload it to,,,,,,, mixcloud, routenote and a couple other new music sharing sites we might be checking out at the time. Routenote places the releases also available on iTunes, Amazon, Spotify and eMusic. You can opt out from any of them. And we always give the artist precedence to administrate his own presence in any of the platforms if they choose to do so.

We would prefer to have the release available for free everywhere. But certain digital distributors don’t allow it. At Bandcamp we are forced to place a nominal download fee (usually 7 euros) since we run out of free monthly downloads in 2 days. At iTunes and Amazon the platforms won’t allow an option for free download. We made the decision to still be present at these platforms and hope the users will realize the tracks are also available free for legal download elsewhere on the internet.

After uploading the release to all these places we announce the release publically. We send the info through our network in facebook, twitter, google+, and our mailing list.

We also do mixtape specials of our latest catalogue to send to different radios, webzines and music sharing sites.

We keep an eye out on what our artists are doing throughout the week and share their news through our facebook and twitter. Also sharing any official or fan-made videos, upcoming concerts or calls to action.

There is also a mailing list for the artists where we notify of possible opportunities that might interest them.

We are currently closed to demos from new artists. Trying to focus our attention in promoting our existing artist roster. In practical terms it means we don’t spend time listening to randomly submitted demos anymore. That doesn’t mean it’s impossible for new artists to debut at Enough but to release at Enough we need to either previously know the people behind the project, have it recommended by a standing Enough Records artist, or randomly stumble upon it and find the project immensely cool and worth supporting.

The we mentioned several times above is mostly the work of ps, although other people do assist in several ways: online promotion, opportunity spotting, administrating specific distribution platforms, handling the shipping of physical promos, organizing compilations, curating sub-labels, etc.

It must be made clear that we are non-profit and strive for transparency. The label is just a hobby that we been indulging upon for over a decade. We have 4 sources of income right now: radio plays (about 20 euros every 3 months), Flattr donations (about 50 cents every month), Routenote network airplay and sales (fluctuates between 2 and 20 euros a month), Bandcamp (very rare sale). Our costs are mostly server and domain (60 euros a year), flyer/postcard promo prints, and personal time donated in kind.

If you want to support us directly it would be cool to get a pro Soundcloud account again. It costs 100 bucks a year. Feel like supporting us? You can do it by using Flattr.

Flattr this

Filed under Netlabel Reflections.

Newsletter 8 April 2013


Hope you all enjoyed your Easter holidays in case you celebrate them.

At Enough we been busy during this last month preparing some new releases, two of them have recently hatched:


The first release is a mixtape of our latest catalogue, prepared especially for the NoiseTrade website. You can check it at their website:
Alternative stream and download at and

Janne Nummela - Kosmoskalevala

Our second release is a double album of avantgarde / jazz / fusion / experimental electronics by Finnish Janne Nummela.

You can listen to it at FMA or

Here are some reviews describing it better:

“Janne Nummela (born 1973) is a Finnish multi-artist who has previously been recognized as a poet and a painter. Now released double album Kosmoskalevala represents, in its electronic and eclectic sound landscapes, the artist?s tendency towards experimental, lyrical abstraction and polyfonic compositions. Nummela approaches his music in the same way as his previous collection of poems and an art exhibitions, where every segment participates in constituting the artwork as a whole.

Fully produced at a home studio, Kosmoskalevala has its own peculiar atmosphere, where multi-dimensional cinematic sample sounds, instrumental sounds, as well as recorded concrete sounds all come together. A two-hour duration double album contains twenty-six tracks, each of which brings unique perspective to the sphere. The album has a track duration ranging from less than a minute to twenty minutes, which refers to the artwork?s experimental nature and pursuit to constitute an artistic entity. Kosmoskalevala is a comprehensive and immersive sound work, which is at its best when listened all in once.

In Kosmoskalevala, traditional Kalevala mythology gets several new timbres and variations, which carry the listener from one temporal or spatial dimension to another. Movement is motivated by not only typical acousmatic parameters, but also in melodic and rhythmic levels. In addition, there are diverse contexts that appear from the music spontaneously. Sound and theme registry varies in a fascinating and imaginative manner, from grotesque to romanticism, from comic to tragic, ending up to the alienating and futuristic science fiction elements. The paradox based on contradictions and conflicts at the same time builds and breaks the cohesion of the album.

The work does not only touch the listener’s emotions, but also challenges the intellect. Scenes are painted to the listeners mind, and together those scenes eventually manage to build up an entire story. If the listener does not want to focus on the pure sound art enjoyment of the sound scenery, there is plenty of extramusical intertextualities, which may tell a different story, more related to the current world and society. By placing a number of microcosmoses in interaction between each other, Kosmoskalevala creates its own universe, where charmingly controlled chaos takes its place.”
— Jenni Hurmerinta

“Nummela?s musical tones ja archaic beat discharge are searching their way to listener?s mind pushing unconsciousness in move like pieces of torn apart Osiris? flesh swirling in spring of multidimensional Hades. Musical aspects of this fusion energy have fury to have synchorinicity to connect with universal tonal truth and same time chip all your plain musical convenience to other dimensions. This double album is alchemy of soul who have forgotten the meaning of music. Music and mystery of uncertain repeatability and chaotic joy of inspiration for unexpected combination as human need to have some perception for reaping connectedness, ultimately but overwhelming thin fountainhead of orgon-energy and humbleness under indefinite universum.”
— Arhi Kuittinen

“It sounded between atonal music, ethnic music, jazz, in some way Gamelan (sound of g., but not rhythmically), electronic and ambient music, without actually being any of those. The collage it was for sure and I liked uneven rhythms and juxtaposed layers. I’m not a musician but I think the biggest issue here is the variations of the rhythm patterns. It does not sound like  Indian carnatic music but it brings to mind its complex rhythms. Kosmoskalevala is more bouncing between various rhythms types. It reminds me of background music for the  animations made for children in Finland in the 60’s and 70’s. In some parts of the Kosmoskalevala I can’t help imagining cut-out figures of paper move across the TV screen. Anyhow this is clearly an independent work of art. Warm tones. This kind of electronic music is more monotonic than instrumental music. Instruments here are not as characterized as real ones. This proceeds more as a mass but it’s not a bad thing it makes a motion more like stream of consciousness. Yes I liked this!”
— Sirpa Jokinen

Filed under Newsletter, Releases, Reviews.

Unusual Digital Releases


Our friends from Serein were recently tweeting about “unusual digital releases”, described as “not just a zip file of MP3s and JPEGs.”

Well, packaging is important. At Enough we feel the zip with the mp3s and jpegs is still needed, even if you have the stream available or a different way to present the release. Web technology has evolved quite a lot, enabling all sorts of multimedia presentations of your work. Most digital artists still focus on the simple website update and upload to a couple of their favorite online platforms. But a lot more can be done! Famous examples include Google’s and Björk’s Biophila.

At Enough Records we have a demoscene background, and in the demoscene, before mp3s were hip and appstores existed there were musicdisks. Musicdisks are essentially applications the user was free to download and launch on their own computer, typically featuring some computer animations and a graphical interface that would work as a media player allowing the user to select the different tracks from the release and enjoy some sort of visualization system.

Following this trend we have released several musicdisks through the years.

The first musicdisk released at Enough Records being Dark Vault, one of our first dark ambient compilations from 2004, the custom interface for PC Windows is bundled with the release.

The sequel to Dark Vault: Dark Vault 2, was actually planned to have a custom musicdisk interface for the Dreamcast, which was cancelled and just released as a packaged zip containing the tracks and artwork after a year of promised development had already delayed the release too long.

Another dark ambient compilation titled Alien Artifact was packaged even more abstractly in 2005, the interface was a riddle that the user had to puzzle out in order to listen to the tracks.

In 2008 we released Open Funk Sores by Goto 80 featuring glitch graphic animations by Raquel Meyers. It was packaged as a musicdisk for the Playstation Portable by Titan demogroup, and a few years later ported to html5 and iOS.

Embracing the web technology we ended up building a few mini-sites with embebed players for the new releases, mostly compilations. Our first incursion with web technologies was probably with the Flash animation cover for Sound Research, much alike the Qwartz Awarded Minusn netlabel was doing before they stopped updating their website.

A few years later the Enough Dubs and Enough Dubs 2 compilations got their own mini-sites. The concept continued to evolve with the founding of our socio-political activist sub-label Anonymous Archive and the 99 Anonymous series of mixtapes. More recently our 100 Years of Noise tribute compilation also features it’s own dedicated webpage including extra information, artwork and even exclusive interviews with the contributing authors.

We don’t claim the concept of having a dedicated page with customized look and feel for a specific release was in any way new or revolutionary, but it does give a friendlier link to promote the release to our listeners.

A slightly more innovative way to showcase our digital releases was the commissioned development of the web based text adventure game Under a Seering Sky, whose soundtrack consists of tracks previously released through Enough Records and some of our partner netlabels such as MiMi and Floating Joint.

Filed under Netlabel Reflections, Releases.

Artist Spotlight: Ghost Hunter


Ghost Hunter

We got in touch with Robert Verrecchia, indie electronics producer based out of Sheffield, UK. He released 3 works through Enough Records. The Downtown EP in December 2006 under his old moniker Rob Rob Rob, and two EPs as his new alias Ghost Hunter, the self-titled debut release in January 2008 and In the Early Months roughly one year later.

Hei Rob, how’s it going? Can you tell us a little about yourself? What’s your background, what do you do for a living?

I’m good thanks. I’m 26. I make music under the name “Ghost Hunter”. Right now I’m based in Sheffield and I work as a medical doctor.

I read you been to Ecuador in the past year through your latest demo (which is sounding great btw.) Are you big into travelling?

Thanks. Yeah, I took a cassette deck to the jungle there and made some recordings which added a nice atmosphere to some of the tracks. I also have cassette full of sounds I made in Syria a couple of years ago but those are proving a little more difficult to work into my music. I love to travel and experience places completely different to those I’m used to…it helps you to see the world from a completely different perspective. I’m lucky to have been to some really interesting places and have met some great people. In fact I’ve got a job starting out in South Africa so I’ll be heading there fairly soon. Hoping to see a lot of the continent while I’m based there.

How did your fascination with making music got started?

My Dad has a recording studio at home in the south of England so when I was growing up I often used to mess around with his synths and samplers and tape machines, learning how it all worked. When I moved to Sheffield I started getting more of my own gear and making electronic music more seriously.

What drove you to release with Enough Records? How did you find us?

It was a long time ago so I don’t really remember. All I know is that you (ps) were friendly and encouraging and seemed like someone I’d like to work with.

Can you tell us how the Sheffield and UK indie electronics scene is like? Do you get much support from local promoters and radios?

I’m not at all part of the Sheffield scene. I gig very rarely…

You released a 10″ through House Anxiety Records in 2010. How did that turn out? Do you feel physical releases are important to get your name out there on review sites? I remember some of the Ghost Hunter releases free for download were also available as limited edition CDR. How do you see the digital and the physical complementing each other?

I’m a vinyl junkie so having my own music pressed on vinyl was a big deal. And I got to know some really nice people through doing it. Music is in an interesting place now as it no longer needs a physical vessel to deliver it…The digital revolution has made everything so easy and convenient and I love that…but at the same time it cheapens it. If you don’t have to go out to a store and you don’t take home something real, then you don’t attach so much worth to it. This shouldn’t happen but it does. I still love the physicality of putting on a record and listening to it from start to finish. It’s more ritualistic and makes you focus more on what you’re listening to.

I noticed you been doing a lot of remixes for all sort of artists for the past couple of years, has it been more fun then producing new album material?

It’s fun to work with a different sound palate and yet make it sound your own…even when you don’t really like the original track. Also they usually have short deadlines which focuses me…I’ve learnt a lot from making these. I can pick away at my own tracks for months on end until they’re just right but I think some of my best material has been my remixes which have been made in under a week. I’m most proud of the one I did for Sky Larkin. I chose a path and recorded most of it in one afternoon. I feel I fully realised the vision I had in my head when I started which is very rewarding. Having said all that, I definitely got a little caught up in the remix work and was neglecting my own stuff…subsequently I’ve totally cut back on that for now.

How do you envision the future of music evolving?

Music seems to be developing in some really interesting directions but I’m not really up to date with most current stuff. For me the most exciting thing is the availability of information about the history of music on the internet. Anyone can learn about the history of music or hear tunes made from the other side of the world in a totally different era. It really allows you to broaden your tastes and influences. There’s so much amazing and innovative music that’s been made in the past. As well as trying to push things forward we should sometimes stop and take a minute to really digest some of the incredible styles and progress of the last 100 years. I’ve been mainly binging on 60s jazz and West African music recently.

Thanks for your time! Any last words of wisdom for folks out there reading?

Not from me. But maybe from JC…

Filed under Artist Spotlight, Interviews.

Newsletter 17 February 2013


Highlights this month on the Enough Records world include a couple new releases, a Jamendo number one and a few interviews available for reading online. Read below for more information.

100 Years of Noise – Final Release

This Final release of our ode to ‘L´Arte dei Rumori’ includes 11 new tracks that were not released in the Public Domain Celebration Release on 1st January. Additionally we remodelled the minisite to include a few interviews with the artists and complementary material to the tracks (image, text or video). The entire tracklist is available free for download and online stream.

Expect experimental sounds in a wide range of styles and genres, including musique concréte, field recordings, free jazz, DIY electronics and noise.


AtlanThis 2

Follow up compilation of experimental electronic tracks from artists out of Portugal and the North America. The theme of the compilation is crossing the Atlantic ocean. Organized and co-released by Thisco Records. Features tracks by Mantrakid, ocp, Oxford Icebergs, Human Being, Sci Fi Industries, Infetu, ps, Dyman, Com. Gen., shhh…, Waste Disposal Machine, Undara, Mystified and AVOIDANT. Artwork by American painter Ariel Claborn.

Expect electronic sounds ranging from drone and ambient to idm and industrial.


The Easton Ellises – Dance It, Dance All Jamendo #1

Our Canadian electro rock artists The Easton Ellises managed to break Jamendo charts all the way to number one with their track “Dance It, Dance All”. It’s part of their crowdfunded vinyl release, which is also available free for download at Enough Records.

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Aktivehate European Tour

Our Portuguese harsh electronics project Aktivehate are promoting their new full length album recently released through Advoxya Records with an European tour. If you want them playing in your city, now it the time to poke your local promoters.


We have started a series of interviews with Enough Records artists that are being published on our official blog. To kick off the series we caught up with Graham Jackson of the Canadian goth rock project The Silence Industry. Next up was an interview with João Pinheiro aka Johnny Hex, involved in the projects Vysehrad, U.M.M. and Control Alt Deus.

The curators at Free Music Archive also recently did an interview with our American jazz artist Jared C. Balogh, you can find the interview at the FMA website.

Alexei Biryukoff fine art

Our Siberian artist Muhmood has been placing some of his photo and painting artworks for sale at, a great opportunity to get a deeper insight and support his work if you enjoyed his sounds.

Filed under Newsletter.