Interview: Efficient Space
Efficient Space is celebrated for its archival approach, uncovering forgotten gems and presenting them with contemporary relevance, often complemented by detailed liner notes and historical context. Founded in 2015 by DJ and collector Michael Kucyk, the label specializes in reissues and compilations spanning diverse genres, including post-punk, disco, ambient, and experimental sounds. We sat down with Michael and asked him how everything came together.
What inspired the creation of Efficient Space, and how did the label establish its niche in rare or obscure music? That period was a really exciting time. I was immersed in new discoveries and knowledge shared through local record stores, overseas trips, and the network that contributed to Noise In My Head. It felt like a natural evolution. I had worked for other labels but really wanted to do my own thing. ’90s Melbourne backroom house enigma Braden Schlager came first, followed by Julien Dechery and DJ Sundae’s cult compilation Sky Girl, which I had adored as a bootleg CD. Together, they provided a broad spectrum of what could be released. Can you share the story behind the name "Efficient Space"? Does it have a deeper meaning or philosophy tied to the label's ethos? The name was chosen under duress, just as Braden’s record was about to go to press. It’s purely arbitrary. As the catalogue expands, our operations are anything but efficient, plagued by chaos, avoidance, and an ever-growing pile of half-finished ideas. It’s too late to rename it now. How do you discover the music that you choose to reissue? Is it primarily through digging in archives, recommendations, or another method? It works in many concentric circles. Sometimes it's a record in my collection, an artist we have approached for archives, one project stemming from another, or a concept presented by our network of compilers.
How do you decide which formats to release in (vinyl, digital, etc.)? Is the decision tied to the nature of the music or its audience? Aside from two cassettes of more esoteric content, everything else has been issued on both vinyl and digital formats. Vinyl is deeply embedded in our DNA, but I have a love-hate relationship with it—it has become prohibitively expensive, verging on classism. I loathe the gross consumerism it attracts; every time a label or artist I respect opts for coloured vinyl, a small part of me dies inside. What are some of the biggest challenges you face as an independent label? Survival? Labels dealing in physical media are really feeling the pinch of the global cost-of-living crisis. Even postage prices feel like an obstacle. I'm not flexing our approach in any way though. We’ll continue to do the exact same thing. Have you noticed any patterns in how younger generations are responding to the label compared to those who may have experienced the music for quite a while already? Based on our pop-ups and markets, I'm not convinced we're reaching the younger generation. I guess a few label cuts subsequently became minor club hits in the local scene—FSOM's ‘Resist the Beat’ and Mumbo Jumbo's ‘Wind It Up’ for instance. That was wild to witness firsthand.
How has the rise of streaming platforms affected Efficient Space's operations or the way its catalog is consumed? Apart from maintaining our Spotify playlists—one of which exceeds 92 hours—I don't give much oxygen to streaming. The platforms aren’t designed to serve archival music. Can you share a memorable story about one of the records you’ve reissued—perhaps something surprising or deeply resonant? I feel like it’s been a while since we’ve had a crazy story. Maybe we’re navigating more familiar territory these days. Assembling Ghost Riders was a trip, locating people via staff lists at local fire departments, spiritualist fellowships, and animal welfare centres. Many hadn't strayed far from their teenage neighbourhoods even five decades later, solidifying this regional narrative. It's not always roses though. We've been in contact with people hesitant to revisit traumatic periods in their lives, recent widows needing someone to talk to, and others who are terminally ill. It's quite an emotional connection you make. Are there any dream projects or artists you’d love to work with in the future? An INXS dub record? All of our upcoming releases are a dream—Korean avant-guitarist Song Myoung Kwan, Sydney dub maker Ali Omar, album #3 from Wilson Tanner and a netlabel compilation from Sconce (formally known as Instant Peterson). Efficient Space on Bandcamp
