Electronic / Experimental

Eclectic ensemble of 18 instrumental arrangements evoking an epic and existential 
soundtrack determined by the power of momentary destiny and reflective sentiment. 

Originally released on LP in 2014

Edition of 180 copies in digipack. First official re-issue. The New Vortex Blockaders Compaign was released on tape in 1984 and was bootlegged on LP in 1998. Both editions are now sought after collectors items. This release went down in noise history as a big classic, and is now reissued, in nice remastered form. 'Extreme, nihilistic Musique Concrete which creates unrelenting walls of sound... Images of chaos, collapse and extreme violence dominate.' Aeon 'This will rip your face off and wear it as a mask!' CMS Foundation

"Zulu Rap" represented a surprising alternative to the typical Italo-Disco sound perceived in Naples and around in the early 80s. This little-known production has some interesting arrangements, mostly in the short version, where the drum work out raised below, reminiscent of "Love Hangover" by Diana Ross. Actually at that time the Dance Music Report, in its 'Import' column wrote that the “intro” of the ‘Alcoholic Version’ was reminiscent of Madonna's “Holiday”. while the ‘Chinese Version’ was inspired by a song from the Tears For Fears. Some of this news may pique the curiosity of DJs and collectors and provide enough motivation for the current reissue which faithfully reproduces the three 1984 versions as well as the original cover artwork of the noteworthy image. If that wasn't enough: the B side of the original record had an extra track not listed, with the hand drums on a slower and unrelated "Zulu Rap" drum beat which is around 120 BPM, while the drums of the bonus track is about 113 BPM. We just have to add the beautiful Maria Chiara Perugini (aka Clio) in the choirs, who was at the Airport label for the recording of her first solo song "Eyes".

"Always take from the past - avoiding the empty longings of nostalgia - with a view to understanding the new place it might hold in the future. Good Morning Tapes has done just that, and with the 90’s revival in something of a full swing, the label finally gets the chance to release a pivotal 10 year old mix that didn’t just ignite a curious wave of reflection and appropriation, it marked a culmination in the shifting sonic sands for its creator Mr. Alexis Le-Tan. His name needs little light thrust upon it in these hallowed cosmic halls, with his enduring and ever present mixes being a staple for those that know. Back to Disco Valley is arguably his most important mix - it both recontextualised a dirty and forgotten sound of the past, and facilitated a wave of new freedoms for those wishing to look backwards in order to move forwards. Most importantly it planted the seed for everything Full Circle to come. Back to Disco Valley is above all else a personal reckoning for Alexis and Joakim, it marked a moment when many problems inherent in a trapped older sound - with a sublime yet dated history of its own - could breath fresh life in the present day; a new slower realm was born. The slowing down of dance music is nothing new, and certainly where peak time beats have existed a spiritual shadow that revels in a slower ethereal space to dance has never been far away. Stylistically on one level, Back to Disco Valley might seem to build on what Baldelli or Loda were doing many years ago, and it certainly has that effortless charm, but it goes much further, not just in its re-appraisal of the frenetic fast paced sounds of Goa, but as a signifier of where many wanted to head on the dancefloor - towards a slower oasis - incorporating new releases and modern sounding rarities along the way. Indeed, in selecting the 33rpm dial rather than that marked 45, Full Circle at once opened up the new space inside a music some of us went bananas to 30 years ago, and at the same time made sense of a crucial yet forgotten heritage; a confession became a badge of honour. Coming back to Full Circle and its genesis: it was only a matter of time before the old Goa records would come back down from the racks and spawn a new life, and perhaps whilst Le-Tan cemented something a lot of us knew, Back to Disco Valley somehow liberated many of those early records from their stylistic shackles initiating a creative project that - along side the collaborative work with Joakim - has released a wave of inspirational edits and re-imaginations. Full Circle - in all its conceptual & metaphorical majesty - really has come to represent the most stylish of takes on past sounds, both in the realm of selection and re-working. It is certainly true that Back to Disco Valley - sounding now as it did then (to the select tuned ears that got to listen) - reflects a perfect meeting between an off-tempo past, present and future, being more than a functional assemblage, it revives many a lost memory, inspiring a new batch of ideas, and always looking back with a purpose.

Consummate selector and veteran of a pair of mixtape percies for The Trilogy Tapes, DJ Sundae racks up the rarities for a killer new edition for Good Morning Tapes, a recording of his set for Alexis Le Tan’s Oddity Radio, Paris. Sundae’s selection skills are already a thing of low-key legend and on this new one he picks an arc from sylvan synth glydes to punky reggae dub via ample armfuls of spirited music, each cut a stepping stone to the next in a proper example of DJ as storyteller. Aye, you can forget about any easily identifiable gear and expect to snag the attentions of earnest spotters licking their nibs for hits of rustic folk, proggy psych, druggy grunge and punk hymns that give way to brooding bass music and stepping post-punk.

First time vinyl reissue. Following the success of the early Brazilian rap artists Black Juniors, Villa Box, Buffalo Girls? Electric Boogies emerged out of São Paulo, Brazil, as a crew devoted to breakdancing under the influence of New York's B-Boy culture. They would record "Break Mandrake" in 1984, originally released on RGE Records. This single has two fabulous electro-funk tracks, side A is vocal and on the flip side you find the instrumental version with some extra keys that give it a jazzier touch. DJ Irai Campos would provide the scratches while the arrangements and keyboards were credited to Eduardo Assad, who also worked with Black Juniors, Sasha, and

In 1981, Brenda Ray / Naffi Sandwich released the sweetly yearning “D’Ya Hear Me!”. The song is now considered a post-punk classic, and here we have a warm digi-reggae version sung by Kyoto composer/producer/vocalist NTsKI (“Natsuki”), with backing tracks performed, recorded and mixed by Osaka-based producer/guitarist 7FO (“nana f o”). Also on this release are a karaoke version, plus two remixes, the first a dancehall-flavoured version by Bim One Production, a Tokyo electro-reggae production duo. The second mix is from Nagoya-based electronic producer CVN, who provides a harder version. This revisioning of a much-loved classic is available on CD, 10-inch vinyl and digital.

Mastering: Takuto Kuratani (Ruv Bytes)
Special thanks: Brenda Ray, Hiroshi Takakura (Riddim Chango)

CD version: Gatefold cardboard case

TRACKS:
01. D’Ya Hear Me!
02. D’Ya Hear Me! (Karaoke)
03. D’Ya Hear Me! (Bim One Production Remix)
04. D’Ya Hear Me! (CVN Remix)

In 1981, Brenda Ray / Naffi Sandwich released the sweetly yearning “D’Ya Hear Me!”. The song is now considered a post-punk classic, and here we have a warm digi-reggae version sung by Kyoto composer/producer/vocalist NTsKI (“Natsuki”), with backing tracks performed, recorded and mixed by Osaka-based producer/guitarist 7FO (“nana f o”). Also on this release are a karaoke version, plus two remixes, the first a dancehall-flavoured version by Bim One Production, a Tokyo electro-reggae production duo. The second mix is from Nagoya-based electronic producer CVN, who provides a harder version. This revisioning of a much-loved classic is available on CD, 10-inch vinyl and digital.

Mastering: Takuto Kuratani (Ruv Bytes)
Special thanks: Brenda Ray, Hiroshi Takakura (Riddim Chango)

CD version: Gatefold cardboard case

TRACKS:
01. D’Ya Hear Me!
02. D’Ya Hear Me! (Karaoke)
03. D’Ya Hear Me! (Bim One Production Remix)
04. D’Ya Hear Me! (CVN Remix)

The third folk song series supervised by the Tayo Mountains, this time in Gunma! The definitive version of the heavyweight Bon Odori "Kizaki Ondo", in which abnormal boost bass and distorted Kodama swirl, is released in the original version of the local preservation society and the old and new doubles of the current TRAP version. This will overturn your view of folk songs! ??

"Yagibushi" is the first folk song to be recorded in Japan and is popular as one of the largest dunks in the folk song world. .. This song is just crazy. The killer of killer that makes any folk music dance tune hazy in front of the dangerous force! Did you make a mistake in adjusting the EQ in the studio? A massive low beat with distorted bass and strange reverberation that makes you doubt your ears. And the lyrics in the form of a persuasion (Note 2) that tells the story of Meshimori onna (Note 1) who lives at night in Hanamachi. It's neither a Chicago-born ghetto base nor an Atlanta-born trap. It is a Japanese folk song that was brought up in the life of Kita-Kantou.

This time, with the cooperation of the Kizaki Ondo Preservation Society, we remastered and recorded the locally recorded versions of 1980 and 1965 that trapped the hustle and bustle of the night of Bon Odori. As a new attempt, Clark Naito's new recording Kizaki Ondo was also recorded there. MC / track maker Clark Naito, who raps garage punk on sampled tracks and is also active in the Gorge area, has a sense of connecting Bo Diddley and bass music with the term "3 minutes R & R". The collaboration between Minyo Mountains and Clark Naito created a modern version of Kizaki Ondo with contemporary trap beats and sweet synths. This is an extension of the act of "putting folk songs on a turntable and making a roaring sound" at the Soi48 party, and is a proposal for "a new way to enjoy folk songs." Please enjoy it simply as cool music.

The long-awaited repress! The world's first compilation that covers the miracle of Spanish NEW WAVE-ambient-progressive music, the masterpiece of Finis Africae, and the footprints of 17 years!
This is a must-listen work with a number of spiritual, deep, afro and ambient spiritual organic grooves!

Spiritual Afro, NEW WAVE, Ambient Dance Music! A number of miraculous sound sources that include African music, contemporary music, natural sounds from NEW WAVE and field recording, and even jazz and folklore tastes from Spain. It seems that he was influenced by many music genres, but the music is a beautiful combination of ambient and spiritual extracts, and the track with the synthesizer has a new age that is similar to that of IASOS! Great content that would not have been possible without an aesthetic eye for sharp music. 16P booklet included. Commentary posted in Spanish / English / Japanese.

Equal parts Sheffield bleep, fractal IDM and interstellar ambience, Hyper Nu Age Tekno sees Taro Nohara (aka Yakenohara) plotting a star map on a faded rave flyer. Let the billionaires blast into orbit while you explore your inner space with Growing Bin.

From the LP's earliest moments, the whomping subs and crystalline chimes of "Space Debris", it's clear that we're a long way from Hamburg. Taro pilots this craft on a deep space exploration way beyond the run out groove, to a place where heartening chords herald a twin sunrise and any broadcasts are lost in translation. The polyrhythmic pulse of "Ill Ell" follows, its concentric chimes and rapid fire kicks summoning the teknoguild to a watery altar in the engineering department. Sticking with interstellar mysticism but taking a turn for the transcendent, "Baker Baker Paradox" spins Reich-ian repetition into a graphene gossamer embellished with chrome, crystal and shoegaze shimmer. The B-side begins on the observation deck, bathing in the beauty of "Celestial Harmonia"'s sci-fi exotica, before the entheogenic "Use Your Head" prompts a delirious dash to the holodeck. Laying serene pads over a techy 4/4, Taro turns out the most danceable and dreamy track on the LP. As ambient chords ring out into the aether and rhythmic pulses shift out of phase, "Airplane Without People" is the loading screen for your virtual fantasy, soon rendered through the woody percussion and spheric bass of "Music For Psychic Liberation". Leave your body behind as you pick mushrooms in a CGI forest.

The influence Steve Reich had on contemporary music can hardly be put into words. As one of the great innovators, he started playing around with tape loops and created rhythmic and tonal effects while recording the sounds of rain, it formed the basis of his ambitious project called " It's Gonna Rain". The great depth and complexity make this an outstanding song in his repertoire - an incredible tape loop piece that starts with the words of a gospel preacher, then takes a snippet ("it's gonna rain") and repeats it over and over itself, endlessly looping, and messing with the words and tones as it goes in and out of phase. Incredible stuff – and far more revolutionary than a lot of Reich's later work. The A-side of the LP contains “Violin Phase”, featuring Paul Zukofsky. This masterpiece in minimalist music is grand and epic. The two pieces were recorded live together under the title Live/Electric Music.

Two sheets to the wind, Perishable, not tinned, Two hands the better, Wet weather and feather. Wilson Tanner come to shore with a new album of floating melodies, lightly salted. Throwing electroacoustic conventions overboard, Andrew Wilson (Andras) and John Tanner (Eleventeen Eston) recorded this new work aboard a 1950s riverboat with a resourceful array of weatherproof electronic instruments and a long extension lead. These eight compositions pull in a by-catch of maritime folklore; of Siren and Selkie, Seagull and engine oil slick. A change of course from their debut album 69 (Growing Bin Records, 2016), the ambient temperature drops as II casts out to sea in uncertain weather and returns to the safe harbours of Port Phillip Bay. The seafarers head out to My Gull’s poised optimism. The birds watch but do they listen? By the arrival of Loch and Key, the shoreline has dissolved completely, the boat floating in serene infinity as the rest of the world spins. Conditions soon take a treacherous turn on Killcord Pts I-III - a 12 minute odyssey that battens down the hatches as these sailors eye merciless waves and blinding ocean spray, jointly channelling Berlin-school electronics and sea legs. In the aftermath, the waterlogged bleeps of Idle survey the damage as our parched crew sound the distress signal and ultimately descend into delirium. Known for navigating individual courses as solo musicians, Wilson and Tanner’s collective storytelling is saturated in detail, buoying between tension and harmony. II modestly stands as some of both artists’ most accomplished material.

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini. Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition. A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 14 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure. The album opens with “a[R1] detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map. Vinyl Edition of 300 copies, 3mm sleeve, matt lamination, black paper inner sleeve. 14 Tracks. Running Time 46:13 credits

Classic album from 1977, the sixth Kraftwerk album, originally issued by Kling Klang. This is the English-language, U.S.-cover art version. One of the inspired electronically-based pop records of all time. Performed by the quartet of Hütter, Schneider, Flür & Karl Bartos, this is the quintessential Kraftwerk sound recording experience. Tracklist: Side One: A1. Europe Endless; A2. The Hall Of Mirrors; A3. Showroom Dummies. Side Two: B1. Trans-Europe Express; B2. Metal On Metal; B3. Franz Schubert; B4. Endless Endless.

LP version of their 5th album from 1975. The centerpiece inbetween Autobahn and Trans Europa Express -- a trilogy of masterworks that found Kraftwerk at their artistic pinnacle, in the midst of rearranging the musical universe. The sweeping synth melodies are in full futuristic force, surrounded by weird bleepage and a static pulse -- this is a mesmerizing album in every way. Tracklisting: Side 1: A1. Geiger Counter; A2. Radioactivity; A3. Radioland; A4. Airwaves; A5. Intermission; A6. News; Side 2: B1. The Voice of Energy; B2. Antenna; B3. Radio Stars; B4. Uranium; B5. Transistor; B6. Ohm Sweet Ohm.

Otherworldly beat science from the currently vibrant Washington DC underground. The heavily processed MCing of NappyNappa weaves in and out of the skewed electronics and stuttering percussion of Patrick Cain. Loosely affiliated with the Future Times crew and featuring contributions from Dolo Percussion (aka Max D). 

In the duo’s own words “a collaborative experiment in liberated sound, vision, and performance“, Model Home orbit in their own universe, with glimmers of light from distant galaxies refracted in their sound. The spirit of free improvisation pervades the tracks, a sound evolving from two artistic sensibilities bouncing off each other without a set plan and creating a third pathway to unknown worlds. 

One Year compiles tracks from 8 different self-released mixtapes made during an intense initial 12 month period of musical activity that birthed the project. Approached with the same archival sensibility that Disciples has brought to albums-that-never-were from Black Lodge, Bogdan Raczynski and His Name As Alive, but with the idea of creating a framework to present an underground NOW sound. A Jamaican style ‘showcase’ album for these outliers from the District of Columbia.

Masami Akita is one of the most influential noise artists of our time. Known as Merzbow, Akita has developed a recognisable sound with his harsh, confrontational and abrasive sonic emittance. Lawrence English is a curator of sound, vision and thought. As the founder of Room40, English has released countless records and has worked alongside some of the most notable and adorned sound pioneers of our time – in turn becoming one himself. To coincide with Akita and English’s involvement in issue 02, English compiled a Merzbow Mixtape of hidden gems from Merzbow’s expansive archive.

Merzbow is a Japanese noise legend who continues to advocate a thoroughgoing ahincer practice and experiment with alternative expressions that transcend the boundaries of "noise". Recorded and mixed at Munemihouse in 2021, this is the latest release from Merzbow. It's a powerhouse masterpiece, and I can't say enough about it. Don't miss it!

London-based keyboardist/producer Dan Nicholls (of Y-OTIS) introduces a new album project 'Mattering And Meaning' to be released by We Jazz Records on August 13th. Nicholls' music uses acoustic piano as its key element, transporting the instrument into new territories that sound remarkably natural and organic, whilst displaying a strong kinship with the world of abstract electronic music. The music utilises piano loops and field recordings as its key elements, forming what might be described on the surface as a fascinating ambient jazz record – but at the same time there's so much more at play here on deeper levels. Dan's music sounds at once otherworldly and immensely inviting. After years of unlearning and unravelling the knots of a music college education – moving from a career in jazz, via electronic music, to a heartfelt embrace with rave culture and the feminist and queer theories which have so challenged perspectives across many disciplines on the objectified world and the values of capitalism – Dan Nicholls has spontaneously reimagined his relationship to the piano, that edifice of the decaying foundations of european classical music. Here the emphasis shifts from the Work (as object) to the work (as activity). Recorded with only a mobile phone voice recorder, eschewing the gloss of high fidelity audio to embrace the problematic cyborg appendage of the i-Fone VI-$, these lucidly dreamed tracks, like notes in a journal, find their depth and form through quick experimentation and distillation – layering, stretching and collaging in ways that treat the piano as a textural element in the daily soundscape, spilling into, and going along with, regular activities with no ceremony or established system to the process. For Dan, this is as much a documentation as a therapeutic process, casting aside the dogma and seriousness of much artistic practice whilst embracing joy and improvisation in order to search for deeper narratives. The speculative imaginings of three revolutionary thinkers, Donna Haraway, Ursula K. Le Guin and Karen Barad, have profoundly shaped the conception of this album, which also emerged from a deep interest in human relationships to ecstatic practices and communalities which have been so eroded by imperialist/patriarchal/capitalist forces. The title, "Mattering and Meaning", is a meditation on the crumbling habitual delineation and separation of both objects and definitions, including our (ironically) self-destructive human thinking patterns which position us as objective observers, above and over the world rather than inside it, apparently separate from nature and from each other. Like the melodies and themes which permeate these nine sonic tales, inextricable but nevertheless present, our world and our species prove to be more enmeshed, interconnected and interdependent than the dominant rationalism would lead us to believe. This album is a humble gift to the listener, a proposition for inclusion in their own ongoing soundscape, the perpetual activity of listening and awareness.

What Does it Mean to Be American? is the eighth solo album by Margate, UK based composer & multi-instrumentalist Robert Stillman. Performed, recorded & mixed almost entirely by Stillman, the seven tracks on What Does it Mean to Be American? are experimental in the purest sense of the word; Stillman's composition & recording techniques rely heavily on improvisation, which often sends his music in surprising directions. Elements of jazz, drone, funk, blues, psychedelia, new age & chamber music are referenced, often subconsciously, but Stillman's music ultimately defies adherence to any particular genre. Stillman explains: "The musical content of this work is varied, partly due to its having been recorded over a long period of time, and also due to the attitude I brought to curating the work, i.e. removing any sense of filter on the creative impetus. Much of this work was made very quickly and intuitively; the idea was to remove as many barriers as possible between gut-level expressions and the sound result, to essentially dream these tracks directly into existence. "This music, like much of my other recorded output, is the product of a solo studio process that involves extensive layering of multi-track recordings of me playing various instruments (tenor saxophone, clarinet, bass clarinet, piano and drums)." What Does it Mean to Be American?'s one guest performance comes from Anders Holst (Stillman's collaborator in the Bog Bodies project), who contributes acoustic guitar to the album's closing track, "No Good Old Days." While What Does it Mean to Be American? is a mostly instrumental work (only the opening track, "Cherry Ocean," features Stillman's singing voice), a strong narrative carries through the album, namely Stillman's examination of his nationality. From Stillman: "I was born and raised in America, and identify as an American. However, I have lived in the UK for over a decade, and this has given me the opportunity to consider what being 'American' means outside the day-to-day experience of being American and has created a space for me to consider the concept of American 'identity" as someone no longer living there. In the position of ex-patriot, it is tempting to claim one's favorite trappings of 'American' and disassociate from the rest, but this is unacceptable to me. "Part of growing up into an adult has meant coming to terms with the American Identity in total. In other words, recognising that to selectively claim aspects of American identity is a narcissistic game of illusion. To worship aestheticized, revisionist imaginations of Americanness (read 'Americana') plays a role in this. In this record I wish to share my insight that to 'be' American is to claim everything within that specification: historical, cultural, social, stereotypical, experiential, heroic, villainous. In this model of Americanness, there is nothing 'American' that lives outside of the 'American' identity. In the context of some of the most difficult, embarrassing, uncomfortable years of being American, I feel that doubling down on the identity in total represents a gesture of radical acceptance of reality that opens the space for positive action, be it personal or political, as a corrective to the inertia of denial and delusion. "The music on this album adopts a similar attitude of 'radical acceptance' in the sense that, to as great an extent as I could, I tried not to let 'aesthetics' get in the way of intuition. The process was geared toward letting in musical impulses before I had the chance to critically examine them. The end result is that the music is more varied and technically rough-edged than other work I've made, and the musical languages are more varied. It is a more direct expression of the thoughts, emotions, dreams, and beliefs that are the 'prime movers' of my work." WHAT DOES IT MEAN TO BE AMERICAN? My passport says: UNITED STATES OF AMERICA. I show it at the border, and they say, “Welcome Home”. I was born in America, and became an American Human Being as I breathed American Air. My American time touches the Deep American Time: the eternal American IS that contains all qualities/ actions/ occurrences, past-present-future. The American Ice Cream Cone reminds me, I must “Eat it All”. I am American, and I can’t buy anyone else’s American. Not with dollars; not with devotion. / / / / / / / / “America, what am I?” “Look at yourself.” “My Image?” “No.” “My question?” “Yes. That is your Birthright.”

Portals is an album of minimal electric piano improvisations by UK-based multi-instrumentalist & composer Robert Stillman. Inspired by American ‘new-age’ luminaries like Laraaji, Iasos, and Stephen Halpern, Stillman’s layers of playful, meditative electric piano figures, saturated by warm tape hiss & psychedelic delay effects, are occasionally accompanied by “found sound” field recordings, creating a compelling yet calming listening experience. Portals was recorded at home in Broadstairs, Kent during the winter of 2016-2017 & originally released on cassette in December 2017 by Orindal Records. Three subsequent represses followed, & Portals became the most repressed cassette release in Orindal’s 11 year history. This new vinyl edition, co-released by UK label KIT Records, is remastered by Matt Barnhart & includes bonus track “Portal 8 (The Stranger).” Here’s Robert Stillman’s original statement on the original cassette release of Portals: Portals is an album of multi-tracked improvisations on Fender Rhodes electric piano. The music’s repetitive structure is intended to encourage a state of ‘no-mind’ in the listener, acting as a gateway out of thoughts and into the present moment. Headphones are recommended for the ideal listening experience.

Deadstock cassette version of the masterful second album, released in 1992, which was hailed by All Music as "the commercial and artistic peak of the ambient house movement" and was #1 on the UK charts at the time. sealed with a small drill hole.

Donato Dozzy and Milanese veteran Stefano Ghittoni mint a new series on Dozzy's Mage Circe Musica imprint, channeling Daniele Baldelli's cosmic disco manifesto and exploring screwed rhythms, psychedelic electronix and blunted dub atmospheres. So good - imagine a half-speed Shinichi Atobe or Rrose spliced with GRM-damaged concréte FX and percussion courtesy of Konono No.1. Basically it's peak Dozzy syrup - Tip! Alicia Carrera and Donato Dozzy's Maga Circe Musica label has quickly established itself as an outlet for some of the most impressively tight experimental slop we've heard in ages. Dozzy and Ghittoni's first La Petit plate is no different, using the enduring influence of Northeastern Italian electronic music (think Baldelli and Marco Dionigi) to help transform and repurpose dub techno, folk, ambient music, jazz and global sounds. If Baldelli and Dionigi were best known for pushing disco's tempo down to a crawl, Dozzy and Ghittoni do the same with their wealth of diggers' influences, dipping hollow 4/4 percussion and syncopated hand drums to a chug on 'Sukia' and slowly building an atmosphere with low-slung bass and spooked electronics. Imagine holding down the pitch slider on a Badalamenti score and a Funkadelic 12” playing at the same time, for the gist. On 'Lanquidity' the duo pull in horizontal dub pads and place them against a resinous thud and swirling dub FX, played slower than it should be and somehow operating in the same gloopy zone as Newworldaquarium to emphasise mood and texture over technical trickery. 'Niento’ is even better, using smeared LM1 claps for a sort of assymetric, purple funk played at -8 while taking a fourth world-inspired rhythm and welding it to lysurgic synth drones and nipped kicks - it's a mid-point between vintage bleep techno, cosmic disco and rhythmic psychedelia. 'Le Petit' is over too soon, but gives us plenty to chew on: anyone who enjoys Dozzy's genre-agnostic DJ sets or the fertile area between hazy ambience and half-speed dancefloor zones - this one’s a killer.