MUSIC

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.

The best of mellow jazzy soul, inc. Barry White's classic "I'm Gonna Love Yo Just A Little More, Baby" etc. Second album released in 1976.

This unique work was released in 1982 as the final chapter in Brian Eno's Ambient series that began in 1978.

The last album released in 1971 by Rotary Connection, a psychedelic soul group known that Minnie Riperton was a member.

Limited edition colored vinyl! Recorded live in New York in 1978 and 1979. The album is a compilation of Sun Ra's live performances in New York in 1978 and 1979, ranging from glamorous big band performances to sweet and free-form performances. Includes the classic song "Space is The Place". The back cover of the album is also interesting, showing a psychedelic live performance, including a member of the Arkestra wearing a pyramid hat. Eddie Gale plays trumpet on this album.

This is a meditative abstract jazz-funk masterpiece that features the mbira, an ancient traditional instrument of the Shona tribe in Zimbabwe that is originally played in rituals to communicate with spirits. Each song has a serene and mysterious beauty behind it, and with the overtones of the mbira, this album has a beauty like a gemstone that sets it apart from many spiritual jazz albums, an exceptional quality. I highly recommend this album to not only spiritual jazz listeners, but to a wide range of music listeners.

180g vinyl. Recorded live at the Village Vanguard, this set rounded out what became known as an early "full" portrait of Bill Evans by following Sunday at the Village Vanguard with most of the rest of the music he played on June 25, 1961. Very little in the annals of piano-trio jazz ever reached the clarity of execution that Evans made his own with the recordings from this single date. With bassist Scott LaFaro and drummer Paul Motian, Evans reached a rapport that sounded whisper-intimate, rolling into gentle cascades and then rhythmically pouncing juts. On the keys, Evans sounds at once completely walled-off and nakedly open as he takes on "My Foolish Heart" and the title melody. The chords are voiced ever so oddly, as are the bass and drums. Coming as it did several months in the wake of the successful first episode in Evans's Vanguard, Waltz for Debby just made it all the more obvious what a wonder the world had in this trio and its leader. --Andrew Bartlett

Limited colored vinyl.This 1966 LP by Astatke (billed to Mulatu Astatke & His Ethiopian Quintet) isn't shaded by nearly as much African/Ethiopian influence as his later work, which was recorded between the late '60s and mid-'70s. As the title might lead you to believe, it is indeed more in the Latin soul-jazz bag than the later material, sometimes leaning toward the R&B-informed boogaloo sound of the mid-'60s. On his own compositions and arrangements (which comprise about half the LP), sometimes more exotic and African colors bubble closer to the surface, as on the eerie vibe parts he lays on 'Mascaram Setaba.'" -- Richie Unterberger, All Music Guide.

Masterpieces such as "Earth Rot" and "Song Of Innocence", which were loved by stars such as DJ Shadow, Madlib, and Jurassic 5, and became a treasure trove of sampling sources, names such as Cannonball Adderley, Letta Mbulu, and Lou Rawls. The second "Songs Of Experience" in 1969 by composer and arranger David Axelrod (1933-2017), who is known for his many famous works such as producing artists, is an analog reissue! This is also full of sampling material ... experimental jazz fusion work inspired by the British historical poet William Blake and with that image. Masterpiece numbers such as "Human Abstract" featured by DJ Shadow and "A Divine Image" loved by hip-hop producers such as Lord Finesse and Cypress Hill!

Terry Callier, famous for his spiritual soul trilogy for Cadet in the 70's, released his first album on Prestige in 1968, recorded at the age of 19. The album is a masterpiece of spiritual jazz-folk, with elements of traditional folk under the influence of Bob Dylan, and a jazzy, acoustic performance by two bass players influenced by Coltrane.

Debut album released in 1969 by Nick Drake, who is regarded as a genius singer/songwriter who died young. 180g Vinyl.

Donald Byrd's 1975 album is the culmination of his fusion era, including such hits as "Wind Parade" and "Dominoes". It was one of five albums in a row produced by Larry Mizell, and Bird's second-to-last album at Blue Note, where he had been since 1958.

180g heavy vinyl. The voice of a soul that has gone through loneliness and despair. A masterpiece recorded in 1967, representing the free jazz of Impulse.

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.

Like a rediscovered Viking burial ship, Electro Nova compiles near-mythical drone recordings produced in 1998 and described by Helge Sten aka Deathprod as some of the most important music to ever come out of Norway. It's the work of Kåre Dehlie Thorstad and compiles two of the earliest releases on Smalltown Supersound, back when it was basically no more than a bedroom operation. It’s taken over two decades, but finally the label have given the material a first ever proper release on vinyl, complete with mixing and mastering by Deathprod. If you’re into the ice cold swells of anyone from Thomas Köner to Harley Gaber, Biosphere, Kali Malone or, of course, Deathprod - this one's as essential as they come. Kaare Dehlie Thorstad's Elektro Nova produced just two releases during the late ‘90s that have since slipped into drone lore - Trans-Inter-Ference and Elektro Nova/Electro Nova. Admired not only by Deathprod and Joakim Haugland of Smalltown, but also by his contemporaries Lasse Marhaug and Biosphere, his work has evaded pretty much any attention outside of Norway these last two decades. Following a chance meeting with Thorstad at Oslo airport a few years back, Smalltown were prompted to give the recordings a second wind, presenting what is essentially a captivating new release, and crucial addition to the Norsk drone canon. As the story goes, Thorstad was studying photography in the late 90’s in Scotland, but instead of delivering a photo for his final exam he made a record - a double album (2CDs) and a 10” to be precise. That should provide some idea of the textural synaesthetic and landscaping qualities evoked by his music, which he ended up sending to a then-young Smalltown label, who were mostly issuing tapes at the time. With no proper distribution the records largely bypassed wider attention, and become a personal favourite of Smalltown’s Joakim Haugland, as well as avowed fan Helge Sten (Deathprod), who helped render its diaphanous scale in mix down, and Lasse Marhaug who describes them as "two perfect records that deserved much bigger attention”. Between its jaw-dropping opener; the post-apocalyptic vision of its untitled part; and the cinematic white-out of the 10” tracks; Thorstad comes as close as we’ve ever heard to evoking the inhospitable nature and stark beauty of the wild far north. We can hear those landscapes palpably internalised and alchemically transmuted into its coarse grained textural swells and a reverberating multi-dimensionality, variously sustained to extents that evoke an abandonment of the senses, or likewise squashed and isolated to imply the relative anxiety relief of atmospheric flux, where a few degrees temperature rise or a drop in the wind speed can make the difference between life and death. Impressively, Thorstad realised after the release of Elektro Nova and just two live shows that he couldn’t really follow up the work and instead pursued a career as professional cyclist, eventually combining his visual skills to become a pro cycling photographer. In that sense, he’s a bit like composer-turned-tennis coach Harley Gaber, whose almighty ‘The Winds Rise In The North’ (1976) is in some ways richly prescient of this work. Like Gaber, Thorstad can remain safe in the knowledge that his contribution to the drone sphere will endure for the ages, especially with this important, impressive new edition.

Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with esteemed avant-noise artist Lasse Marhaug. Together, they envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Kelly’s creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’. Lasse Marhaug is known for hundreds of avant-noise releases, previously working with the likes of Merzbow, Sunn O))) and Jenny Hval, for whom he produced her acclaimed albums Apocalypse, Girl, Blood Bitch and The Practice Of Love. A label mate of Kelly’s, Marhaug has recorded for Smalltown Supersound since 1997. Welsh electronic artist Kelly Lee Owens released her eponymous debut album in 2017 and followed this up with 2020’s Inner Song. She has collaborated with Björk, St. Vincent and John Cale. In April, she returns with LP.8.

"Applying elements of minimalism or electronic music to their compositions, Carcascara's second studio album is deeply rooted in folk, blues or jazz. Borrowing from American primitivism, this acoustic guitar trio based half way between London and Zumaia, stretch the boundaries of tradition with a fluid and developed command of the string instrument. Coming out 14 years after their self-titled debut, highly recommended for fans of Robbie Basho, Steve Reich or John Fahey."

In the early 1980s, one London recording studio became the favoured hang out for visiting Jamaican producers and British reggae musicians alike. Easy Street Studios in Bethnal Green had humble beginnings, but was soon pouring out an impressive run of hit tunes by artists like Sugar Minott, Winston Reedy, Alton Ellis and Barrington Levy. Phil Pratt: “Well, Easy Street was a bit like a party place them times. There was a backroom where everybody can go round there and do what them want do, you understand me, it was nice man. Cos in those days everybody get tipsy and drink, cos it was like fun those times, and we get together and come up with some good things. Everybody who come from Jamaica would work at the studio cos it had the best sound, the bottom was superb, so 95% of the reggae tune made up here was made at Easy Street. It was a good sound and me met some good fellow out of it too.” Founded by Eddy ‘Eddyman’ Williams, the studio soon recruited a team of local East Enders, like Dean ‘Joe 90’ Richards, Mike Stephenson, Jeff Chandler and Stuart Breed, who became known as the Easy Street Crew. Stuart Breed: “I first met Eddyman when I was 16 in 1977, when he was in a band (The Foster Brothers) that was signed to Elton John’s Rocket Records, and they had one hit in the UK. Eddy took the money he got from the record deal and started a rehearsal room. The guy who’d signed them, Roger Bain, became head of A&R at Phonogram Records, and he used to send different bands down to Easy Street to do demos. Roger gave Eddy an advance to buy some recording equipment, so you had an environment that was like a rehearsal room plus a recording studio as well. And one of the bands sent down to record a demo at Easy Street was Black Slate, and Eddy was nuts about reggae at the time, so the band said we’ll bring some friends down. And then within a matter of months we were doing almost exclusively reggae acts.” Phil Pratt: “Everybody get along, black and white, and I remember Joe 90 used to joke say him have a black head too, but really him have a blackhead pimple on his arse! So we all live good together and every man get along, English and Jamaican.” Stuart Breed: “I was just a kid then, a hippy, 147 pounds with long blond hair. In the beginning it was strange having all these guys coming in from Jamaica, and it could be a bit overbearing for a kid of my age, but those guys were great and a lot of fun. The spliff smoking sometimes brought me to a complete standstill, cos really I preferred a beer, but I would have to say I spent most of my life at Easy Street on a contact high! I used to work with Errol Dunkley, Alton Ellis and Lloyd Coxsone a lot. Sugar Minott worked mostly with Eddy.” Phil Pratt had an illustrious career in Jamaica stretching back to the rocksteady years of the 60s, scoring huge hits such as ‘My Heart Is Gone’ and ‘Artibella’, but by the 80s was increasingly finishing his productions in London. Easy Street was a low budget studio with professional but fairly limited equipment – a Soundcraft TS24 mixing desk, a Roland RE301 Chorus Echo, an AKG BX5 reverb, and an MXR flanger/doubler – and a speedy way of working which suited the incoming rush of reggae producers. Stuart Breed: “We used to work really quickly in those days, because of budgets. People would walk in, say hello, spark up a spliff and hit the record button. We had everything always set up, like mics on the drum kit and guitar amps, so people could just start recording immediately. Sometimes people would come in and record an album in one session, lay some tracks, do some vocal overdubs, very minimal stuff, bang out the mix and done, all in six hours.” Phil Pratt: “I worked with Stuart a lot, and most of the things me do at Easy Street was with him. He was a great guy, and very helpful and creative. And Joe 90 also help a lot, ca him play guitar and piano good, so it was really like a team. I almost felt like one of Stuart’s students engineering-wise, cos while I showed him what I want the sound to be like, he was teaching me some things around the board. So me just watch and make him work, cos him very technical with sound and him know exactly where to put that and put this. He just a great, great engineer – trust me, I miss him now.” Hearing such praise, it’s no surprise that he asked Stuart Breed to mix ‘The War Is On Dub Style’, an album that typifies Phil’s working methods in those days, with the backing tracks recorded at Joe Gibbs’ Studio in Jamaica, and overdubs and mixing done in London. Phil Pratt: “‘The War Is On’ was the dubs to songs by Ronnie Davis, like ‘Black Cinderella’ and ‘Strange Things’, which were voiced in Jamaica. And the parts by Bobby Kalphat were all recorded in Jamaica. Bobby Kalphat just a great musician, my favourite keyboardist, so when we finish record the rhythm we go back and record solos and phrases, and make an instrumental on melodica. To be honest with you he was better than Augustus Pablo by far, but we have to give Pablo some credit cos he did start the melodica thing. Next I come to England with the multitrack tapes, the big 16 into 24 track tapes, and trust me, them tapes was real heavy to carry back! Then at Easy Street we voiced some Blackstones tracks and ‘Hear We Them A Say’ by Owen Grey. At Easy Street we paid by the hour, but when we mix this dub LP we go over it about three times. Cos me never like the first sound that we have, it was all right but it wasn’t sellable. So we did go over it again and again til we get what me want.” Stuart Breed: “We used to get a lot of multitrack tapes coming in from Jamaica, from Channel One and Tuff Gong studios especially. The Jamaican engineering was very different from what was popular with chart records in the UK at that time, but it had its own unique sound which I appreciated. I wasn’t really listening to King Tubby, I was mostly listening to Roxy Music and Japan and bands like that, so I tried to emulate that in my mixes, but a lot of the reggae artists would say no, and stop you from going too far in that direction. So I had to adjust to give them what they wanted.” Phil Pratt: “Yes, he’s telling the truth, Stuart was a rock man not a reggae man. So yes, I had to teach him the tone of the sound we want, and him make it marvellous. Some people would leave off from the record sleeve if it mixed in England, but that never occurred to me because I could get the sound from Jamaica which nobody else could a get. And the secret was all in the voltage: Jamaica was 110 volts and England was 220 volts, so Jamaica lower in the voltage, and people don’t know it but the voltage was part of the sound. So when I was in England me have a step down transformer that me work with, me have everything and me bring it to Easy Street and we switch the tape machine to 110 volts and then we get the sound. People didn’t believe it could a work cos it sound stupid, but it work and we get the Jamaican sound. We used to sell ten or twelve thousand of these dub albums easy.” By the mid 80s Easy Street was scoring further successes with homegrown lovers’ rock and deejay tunes, and to support their breakthrough acts the Easy Street Crew started to go out on the road and into concert venues and dancehalls. Stuart Breed: “Once we started doing the reggae stuff, Eddy invested in a decent sized PA system. And we went out doing gigs with the reggae bands, and also sound system clashes, so we’d be in these dancehalls and we’d be the Easy Street Sound playing against these other sound systems. So I learnt about live sound doing those reggae gigs, and then a few years later I found myself doing sound at the Albert Hall with Art Garfunkel – which was quite different from playing a dance in Brixton!” By the late 80s Phil Pratt was starting to ease up a bit on record production, concentrating more on running his restaurant business in London. And Stuart Breed had moved from Easy Street to George Martin’s Air Studios in Oxford Street, where he worked on various dance remixes before launching successfully into the mainstream, engineering for the likes of Paul McCartney, Mick Jagger, Andrew Lloyd Webber and Demis Roussos. Stuart now lives in Savannah, Georgia, and has been Art Garfunkel’s main vocal engineer for the last 29 years. Stuart Breed: “Mixing dub definitely set me up for doing remixes later on. We did a lot of experimental stuff, and the dub mixes I’d done at Easy Street set me in very good stead later when I was doing 12” dance remixes at Air, cos I wasn’t scared to try things. And with all that toasting stuff, we were really doing rap records before rap was even around. Easy Street was really a ground- breaking studio, a very prolific place, and a lot of people cut their teeth down there and went on to do some great things. For a little studio that started out with nothing, it managed to get some amazing results.” Diggory Kenrick

Finally, the classic "Dub Prophecy" album that has been talked about for over 40 years!
A masterpiece of delicate and clever dub by Pat Kelly!

The masterpiece of dub "King Tubby's Prophecies Of Dub" (1976) has finally been reissued from the prestigious Pressure Sounds, which is known for archival reissues of precious and high-quality reggae/dub recordings! This album is produced by Yabby You and Bunny Lee, and recorded by Pat Kelly, a student of King Tubby, at King Tubby's studio. This is a valuable piece of dub recording.

Pat Kelly was a singer in the 1960's, and later a dub mixer and recording engineer who King Tubby trusted very much. This album includes a dub of Linval Thompson's "Long Long Dreadlocks," a dub of Jonny Clark's cover of Curtis Mayfield's "Ten To One," and dubs of Horace Andy and Delroy Wilson.

Originally it came out on UpTop Entertainment in 1998 on CD

Detroit based hip hop group Da'Enna C aka Da Enna Cirkle formed in 1991 consisted of P. Gruv, Sleeepy D aka 3E, Boog Woog and DJ Dez (Andres) the group has released 6 12" EP's, 1 Maxi Cassette (1994) and 1 full length CD. 

Da' Enna C is known for being the first group to release a Dilla production the song was "Now" included on the You Can't Use My Pen EP (1994) released on the UpTop Entertainment Record Label. In 1999 the group went into hiatus, focusing more on production for other artist an entities, producing a string of beat records for Hipnotech which included releasing three Enna C songs on the Beats & Rhyme 12 inch Series and another previously unreleased song recorded in 1994 - True to Rap produced by J Dilla and DJ Dez HR-018 (2010). 

On her debut album Belgian based multi-instrumentalist Ann Eysermans explores the possibilities of the train as a music instrument: a deep quest into a fascinating and mesmerizing world, which started as a five year old kid, when she climbed on board of the train helm station during a trip from Antwerp to Ostend. For the compositions ‘Prelude and Fuga For Four Diesel Locomotives And Harp’ Eysermans had the chance to capture the sounds of diesel locomotives (HD 51, 54, 55 and 60) of the Belgian Train World Heritage collection. Microscopic hissing vibrations of steaming engines slowly entwine and resonate with fragile harp playing, getting on track for an unconventional sonic rail journey. A melancholic odyssey of sound in motion: Ann Eysermans let the sparkling harp notes dissolve into the tones of pulsating train wheels. On the B-side she bends her soft singing voice around deranged horn melodies in ‘Le Départ’, connects delayed organ harmonies in ‘De Vertraging’ with the dying frequencies of a trembling and humming locomotive from the 60’s. On the key track ‘For Trainspotters Only’ Ann Eysermans assembles a hauntingly piece of musique concrete with clanging chimes, broken music boxes, ghostly whispers and throbbing machine room sounds. A lonely barking dog and the last train announcement on a desolate platform in ‘Chorale’ also mark the last part of this spellbinding record. On ‘For Trainspotters Only’ Ann Eysermans takes you on an immersive and meandering ride, connecting the dots between the free spirit of Alice Coltrane, the orchestrated field recording compositions of Chris Watson, Basil Kirchin soundtrack vibes and the magic realism of Claire Rousay.

Tim Zha aka Organ Tapes makes a hyperjump to DJ Python's Worldwide Unlimited label with an emotionally slushed set of singer-songwriter pearls spiked with his own idiosyncratic production moves. An investigation into avant pop, it sounds like a DIY inversion filtered thru the autotuned hypersonix of Ecco2K, Yves Tumor or Palmistry. For over a decade now, Organ Tapes has been masterminding his own obsessively-curated and unique style, attempting to reconcile not just his interests in pop and experimental modes, but also his identity as a British-Chinese artist who's spent his life between Shanghai and London. Through production work for Triad God and releases for Tobago Tracks, Genome6.66Mbp and Berlin’s much loved Creamcake, he’s developed a style that’s pretty much inimitable, with autotuned vocals informed by a long-term love of dancehall, afrobeats and Soundcloud rap, and songs that slip into folk and country, with a compositional mindset that’s unmistakably non-Western. "Chang Zhe Na Wu Ren Wen Jin De Ge Yao" (sing the song that no one cares about) expands on the misty landscapes of 2019's TT-released "Hunger In Me Living”, but while that album retained a wisp of R&B and a vague whiff of ambient, this new one feels firmly grounded in a bedroom pop aesthetic, allowing beams of sunlight to crack through his usually dense, textured clouds. Weft around guitar and vox, Organ Tapes bends the form by employing muffled field recordings, squashed drums and dreamy synths, assembling his tracks with the sort of diaristic warmth you’d expect to find on a claire rousay record. Zha positions himself a few feet away from indie and emo, instead channeling more sparkling influences like TV themes and advertising jingles. His earworm compositions drip with familiar-but-alien riffs, with hooky choruses rendered personal and heartfelt through low-key, lo-fi production smarts. In different hands, it might have all sounded overly exuberant, but anchored by Zha’s muted voice and shaved arpeggios, it's touching and indelible. There’s no cynicism here - the songs work because they come from a genuine place. Just listen to 'Heaven can wait' and tell us you ain't feeling it.

Analogue bubblebath suds and chimes from multi monikered electronic maestro Ed Ruscha (Secret Circuit), wrangling his imaginary ensemble The Only Thingz for a full-length follow-up to his sought-after 2018 tape for the label.

‘Ed Ruscha V & the Only Thingz’ is exemplary of the sanguine, etheric spirit and bucolic nature that’s blessed all Eddie Ruscha’s body of work since the early ‘90s; from his earliest shoegaze work with Medicine, thru his lolling disco tracks as Secret Circuit with Beats In Space, to electronic pop with Scott Gilmore as Doctor Fluorescent. But it’s under his own name (which he shares with his pop-art pioneer father) that Ed really comes into his own, sketching out scenes flush with a colourful warmth and gentle headiness that effortlessly lends itself to Good Morning Tapes’ agenda.

Each of the eight pieces seamlessly caress stressed heads with a blend of electronic synthesis and field recordings, veering from groggy pastoralism to swaying ambient house, luring listeners into a sullied conception of ambient world building. The wilting chord petals of ‘Slumber Punk’ surely recall the most blissed of AFX’s SAW works, and the lilting triplets of ‘Frog Man’ feels like we’re in the Balearics, while ‘Tree Ring Circus’ and ‘Sight Gag Final’ offer a lush smush of raga-esque acid dub, into the gorgeous new age intentions and effect of ‘Waves Over Stones’.