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Deeply resonant spiritual music transmitted via piano, organ, and harmonium by beloved composer and Ethiopian Orthodox nun Emahoy Tsege Mariam Gebru.

Church of Kidane Mehret collects all the musical work from Emahoy’s 1972 private press album of the same name, alongside two additional unreleased piano recordings, exploring Emahoy’s take on “Ethiopian Church Music.”

Recording herself in churches throughout Jerusalem, Emahoy engages directly with the Ethiopian Orthodox musical liturgy. For the first time, we hear Emahoy on harmonium and massive, droning pipe organ, alongside some of her most moving piano work.

“Ave Maria” is one of our favorite pieces Emahoy ever recorded, her chiming piano reverberating against ancient stone walls. Her familiar melodic lines take on new resonance when played through the harmonium on “Spring Ode - Meskerem.” Two towering organ performances comprise the B Side, combining Emahoy’s classical European training with her lifelong study of Ethiopian religious music.

Nowhere is Emahoy’s unique combination of influences more apparent than on “Essay on Mahlet,” a meditative slow burner in which Emahoy interprets the free verse of the Orthodox liturgy note for note on the piano. This revelatory piece, alongside the dramatic piano composition “The Storm,” comes from another self-released album, 1963’s Der Sang Des Meeres. Only 50 copies were ever produced (and no cover). One of the only known copies was saved from the trash and shared with Mississippi by a fellow nun at Emahoy’s monastery when we visited for Emahoy’s funeral in March of 2023.

We are proud to work with the Emahoy Tsege Mariam Music Foundation to bring you these rare spiritual recordings in what would have been the artist’s 102nd year.

Available in black and clear vinyl editions. Old-school tip-on jacket with metallic silver foil stamping along with a 12-page booklet featuring extensive liner notes from scholar and pianist Thomas Feng.

Deeply resonant spiritual music transmitted via piano, organ, and harmonium by beloved composer and Ethiopian Orthodox nun Emahoy Tsege Mariam Gebru.

Church of Kidane Mehret collects all the musical work from Emahoy’s 1972 private press album of the same name, alongside two additional unreleased piano recordings, exploring Emahoy’s take on “Ethiopian Church Music.”

Recording herself in churches throughout Jerusalem, Emahoy engages directly with the Ethiopian Orthodox musical liturgy. For the first time, we hear Emahoy on harmonium and massive, droning pipe organ, alongside some of her most moving piano work.

“Ave Maria” is one of our favorite pieces Emahoy ever recorded, her chiming piano reverberating against ancient stone walls. Her familiar melodic lines take on new resonance when played through the harmonium on “Spring Ode - Meskerem.” Two towering organ performances comprise the B Side, combining Emahoy’s classical European training with her lifelong study of Ethiopian religious music.

Nowhere is Emahoy’s unique combination of influences more apparent than on “Essay on Mahlet,” a meditative slow burner in which Emahoy interprets the free verse of the Orthodox liturgy note for note on the piano. This revelatory piece, alongside the dramatic piano composition “The Storm,” comes from another self-released album, 1963’s Der Sang Des Meeres. Only 50 copies were ever produced (and no cover). One of the only known copies was saved from the trash and shared with Mississippi by a fellow nun at Emahoy’s monastery when we visited for Emahoy’s funeral in March of 2023.

We are proud to work with the Emahoy Tsege Mariam Music Foundation to bring you these rare spiritual recordings in what would have been the artist’s 102nd year.

Available in black and clear vinyl editions. Old-school tip-on jacket with metallic silver foil stamping along with a 12-page booklet featuring extensive liner notes from scholar and pianist Thomas Feng.

Deeply resonant spiritual music transmitted via piano, organ, and harmonium by beloved composer and Ethiopian Orthodox nun Emahoy Tsege Mariam Gebru.

Church of Kidane Mehret collects all the musical work from Emahoy’s 1972 private press album of the same name, alongside two additional unreleased piano recordings, exploring Emahoy’s take on “Ethiopian Church Music.”

Recording herself in churches throughout Jerusalem, Emahoy engages directly with the Ethiopian Orthodox musical liturgy. For the first time, we hear Emahoy on harmonium and massive, droning pipe organ, alongside some of her most moving piano work.

“Ave Maria” is one of our favorite pieces Emahoy ever recorded, her chiming piano reverberating against ancient stone walls. Her familiar melodic lines take on new resonance when played through the harmonium on “Spring Ode - Meskerem.” Two towering organ performances comprise the B Side, combining Emahoy’s classical European training with her lifelong study of Ethiopian religious music.

Nowhere is Emahoy’s unique combination of influences more apparent than on “Essay on Mahlet,” a meditative slow burner in which Emahoy interprets the free verse of the Orthodox liturgy note for note on the piano. This revelatory piece, alongside the dramatic piano composition “The Storm,” comes from another self-released album, 1963’s Der Sang Des Meeres. Only 50 copies were ever produced (and no cover). One of the only known copies was saved from the trash and shared with Mississippi by a fellow nun at Emahoy’s monastery when we visited for Emahoy’s funeral in March of 2023.

We are proud to work with the Emahoy Tsege Mariam Music Foundation to bring you these rare spiritual recordings in what would have been the artist’s 102nd year.

Available in black and clear vinyl editions. Old-school tip-on jacket with metallic silver foil stamping along with a 12-page booklet featuring extensive liner notes from scholar and pianist Thomas Feng.

The second LP compendium of Emahoy Tsege Mariam Gebru’s early solo piano works, recorded throughout the 1960s – finally available again. Emahoy Tsege Mariam Gebru is a true original – her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear!

These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife.

Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

The second LP compendium of Emahoy Tsege Mariam Gebru’s early solo piano works, recorded throughout the 1960s – finally available again. Emahoy Tsege Mariam Gebru is a true original – her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear!

These original compositions, performed by Emahoy Tsege Mariam Gebru herself on solo piano, were originally self-released in Germany in small editions as fundraisers for orphanages, support organizations for widows of war victims, and other philanthropic causes. We are humbled and proud to present this album in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation, and to assist in continuing her life-long mission of using music as a vessel to care for those who have been abandoned by society, or harmed by strife.

Black vinyl LP comes in black inner-sleeves and heavy cardstock jacket with color printing and gold-foil stamping, and song notes by the composer herself. Restored and remastered by Timothy Stollenwerk.

Latency presents the first-ever arrangements of iconic Ethiopian composer Emahoy Tsege Mariam Gebru’s music for piano and strings, honoring her desire to broaden the interpretation of her work beyond the piano.

Led by pianist, composer, and Emahoy’s friend Maya Dunietz, a nine-piece string ensemble performed her compositions during two tribute concerts at the Bourse de Commerce in Paris, in April 2024. This album celebrates the centenary of Emahoy’s birth and commemorates the first anniversary of her passing.

The album marks the culmination of a journey that began nearly two decades ago, in 2005. While browsing a London record store, pianist and composer Maya Dunietz and conductor Ilan Volkov discovered a CD by Emahoy Tsege Mariam Gebru, released as part of the acclaimed ‘Éthiopiques’ series. Intrigued, they sought out the esteemed musician, eventually locating her in a small monastery in Jerusalem. Their initial meeting blossomed into a deep, lengthy conversation. Emahoy recounted her life in the monastery and the challenges of making music in that setting. They delved into her music, discussing it in great detail. When they asked Emahoy about notation, she invited them to read her notebook, which contained compositions written that very morning. Maya and Ilan played some on the piano. At that moment, Emahoy began to trust them. Before leaving, Maya wrote her phone number in Emahoy’s notebook and invited her to call if she ever wanted or needed anything.

A few years later, the call came: Emahoy invited Maya to the monastery, handing her a couple of wrinkled old Air Ethiopia plastic bags filled with hundreds of her composition manuscripts. She asked Maya to help create a book of her piano compositions, making them accessible to people around the world. Faced with such a monumental undertaking, Maya partnered with the Jerusalem Season of Culture to embark on this ambitious project. This collaboration resulted in the publication of a book of sheet music and a collection of essays in 2013, as well as numerous concerts performed worldwide. These concerts, along with Maya’s work on Emahoy’s music, grew from a deep bond of love and mutual respect between the two women.

During one of their many meetings, Emahoy mentioned her dream of arranging her songs for orchestral instruments. She remarked that it was too late for her, but, with her trademark smile and a wink, suggested: «Maybe you could do it?» For Maya, this tremendous compliment became the catalyst for all the string arrangements she would create for Emahoy’s beautiful music—arrangements now collected in this album after years of collaboration and discussions between Maya and the record label Latency.

This album celebrates the centenary of Emahoy Tsege Mariam Gebru’s birth and commemorates the first anniversary of her passing. All compositions were recorded during two tribute performances at the Bourse de Commerce in Paris, held in April 2024 in her memory.

Latency presents the first-ever arrangements of iconic Ethiopian composer Emahoy Tsege Mariam Gebru’s music for piano and strings, honoring her desire to broaden the interpretation of her work beyond the piano.

Led by pianist, composer, and Emahoy’s friend Maya Dunietz, a nine-piece string ensemble performed her compositions during two tribute concerts at the Bourse de Commerce in Paris, in April 2024. This album celebrates the centenary of Emahoy’s birth and commemorates the first anniversary of her passing.

The album marks the culmination of a journey that began nearly two decades ago, in 2005. While browsing a London record store, pianist and composer Maya Dunietz and conductor Ilan Volkov discovered a CD by Emahoy Tsege Mariam Gebru, released as part of the acclaimed ‘Éthiopiques’ series. Intrigued, they sought out the esteemed musician, eventually locating her in a small monastery in Jerusalem. Their initial meeting blossomed into a deep, lengthy conversation. Emahoy recounted her life in the monastery and the challenges of making music in that setting. They delved into her music, discussing it in great detail. When they asked Emahoy about notation, she invited them to read her notebook, which contained compositions written that very morning. Maya and Ilan played some on the piano. At that moment, Emahoy began to trust them. Before leaving, Maya wrote her phone number in Emahoy’s notebook and invited her to call if she ever wanted or needed anything.

A few years later, the call came: Emahoy invited Maya to the monastery, handing her a couple of wrinkled old Air Ethiopia plastic bags filled with hundreds of her composition manuscripts. She asked Maya to help create a book of her piano compositions, making them accessible to people around the world. Faced with such a monumental undertaking, Maya partnered with the Jerusalem Season of Culture to embark on this ambitious project. This collaboration resulted in the publication of a book of sheet music and a collection of essays in 2013, as well as numerous concerts performed worldwide. These concerts, along with Maya’s work on Emahoy’s music, grew from a deep bond of love and mutual respect between the two women.

During one of their many meetings, Emahoy mentioned her dream of arranging her songs for orchestral instruments. She remarked that it was too late for her, but, with her trademark smile and a wink, suggested: «Maybe you could do it?» For Maya, this tremendous compliment became the catalyst for all the string arrangements she would create for Emahoy’s beautiful music—arrangements now collected in this album after years of collaboration and discussions between Maya and the record label Latency.

This album celebrates the centenary of Emahoy Tsege Mariam Gebru’s birth and commemorates the first anniversary of her passing. All compositions were recorded during two tribute performances at the Bourse de Commerce in Paris, held in April 2024 in her memory.

From beloved composer Emahoy Tsege Mariam Gebru, a revelatory new album of piano pieces, unreleased or virtually inaccessible until now!

Emahoy Tsege Mariam Gebru is a true original – an Ethiopian nun whose recordings have funded orphanages back home since the early ’60s. Her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear.

This is the first archival release of the great composer’s recordings since the Éthiopiques series reintroduced her music to the world in 2006. Drawn from original master tapes and a nearly impossible-to-find vinyl release, Jerusalem unveils profound new facets of Emahoy Gebru’s performance and compositions.

The record picks up where the last two Mississippi releases left off, with tracks from her 1972 album Hymn of Jerusalem, of which only a handful of copies are known to exist. These include “Home of Beethoven,” “Aurora,” and a true masterpiece that stands amongst her greatest compositions, the moving “Jerusalem.” “Quand La Mer Furieuse” is the first release featuring Emahoy’s singing voice, forshadowing a vocal album planned for fall 2023. The B-Side brings us the artist’s home recordings - tracks like “Farewell Eve,” “Woigaye Don’t Cry Anymore,” and “Famine Disaster 1974” mark a bridge from liturgical work to dark and intense classical material, a new mode.

This album is released in celebration of Emahoy Gebru’s 99th birthday on December 12, 2022. Mississippi is honored to work with the Emahoy Tsege Mariam Music Publisher to continue to introduce this visionary composer to the world.

Newly remastered recordings pressed on 160gm black vinyl, heavy jacket with reproduction of 1972 artwork, song notes by the artist. 

From beloved composer Emahoy Tsege Mariam Gebru, a revelatory new album of piano pieces, unreleased or virtually inaccessible until now!

Emahoy Tsege Mariam Gebru is a true original – an Ethiopian nun whose recordings have funded orphanages back home since the early ’60s. Her compositions and unique playing style live somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, and Ethiopian traditional music. It is some of the most moving piano music you will ever hear.

This is the first archival release of the great composer’s recordings since the Éthiopiques series reintroduced her music to the world in 2006. Drawn from original master tapes and a nearly impossible-to-find vinyl release, Jerusalem unveils profound new facets of Emahoy Gebru’s performance and compositions.

The record picks up where the last two Mississippi releases left off, with tracks from her 1972 album Hymn of Jerusalem, of which only a handful of copies are known to exist. These include “Home of Beethoven,” “Aurora,” and a true masterpiece that stands amongst her greatest compositions, the moving “Jerusalem.” “Quand La Mer Furieuse” is the first release featuring Emahoy’s singing voice, forshadowing a vocal album planned for fall 2023. The B-Side brings us the artist’s home recordings - tracks like “Farewell Eve,” “Woigaye Don’t Cry Anymore,” and “Famine Disaster 1974” mark a bridge from liturgical work to dark and intense classical material, a new mode.

This album is released in celebration of Emahoy Gebru’s 99th birthday on December 12, 2022. Mississippi is honored to work with the Emahoy Tsege Mariam Music Publisher to continue to introduce this visionary composer to the world.

Newly remastered recordings pressed on 160gm black vinyl, heavy jacket with reproduction of 1972 artwork, song notes by the artist. 

The first vocal album by beloved Ethiopian nun, composer, and pianist Emahoy Tsege Mariam Gebru - profound and deeply moving home cassette recordings made amidst political upheaval and turmoil. These are songs of wisdom, loss, mourning, and exile, sung directly into a boombox and accompanied by Emahoy’s unmistakable piano. Though written and recorded while still living at her family’s home in Addis Ababa, Emahoy sings of the heartache of leaving her beloved Ethiopia, a reflection on the 1974 revolution and ensuing Red Terror in her homeland, and a presentiment of her future exile in Jerusalem. In the 21st century, Emahoy has become known worldwide for her utterly unique melodic and rhythmic style. Commonly misinterpreted as “jazzy” or “honky tonk,” Emahoy’s music actually comes from a deep engagement with the Western classical tradition, mixed with her background in Ethiopian traditional and Orthodox music. These songs, recorded between 1977-1985, are different from anything previously released by the artist. Rich with the sound of birds outside the window, the creak of the piano bench, the thump of Emahoy’s finger on the record button, they create a sense of place, of being near the artist while she records. Emahoy’s lyrics, sung in Amharic, are poetic and heavy with the weight of exile. “When I looked out / past the clouds / I couldn’t see my country’s sky / Have I really gone so far?” she asks in “Is It Sunny or Cloudy in the Land You Live?” Her vocals are delicate and heartfelt, tracing the melodic contours of her piano on songs like “Where Is the Highway of Thought?” “Tenkou! Why Feel Sorry?,” a career highlight that closes out her self-titled Mississippi album (MRP-099), is revisited here with vocals. Originally composed for her niece, Tenkou, the lyrics clarify the song title we’ve wondered about for so many years. “Don’t cry / Childhood won’t come back / Let it go with love.” Emahoy dreamt of releasing this music to a larger audience before her passing in March of 2023. We are proud to release this music, in collaboration with her family, now, in what would have been her 100th year. LP comes with a 16-page booklet full-color booklet. Gold cover first edition, pressed in both black and gold vinyl editions.

The first vocal album by beloved Ethiopian nun, composer, and pianist Emahoy Tsege Mariam Gebru - profound and deeply moving home cassette recordings made amidst political upheaval and turmoil. These are songs of wisdom, loss, mourning, and exile, sung directly into a boombox and accompanied by Emahoy’s unmistakable piano. Though written and recorded while still living at her family’s home in Addis Ababa, Emahoy sings of the heartache of leaving her beloved Ethiopia, a reflection on the 1974 revolution and ensuing Red Terror in her homeland, and a presentiment of her future exile in Jerusalem. In the 21st century, Emahoy has become known worldwide for her utterly unique melodic and rhythmic style. Commonly misinterpreted as “jazzy” or “honky tonk,” Emahoy’s music actually comes from a deep engagement with the Western classical tradition, mixed with her background in Ethiopian traditional and Orthodox music. These songs, recorded between 1977-1985, are different from anything previously released by the artist. Rich with the sound of birds outside the window, the creak of the piano bench, the thump of Emahoy’s finger on the record button, they create a sense of place, of being near the artist while she records. Emahoy’s lyrics, sung in Amharic, are poetic and heavy with the weight of exile. “When I looked out / past the clouds / I couldn’t see my country’s sky / Have I really gone so far?” she asks in “Is It Sunny or Cloudy in the Land You Live?” Her vocals are delicate and heartfelt, tracing the melodic contours of her piano on songs like “Where Is the Highway of Thought?” “Tenkou! Why Feel Sorry?,” a career highlight that closes out her self-titled Mississippi album (MRP-099), is revisited here with vocals. Originally composed for her niece, Tenkou, the lyrics clarify the song title we’ve wondered about for so many years. “Don’t cry / Childhood won’t come back / Let it go with love.” Emahoy dreamt of releasing this music to a larger audience before her passing in March of 2023. We are proud to release this music, in collaboration with her family, now, in what would have been her 100th year. LP comes with a 16-page booklet full-color booklet. Gold cover first edition, pressed in both black and gold vinyl editions.

First volume of solo piano compositions by Emahoy Tsege Mariam Gebru, finally back in print. Born to an aristocratic family in Addis Ababa in December of 1923, Emahoy spent much of her youth and young adulthood studying classical music in Europe. She returned to Ethiopia in the 40s, where the war interrupted her musical studies. In 1948 during a church service in Ethiopia, she found her faith and began years of religious training. Throughout her physical and spiritual journeys, Emahoy continued to compose for the piano. She first released this album in Germany 1963 as small private press record. The tracks reflect her own travels, seamlessly moving between Western classical and traditional Ethiopian modes, evoking Erik Satie, the orthodox liturgy, and meditative Christian music all at once. Her work is like no one else in the world, lyrical, hypnotic, full of spiritual warmth and a direct connection to the divine. Emahoy is now 98 years old and still lives in Jerusalem. She continues to play, and the funds from her work go to the righteous causes to which she has dedicated her life. We are incredibly proud to present this music on vinyl again, mastered by Timothy Stollenwerk and presented in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation. This black vinyl LP version includes a new reproduction of the original artwork, with the composer’s own notes, translated from the original German.

First volume of solo piano compositions by Emahoy Tsege Mariam Gebru, finally back in print. Born to an aristocratic family in Addis Ababa in December of 1923, Emahoy spent much of her youth and young adulthood studying classical music in Europe. She returned to Ethiopia in the 40s, where the war interrupted her musical studies. In 1948 during a church service in Ethiopia, she found her faith and began years of religious training. Throughout her physical and spiritual journeys, Emahoy continued to compose for the piano. She first released this album in Germany 1963 as small private press record. The tracks reflect her own travels, seamlessly moving between Western classical and traditional Ethiopian modes, evoking Erik Satie, the orthodox liturgy, and meditative Christian music all at once. Her work is like no one else in the world, lyrical, hypnotic, full of spiritual warmth and a direct connection to the divine. Emahoy is now 98 years old and still lives in Jerusalem. She continues to play, and the funds from her work go to the righteous causes to which she has dedicated her life. We are incredibly proud to present this music on vinyl again, mastered by Timothy Stollenwerk and presented in collaboration with the EMAHOY TSEGE MARIAM MUSIC PUBLISHER and Foundation. This black vinyl LP version includes a new reproduction of the original artwork, with the composer’s own notes, translated from the original German.

In the late 2000s a sprawling catalog of what is now genre-defining music was emanating from an unlikely place. Cleveland, Ohio has a broad reputation for many things, but in the aughts, psyche-expanding Kosmische wasn’t necessarily Cleveland’s calling card… until Emeralds. The trio of John Elliott, Steve Hauschildt, and Mark McGuire had released a profusion of limited-run cassettes, CD-Rs, and vinyl titles that had been passed around basement shows and then migrated to niche music communities online, creating a unique kind of murmur at the height of the DIY blog era. Three kids from the rust belt were crafting a distinctive and truly far-out strain of music on their own terms in the Midwest. They were flipping lids in wood-paneled basements and circulating around the underground with soaring sounds stylistically indebted to deep German electronic music pioneers and released with the ethos and twisted fervor of renegade Midwestern noise freaks. After several releases garnered a die-hard fandom in niche circles of internet/music culture, and then catching the attention of the late Peter Rehberg, the renowned artist and curator of the Editions Mego label, an expectation was set that the next Emeralds record was going to be a big one. And in 2010, Does it Look Like I'm Here was it.Artistically, the album is a definitive statement; this is to say it was crafted by heads for heads, a genuine article and a profoundly deep listen, but the mainstream dove in too. Pitchfork acknowledged the rarefied nature of the album’s electricity with a "Best New Music" rating. This crossover success is a result of the tracks' potency and wonderfully engineered and succinct structures. It's dialed in. Still creating their distinct yawning cosmic sound, Elliott and Hauschildt shower the stereo spectrum with shimmering arpeggios, dusty, melodically dynamic swells, rippling FM textures, and canyon-wide waveshapes. McGuire's signature guitar playing echoes emotive new age pathos and cascading astral space rock trance states. Their previous albums found many tracks hovering past the ten-minute mark, but these new songs were short, potent. "Candy Shoppe" opens the album with polished elegance; Emeralds' throbbing synthetic sound made bite-sized, an incandescent morsel wrapped in waxed paper. On "Goes By" the languid electric guitar strums and swooning synth pads peel apart into enveloping sheets of synth gargling and soaring leads. Both tracks are entire worlds kept neatly under five minutes. If previous albums like Solar Bridge and What Happened were lysergic sprawls, Does It Look Like I'm Here presents itself as a tin holding a series of psychonautic blasts. This is all to say, the album lived up to the hype.A twelve-song expedition across a dusty and shimmering dreamscape, Does It Look Like I’m Here, with its iconic cover presenting the aesthetic, was a radiant tube tv left humming, collecting space-dust in a darkened room, grandma's vase filled with oil-dinged polypropylene flowers. The album seems aware of the cultural flood/void that the internet was then and would only further create, and yet there is a beauty here, an embracing of the past, both authentically and through a kind of tripped-out kitsch, as a way to find a new ecstatic present. Hallowed pioneers – think Tangerine Dream, Ash Ra Temple, Kraftwerk, Can – had felt legendarily out of reach across time and culture; a star-pocked thing of the distant misty past. Emeralds took that sound and made it contemporary, made it punk, made it American-outsider. Thus, an entire wave of American DIY ambient music was heralded into mid-if-not-mainstream attention; Emeralds, and the acts that followed their lead after, dared the experimental and noise community to embrace more melody and structure, and too invited the quasi-academic world of deep ambient to become crusty and home-spun. DIY venues would suddenly need to make space between droves of scuzzy indie acts or punishing no-input mixer debacles so the ambient zoners could astral project while Emeralds, or groups following Emeralds' lead, created soundscapes on piles of synths and pedals. Listening to it now, 13 years after its original release on Editions Mego, the album sounds however timeless, still immediate. There is a wide-pupiled and cotton-mouthed awe sewn into these radiant folds of sound; for those newly into this sort of thing, let this reissue serve as an initiation, a history lesson, and a heroic dose. For those who've come up in the scene and have worn out their mp3s of this album; they can finally get a fresh copy on vinyl. Does It Look Like I'm Here became a hallmark that would carve a path for an entire scene. Ghostly International is thrilled to reissue the album, remastered by Heba Kadry, including 7 bonus tracks exclusive to the digital album and CD. The limited edition 2xLP includes extensive liner notes by Chris Madak (Bee Mask).

Emeralds — musicians John Elliott, Steve Hauschildt, and Mark McGuire — emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Tangerine Dream, Ash Ra Tempel, and Klaus Schulze. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. Giving the album top honors in their 2008 Rewind issue, The Wire wrote: “John Elliott and Steve Hauschildt’s billowing synth drones, together with Mark McGuire’s sedately plangent guitar melodies, are uncannily good at carving out a space for the imagination to crawl into and wander about.” The first of an inimitable five-LP run before their disbanding in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remastered Solar Bridge LP release on Ghostly International. The Midwest leaves an indelible mark on Emeralds' sound; their debut characteristically vibrates as if from a ghost mall or some other relic of the rust belt. Side A, "Magic," finds the three young musicians summoning by way of analog synthesis and processed guitar motifs. Though it could be loosely called "drone," this miasmic wall of melody ripples through dynamics; pulses ebb and flow in and out in a way where every edge disappears. Like any good magic trick, there is something invisible at play here. On Side B, "The Quaking Mess," oxidized squeals and shuddering mechanical whines commingle with square and saw wave pads and flickering guitar details to create a post-industrial parking lot tableau. Eventually, the ground swells up, and a massive firmament trembles below the wobbling synths and rickety electronics. There is a power at the heart of Emeralds’ sound that displays a kind of egalitarian psychedelia, a working-class kosmische, a proletariat trip zone. Everyone is welcome to watch the world fold in on itself as they are pulled into the portal. "Photosphere," a previously unreleased recording included as a digital exclusive, affords a look at a more serene stretch from the same session. A demure guitar loop wafts above slowly shifting tectonic synthesizer drones; the tremendous restraint the trio shows here hints at part of the unique place they would carve out for themselves, both together and respectively, in the annals of American DIY experimental music. Elliott, McGuire, and Hauschildt are known now for being tuned into a mutual vocabulary as Emeralds. They are players that exercise a kind of profound listening. Slowness, as a kind of punk ethos. As the static sputters into the right channel around the twelve-minute mark, the scene becomes self-aware, and we are released into the ether. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

Kalita are proud to release the first ever 12” single of Emerson’s 1988 mythical electro boogie grail ‘Sending All My Love Out’, accompanied by two remixes courtesy of two of the genre’s most respected innovators, Egyptian Lover and Detroit In Effect. Originally privately released as an obscure 7” single on LAS Records, operated by visionary power couple Emerson and Leora Sandidge, ‘Sending All My Love Out’ has since transformed into a hallowed grail among dance music collectors, enthusiasts and DJs alike, commanding sky-high prices on the second-hand scene. A late 80’s electro boogie anthem, featuring a heavy mix of synthesizer and drum-machine euphoria, overlaid with Emerson and Leora’s own vocals, the recording truly is in a league of its own. And to do justice to its legendary status, Kalita has dusted off the original multi-track master tapes and enlisted two of the electro scene’s most revered figures, namely Egyptian Lover and Detroit In Effect, to remix and elevate the track in their own signature style. A truly special release. Released in memory of Leora Sandidge.

Emilia Sisco's debut album on Timmion Records, "Introducing Emilia Sisco”, takes you on a smooth ride in the world of vintage soul, featuring 10 beautifully crafted original songs written by Sisco in collaboration with the renowned Cold Diamond and Mink band. The album showcases this young talent’s unique ability to blend classic soul influences with contemporary flair, building mesmerizing harmonies by layering her voice, and through these channeling a sound that is both timeless and fresh. From the opening track "Say Yes” – grooving like an independent gospel soul jam that somebody discovered in dank Midwest cellar – to the closing "Secretly," each song is a testament to Sisco's deep connection to the emotional core of soul music. As one of the album's highlights, "Don't Let Nobody," stands out as a sweet anthem of love and encouragement for your fellow human. With its heartfelt lyrics and Sisco's gently floating vocal performance, the song displays the essence of the album—soulful, sincere, and deeply moving. The Cold Diamond & Mink band provides lush, downtempo arrangements throughout the record, perfectly complementing Sisco's voice and bringing her compositions to life with a rich, organic sound. In "Introducing Emilia Sisco" the singer’s signature style of downtempo soul shines brightly, offering listeners a blend of introspective ballads and uplifting grooves. After her string of exquisite and well-received singles on Timmion, this album documents the impressive progress of a formidable new voice, one that is sure to resonate with fans of classic and contemporary soul alike.

Emily A. Sprague’s Cloud Time is an improvised ambient document of her long-awaited debut tour of Japan, recorded in autumn 2024. Compiled from over eight hours of live material captured in venues across the country, the album reflects a dialogue between performer, place, and moment, presented with no additional mixing and only minimal edits. Originally conceived as a journey rather than a traditional concert tour, Sprague approached each performance as an open exchange with her surroundings, redesigning her live setup to allow for real-time responsiveness and spontaneity. The result is a series of distinct, site-specific sound pieces shaped by intuition and environmental influence. Rather than follow a chronological order, the seven long-form tracks are sequenced to convey a narrative flow that mirrors the emotional arc of a full live set. Tracks like ‘Nagoya’, ‘Tokyo 1’, and the ten-minute ‘Matsumoto’ gently pulse with layered synthesis, embodying an ambient mode rooted in the ethos of kankyō ongaku and deep listening traditions. Cloud Time invites listeners into a reflective space where sound becomes a means of connection, stillness, and surrender—an offering from Sprague’s deeply personal and healing encounter with time, place, and presence.

Emily A Sprague’s Hill, Flower, Fog is an illumination of consciousness across six modular meditations. A place, a poem, and a homespun ode to existing in “this cone of time in our universe,” Hill, Flower, Fog channels the here and now and fosters a far-reaching connectedness, or lifeline, from the everyday to the cosmos.

 

Soul Step Records Announces the Second Pressing of SSR-066!

Soul Step Records is proud to announce that the stone country classic album “Hell of a Woman” by Nashville-based Emily Nenni is coming to vinyl again after being out of print for years!

“Hell of a Woman” was released to critical acclaim in 2018. This album is a quintessential Nashville Stone Country record. This album is something that country purists will love.

“Hell of a Woman” is a record made for those who long for those smokey Nashville barrooms where the neon lights shine bright into the night and the pedal steel guitar rings loud. 

Emily Nenni is a singer-songwriter from the Bay Area and recently set roots in Nashville, Tennessee. Emily’s musical inspirations range from the girl groups of the 1960’s to the outlaw Country of the 1970’s. Emily Nenni sang her first songs on stage at Robert’s Western World in Nashville by bribing the band and doorman with cookies. She has since honed her Honky-Tonk skills in double-wide trailers on Sunday nights, clubs across the south, as as well playing for ranchers and wranglers in Wyoming, Montana, and Colorado.

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The prolific shapeshifting artist known as Emma DJ is back on L.I.E.S. following his "FUSION" split lp from last year. His new nine track "Melon Siesto" lp is a deep dive into the warped world that is Emma DJ and his musical perversions. Mechanized soundblasts, tortured voices rising from the rubble, slowbeat mind destruction, and fast paced teeth grinding dance not dance make this album what it is. And what is it? Think about armor piercing bullets shot from close range with maximum blood splatter across your xxxl white tee while a tricked out Honda Accord side swipes your falling and now lifeless corpse and you're getting the idea. Limited to 250 copies worldwide.

An album such as this obviously owes a lot to the atmosphere in which it was recorded, which we can imagine was magical. We know it took place in Fromentel, Normandy, in a farm converted into a studio by the producer Jacques Denjean, known for his work with Dionne Warwick or Françoise Hardy as well as having been a member of the Double Six. It was also at Fromentel, that Denjean would record two fantastic albums with Albert Marcoeur. When Emmanuelle Parrenin followed in his footsteps a year later she was in good company: the sound engineer at the studio was her partner and therefore uniquely capable (we imagine) of creating an adequate soundscape for her delicate universe. What is more, five years previously, Bruno Menny, the sound engineer partner, recorded his first and only album, but what an album: in electroacoustic terms we can hear things which make him appear as the spiritual son of his mentor Xenakis! 

What makes Maison Rose unique is exactly this fusion between the two conceptions of Emmanuelle Parrenin and Bruno Menny, creating a perfect marriage of tradition and experimentation. The tradition comes from the songs collected by Emmanuelle Parrenin in rural areas, in a similar vein to the work carried out by Alan Lomax and Shirley Collins. The experimentation is in the sound captured by Bruno Menny, who both arranged and recorded the album. This is not to forget those who came with their guitar (Denis Gasser), or their lyrics (no less a figure than Jean-Claude Vannier). On the one hand we have the humble and non-demonstrative singing, with melodies which remind us of songs we would sing to calm a child's nightmares, and on the other hand a pronounced rhythmic intensity at certain points, such as on "Topaze" where the drums in particular evoke the Motorik of Faust. 

A real haven of peace, Maison Rose is enchanting with its aura of mystery and spirituality, with soft, gentle songs which seem both ancestral and futurist. Originally published by Ballon Noir in 1977, this album follows on from other folk marvels such as Le Galant noyé from the pre-Mélusine period. 

On the subject of Maison Rose, if we had to risk a few comparisons we would mention Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community, Sourdeline and Véronique Chalot as those which spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin: because Maison Rose was recorded in 1977, in the midst of the punk revolution. 

[Enji’s] return is spellbinding, her dreamy voice searching over tender piano and weighty double bass. - The Guardian on 'Ulbar'

For a few fleeting moments during a sunset, the sky is cast a vivid shade of amber. A dramatic flare of colour, a moment belonging to both the day and the night. It is within this vibrant, ephemeral world, that Mongolian-born, Munich-based Enji has written her new album Sonor.

Sonor is a record full of life and optimism, from an artist finding the beauty of existing between two worlds, much as a sunset does. Between the cultures of Mongolia and Germany, tradition and innovation, nostalgia and excitement for the future. Sonor is a musical journey marked by personal growth, introspection and acknowledgment of the bittersweet feeling of change.
Enji's life has been a tapestry woven with threads from diverse cultures. Born in Ulaanbaatar, Mongolia, she was immersed in the rich traditions of Mongolian folk music from a young age. Her early exposure to urtiin duu, or "long song", a traditional Mongolian singing style characterized by extended syllables and free-form melodies, instilled in her a deep appreciation for her cultural roots.
In 2014, Enji's musical journey took a transformative turn when she participated in a program at the Goethe-Institut in Ulaanbaatar. Here, under the guidance of German bassist Martin Zenker, she was introduced to the world of jazz. The improvisational nature and emotional depth of jazz resonated with her, leading her to pursue a master's degree in jazz singing at the University of Music and Theatre in Munich. This move marked the beginning of her life between cultures, as she navigated the landscapes of both her native Mongolia and her new home in Germany.
Sonor is a reflection of Enji's personal evolution and the complex emotions that accompany living between two worlds. The album's themes revolve around the unplaceable feeling of being between cultures, not as a source of conflict, but as a space for growth and self-discovery. Enji explores how distance from her traditional Mongolian roots has shaped her identity, and how returning home brings a heightened awareness of these changes.

With Sonor, Enji continues to evolve as an artist, expanding her sound into something more fluid and accessible. Whilst Enji’s musical foundations remain sturdy, with a band of world renowned jazz artists and all tracks on the record sung in Mongolian, save the obligatory standard ‘Old Folks’, Sonor leans into melody and storytelling with a newfound clarity, opening her music to a wider audience. It reflects not just a shift in style, but a deepening of her artistic voice, one that embraces accessibility without losing depth, allowing her songs to resonate on an even more universal level.
Despite being colourful and optimistic, the album is tinged with a sense of bittersweet nostalgia. This duality is perhaps best illustrated by track “Ulbar”, the Mongolian word for the colour the sky is cast during sunset. A phenomenon that is vibrant and beautiful, yet signifies the end of daylight and the transition into nighttime. Similarly, Enji's music captures the joy of new experiences and growth, while acknowledging that, as you go through life, previous experiences may no longer feel familiar.
On Sonor, Enji breathes new life into the traditional Mongolian song “Eejiinhee Hairaar” ("With My Mother’s Love"), a piece woven with nostalgia and quiet joy. She recalls how her father would hum the tune while fixing his bicycle back home in Mongolia, a simple, unremarkable moment that, in hindsight, radiates warmth and meaning. This image of music interlaced with everyday life, of melodies passed down through generations, encapsulates the spirit of Sonor. Enji isn’t just revisiting tradition, she’s distilling the feeling of home, of small joys that reveal their significance only when viewed from afar. Like a familiar song hummed by a parent, her music captures the essence of belonging, not tied to a single place, but to the emotions and memories that shape us.
Elsewhere on the record, tracks such as “Much” truly capture the melancholy of fleeting moments, still hopeful in tone, Enji’s vocals implore the listener to slow down and appreciate the passing seconds. On track “Ergelt”, Enji focuses the theme of the album through her own lens, a meditation on nostalgia and shifting familiarity, with translated lyrics capturing this duality: “A gaze full of happiness saddens me / When I try to speak my sorrow, no words come to me / Unfamiliar, yet somehow known”
Sonor is enriched by the contributions of Enji's collaborators. Elias Stemeseder is an Austrian pianist and composer known for his work in contemporary jazz and avant-garde music. Stemeseder has previously collaborated with musicians such as John Zorn and Christian Lillinger. Robert Landfermann is a German double bassist widely recognized in European jazz and improvised music circles. His playing is characterized by technical virtuosity and a deep sense of rhythm. Julian Sartorius is a Swiss drummer and percussionist with a highly textural and rhythmic approach to his instrument. His work spans jazz, electronic, and experimental music. Whilst long time collaborator Paul Brändle is a German jazz guitarist with a warm, fluid style that blends classic jazz influences with modern sensibilities.
Enji's previous work has garnered international attention and critical acclaim. Her 2023 album, Ulaan, was praised by The Guardian as "An elegant and powerful twist on traditional Mongolian music," highlighting her ability to innovate within her cultural framework.
Her unique blend of jazz and Mongolian folk has also been recognized by The Washington Post, which noted that her songs "sound so inventive, so free, yet so grounded." This balance has become a hallmark of Enji's music, earning her a place among the most intriguing voices in contemporary jazz.
With Sonor, Enji invites listeners to join her on a journey through the landscapes of her experiences, bridging cultures, embracing change and finding beauty in the transitions that define our lives. Her music serves as a reminder that, like the sunset, moments of change can be both beautiful and poignant.
As she continues to navigate her path between Mongolia and Germany, tradition and innovation, Enji's Sonor stands as a testament to the enriching experience of living between worlds and the art that emerges from embracing one's multifaceted identity. 

"[...] jazz singers like this rarely sound so unpretentious, original and free." - The New York Times / Best Jazz Albums of 2023 "An elegant and powerful twist on traditional Mongolian music" - Ammar Kalia / Guardian "These songs sound so inventive, so free, yet so grounded — and if they end up calming your mind, the aim wasn’t to numb it, but to open it. " - Chris Richards / The Washington Post / Best Album of 2023 "Well, this is just plain enchanting. Marked by smooth transitions from gentle playfulness to sweet heartbreak, Enkhjargal Erkhembayar’s delivery would be right at home in an electronic downtempo recording or any late night jazz club where moonlight is a natural stage effect." - Dave Sumner / Bandcamp Daily Enji begins her third album with a stark reminder of her own humanity. “I am Ulaan,” she utters plainly in her native language of Mongolian, referring to a nickname affectionately given to her by her family. “I have to remember who I am,” she says, explaining her choice of a spoken monologue. “It empowers me.” Throughout Ulaan, Enji continues to find new ways to bring out those affirming expressions of herself. Drawing on the elegant blend of jazz and traditional Mongolian song on her previous album Ursgal, she leans into her strengths while breaking into bold new directions. With trusted collaborators Paul Brändle on guitar and Munguntovch Tsolmonbayar on bass at her side once again, she expands the band to include Mariá Portugal on drums and Joana Queiroz on clarinet—and her creative process expands along with it. “They have such deep feelings and such deep love of music,” Enji says of the group. As a result of these new partnerships, the compositions have opened up, bringing in lusher textures, more rhythm, and more interplay between musicians. Enji pushes her voice to new heights, too, effervescently fluttering over each track and moving in perfect lockstep with her band. Songs bubble up from spontaneous moments of inspiration. With “Zuud,” the imagery came to Enji in a melancholic dream. On “Uzegdel,” she evokes the feeling of a breathtaking view she saw from the window of an early Autumn flight on her way home to Mongolia. “Vogl” comes from her experience visiting the peaceful village of the same name, tracing the shape of the natural vista with her vocals. In some cases, she described these scenes to the band and worked out the feeling together. In others, the songs crystallized from reading out the lyrics. “I find my mother tongue in Mongolian is such a rhythmical language,” Enji explains. “So the melody just came out.” As Enji continues her journey of self-discovery, she continues to grow and adapt into new roles. With Ulaan, she bares more of her heart than we’ve seen from her yet, but she’s still got more to give—as a vocalist, a bandleader, and most importantly, as a storyteller. - shy thompson