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Reissue, originally released in 1963. Ellis Regina one of the greatest Brazilian interpreters of all time. Originally released in 1963 when she was not even 20 years old, this was her fourth album and second for Columbia Records. Still a few steps before she became a star, here Ellis Regina's fresh and extremely ductile voice shines on top of sophisticated jazz arrangements by Astor Silva and a mixed repertoire based on charming romantic songs and vibrant sambas, all composed by Brazilian authors, among them a couple of highlights such as Baden Powell's "Se Você. Quiser" and "O Ben do Amor" the title track composed by guitarist Rildo Hora. This is an early and fine statement in Regina's fast way to the peak of Brazilian music history.

Elis and Tom is a bossa nova album, released in 1974, recorded by Brazilian singer Elis Regina and singer-songwriter Antônio Carlos Jobim. Recorded over a 16-day period at MGM Studios in Los Angeles, California, the album was an old wish of Regina, who always wanted to record a full album of Jobim's songs with him. This finally came true in 1974, when Elis was celebrating her 10th anniversary as an artist of Philips Records. The label approved the project as a gift for her.

A wealth of DIY dubplates and 45s from Jah Massagan’s East London sound crop up for first time on tape with cherry-picking label Death Is Not The End - heavy roots dub troubles cut at the studios of King Tubby, Lee Perry, Channel One, and Joe Gibbs… Eljay Mass, son of Jah Massagan’s owner-operator, Lloyd Mass, dips into his dad’s enviable archive for an hour of rare, one-away platters that hail a self-organising rhizome of sound systems which sprang up in the UK with arrival of the Windrush generation, and brilliantly altered the course of music on this strange island in the process. The cassette-only session speaks to prevailing links between Caribbean culture and UK inner cities which reverberated from the ‘70s into the ‘80s, and has endured as a touchstone for some of our isles’ most vital music, setting templates for independent distribution networks and producing waves of innovative hybridisation. Owner-operator Lloyd Mass and his childhood pal and amp builder Tony Mass were a small but steadfast part of preserving these sounds, holding down their Leyton corner of London, where they would pass the torch to Eljay Mass and an extant network of rigs, engineers, Deejays and ravers who really do it for the culture.

エジプト・カイロのプロデューサー、Elkotshによるデビュー・アルバム『rhlt jdi』が、カイロの〈HIZZ〉と〈Nyege Nyege Tapes〉系列の〈Heat Crimes〉による共同リリース！エジプトのストリート音楽「マフラガナート」のリズムとエネルギーを基盤に、インダストリアルやトライバル・テクノ、エクスペリメンタルな要素を融合。伝統的な旋律や宗教的なチャントが、歪んだビートやグリッチノイズと交錯し、現代エジプトの都市風景を音で描き出していきます！中東の伝統音楽と現代のエレクトロニクスが交差する、革新的な一枚。

Wondrously uninhibited, and liberated from the added pressure of either a studio or a planned live recording, there is true magic, sparkling energy, and no lowering of intensity in this never-before-released unearthed gem. The night before Ella Fitzgerald walked into Konserthuset in Stockholm and recorded what became The Stockholm Concert, 1966, the Pablo Records live album now considered among the essential documents of her late career, she played two concerts at Falkoner Theatre in Copenhagen. Like many other Black American jazz musicians of her era, Denmark felt like home to Ella. It was a country where Black American jazz musicians found a degree of respect that the United States too often denied them. Ella's ease in her adopted home was palpable when she walked onto the Falkoner Theatre stage that Sunday. And, now the results are released on record for the first time, and with the full blessing of Ella’s estate, we are treated to an irrepressible, unexpectedly vital addition to her canon Track two has been attributed on the CD and LP per the tape box and the Danish radio printer Borge Roger Henrichsen’s introduction at the time, who erroneously announced the track as Hey Little Girl (Otis Blackwell, Booby Stevenson). In fact is is Wives and Lovers (Burt Bacharach, Hal David). We decided to keep the reference as a historical record of the original recording though subsequent issues will be corrected.

Ellen Arkbro’s fourth album, Nightclouds, collects five improvisations for solo organ, recorded across Central Europe in 2023–24.

"Nightclouds is more unabashedly Romantic and introspective than her previous efforts, though it remains firmly rooted in the rigor and precision that have come to define Arkbro’s concept. Extending her previous explorations of spatialized harmony, tactility, and texture,

Arkbro draws equally on sacred music, ECM–style jazz, and downtown minimalism, conjuring a cool intimacy and tone. Her decelerationist chordal improvisations envelop the listener in dirge-like washes, while her close miking reveals the rough haptic grain of the reeds, bringing the listener both inside and outside the sound. Evoking Kjell Johnsen and Jan Garbarek’s duets, or La Monte Young and Tony Conrad’s take on Euringer and Harmer’s cowboy song “Oh Bury Me Not,” Nightclouds channels spiritual pathos through a rigorously restrained architecture.

Following up on last year’s Sounds While Waiting (W.25TH, 2024), a selection of stereo mixes documenting Arkbro’s spatial organ installations, Nightclouds shifts direction, focusing on instant composition and improvisation. Elegant, simple chordal scaffolds support rich, ever-shifting textures; listening closely necessitates surrender to sustained irresolution. Bookending a collection of short pieces are two variations on the titular composition, “Nightclouds,” which is a sly nod to British jazz guitarist Allan Holdsworth: The first take slows down and stretches out a continuously modulated harmonic progression, while the short closing version simply loops three chords. Situated between these tracks are “Still Life” and “Chordalities,” two short works recorded at the Temple de La-Tour-de-Peilz in Vevey, Switzerland. The second half of the album is given to “Morningclouds,” a sprawling work recorded in the reconstructed Gedächtniskirche (Kaiser Wilhelm Memorial Church) in Berlin. Arkbro’s concise musical vocabulary and formal architecture evoke a sense of emotional ambivalence, simultaneously uplifting and mournful, guiding the listener through a spectrum of feeling with a cool and distant beauty. Nightclouds stands as a profound statement in Arkbro’s evolving body of work, at once introspective and expansive, the album reaffirms her singular ability to transform harmonic simplicity into deeply affecting sonic landscapes, inviting listeners into a space of contemplation and emotional depth.

Ellen Arkbro’s fourth album, Nightclouds, collects five improvisations for solo organ, recorded across Central Europe in 2023–24.

"Nightclouds is more unabashedly Romantic and introspective than her previous efforts, though it remains firmly rooted in the rigor and precision that have come to define Arkbro’s concept. Extending her previous explorations of spatialized harmony, tactility, and texture,

Arkbro draws equally on sacred music, ECM–style jazz, and downtown minimalism, conjuring a cool intimacy and tone. Her decelerationist chordal improvisations envelop the listener in dirge-like washes, while her close miking reveals the rough haptic grain of the reeds, bringing the listener both inside and outside the sound. Evoking Kjell Johnsen and Jan Garbarek’s duets, or La Monte Young and Tony Conrad’s take on Euringer and Harmer’s cowboy song “Oh Bury Me Not,” Nightclouds channels spiritual pathos through a rigorously restrained architecture.

Following up on last year’s Sounds While Waiting (W.25TH, 2024), a selection of stereo mixes documenting Arkbro’s spatial organ installations, Nightclouds shifts direction, focusing on instant composition and improvisation. Elegant, simple chordal scaffolds support rich, ever-shifting textures; listening closely necessitates surrender to sustained irresolution. Bookending a collection of short pieces are two variations on the titular composition, “Nightclouds,” which is a sly nod to British jazz guitarist Allan Holdsworth: The first take slows down and stretches out a continuously modulated harmonic progression, while the short closing version simply loops three chords. Situated between these tracks are “Still Life” and “Chordalities,” two short works recorded at the Temple de La-Tour-de-Peilz in Vevey, Switzerland. The second half of the album is given to “Morningclouds,” a sprawling work recorded in the reconstructed Gedächtniskirche (Kaiser Wilhelm Memorial Church) in Berlin. Arkbro’s concise musical vocabulary and formal architecture evoke a sense of emotional ambivalence, simultaneously uplifting and mournful, guiding the listener through a spectrum of feeling with a cool and distant beauty. Nightclouds stands as a profound statement in Arkbro’s evolving body of work, at once introspective and expansive, the album reaffirms her singular ability to transform harmonic simplicity into deeply affecting sonic landscapes, inviting listeners into a space of contemplation and emotional depth.

Sounds While Waiting documents the latest organ works by composer and musician Ellen Arkbro – following her phenomenal debut, 2017's For Organ And Brass, and the more recent CHORDS. Recorded at a centuries-old church in Unnaryd, Sweden in June 2020, these pieces reveal the enchanting qualities of sustained harmonic sound, how patterns of listening dissolve and emerge as textured space. On opening track "Changes," long radiant tones ebb and flow like divine breaths, while "Leaving Dreaming" builds with dynamic tension to unlock a subtle, otherworldly ambience.

As the composer states in the sleeve notes, "These recordings are traces of something I have come to love to do in large resonant spaces, which is to set up sustained chords on multiple organs and then move slowly through the sound. The instruments are usually far apart, which makes for the emergence of large fields of continuous change, spaces of harmonicity that can be passed through layer by layer and which contain within them points of both clarity and overwhelming complexity. The organ pipes are tuned and retuned, though sometimes I leave them just as they are. What I'm searching for is the moment when a particular kind of sounding texturality is revealed – it is rough, focused and yet strangely transparent."

Arkbro composes for acoustic instruments, for synthetic sound and for combinations of both, including music for orchestra and smaller chamber ensembles and large scale installation works. She currently performs in Catherine Christer Hennix's Kamigaku ensemble, and she previously studied with La Monte Young and Marian Zazeela. Recommended for fans of Sarah Davachi, Eliane Radigue and Charlemagne Palestine. <iframe style="border: 0; width: 350px; height: 307px;" src="https://bandcamp.com/EmbeddedPlayer/album=1223054530/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://ellenarkbro.bandcamp.com/album/sounds-while-waiting">Sounds While Waiting by Ellen Arkbro</a></iframe>

“Elemental View” is a work in six movements by pioneering composer Ellen Fullman for her Long String Instrument and The Living Earth Show. The expansive installation inhabits an industrial sized space with 136 strings, precisely tuned and configured for this multi-movement piece. Listening to the music of Fullman’s singular creation is akin to standing inside a giant musical instrument. The result is a music at once ancient and utterly new, environmental, and folk-like yet orchestral; immersing the listener in a transportive glistening atmosphere. “Elemental View” invites the listener to discover, as if with a magnifying glass, the details of the physics of string vibration itself. Fullman bows the instrument lengthwise with her fingertips while walking, playing multiple strings at once. As she walks, upper partial tones unfold at different rates, in proportion to differences in string length, imparting an undulating wave of continually shifting overtones. The notation for the Long String Instrument contains both temporal indications and spatial choreography, as specific harmonies emerge at distinct locations along the string length. Invention and discovery are at the core of Fullman’s work. To produce percussive sounds on the otherwise drone-based instrument, Fullman designed and fabricated the box bow, shovelette, and shoveler, which play three, six, or nine strings at once. Varying techniques with these tools produce either open ringing tones or closed dampened ones. With their laser focused precision and virtuosic ensemble playing, The Living Earth Show brilliantly executes the rhythmic and harmonic complexity of Fullman’s composition. In the movements “Environmental Memory” and “Concentrated Merry-Go-Round”, Fullman incorporates Travis Andrew’s primary instrument, the guitar. Andy Meyerson and Fullman accompany the guitar in duo playing box bow and shoveler. For “Surface Narrative in Four Parts”, Meyerson also applies his percussion mastery to the santur, a Persian hammered dulcimer. The santur’s unique tuning is derived from the extended microtonal partials of the sequence played by Fullman on The Long String Instrument.

Elodie is the first full-length album by Andrew Chalk, a solitary musician, and Timo van Luijk of Belgium, who also shows his talent in Af Ursin and In Camera. The sound is a mix of field recordings of birdsong and murmuring rivers, and performances of various instruments (bagpipes, guitar, koto, percussion, synths, etc.) and non-instrumentalists, resulting in a very varied sound, but still stateless. Like the works of both artists, it is a small and compact worldview, but all of the sounds, including quiet and beautiful drones, abstract playing with/without melody, and improvisation, are wonderful, reaching the realm of meditation. The sense of time, similar to that of Andrew Chalk's work, is clearly alive here as well, as one forgets the passage of time. This is an ideal type of music. I think you will experience a very fresh sensation. Daisuke Suzuki and Ian Middleton also participated. The artwork is as wonderful as ever and sounds just like this.

A Colourful Storm presents Enteha, the latest piece by Elodie, the longstanding duo of Andrew Chalk and Timo van Luijk. Chalk and van Luijk embody a bold, free-spirited approach to music making whose improvisational processes can be traced to a distinct period of Europe's post-industrial landscape: the former’s Ferial Confine project finding a home on Broken Flag (Ramleh, Kleistwahr) while the latter co-founded Noise-Maker’s Fifes, a Belgian audiovisual project employing unusual homemade instruments. More than two decades of ambitious solo and collaborative work would solidify both Chalk and van Luijk as masterful craftsmen exploring (and exposing) the tension between composition and free play. Their individual lists of collaborators boasts a certain fin-de-siècle faction of the avant-garde: Christoph Heemann, Giancarlo Toniutti, David Jackman and Colin Potter, to name but a few, have recorded with Chalk while van Luijk has also welcomed Heemann as well as a guard of other artists including Raymond Dijkstra, Kris Vanderstraeten and Frederik Croene. Elodie’s first documented recording, 2011’s Echos Pastoraux, betrayed a musical interplay of extremely accomplished standards, Chalk and van Luijk’s pastoral mise-en-scène daubed with Daisuke Suzuki’s Asiatic elements creating a sound world at once mystical and eerie. A figment of two imaginations, Elodie materialised almost fully formed with each subsequent recording patiently revealing glimpses into a world concerned with time dilation, the phantasmagoric and spirits of the everyday. Enteha is one of the duo’s more subdued and melancholic pieces and can be seen as a human response to seasonal transition, foretold by the concluding passages of 2020’s Le Nid d'Ivoire. It’s one of their uniquely longform explorations of mood and atmosphere as an air of romance drifts deftly into mystery and despair. The delicate hues of autumnal haze. The deceptive optimism of morning light. A work of supremely understated beauty, Enteha develops at an hypnagogic, if not unconscious, level and will appeal to anyone who finds solace in Harmonia, Gas, Joanna Brouk, Roberto Musci, Zoviet France and other investigators of pastoral arcana.

A vinyl reissue of a 2016 cassette-only release by Andrew Chalk x Timo Van Luijk's unit Elodie, featuring Tom James Scott on piano. A beautiful work, ambient and avant-garde, but with the depth that only Elodie can bring to life. Limited edition of 300 copies.

Le Manteau D'Etoiles is the fifth album by Andrew Chalk & Timo Van Luijk, the UK/Belgium project of Elodie, and was recorded live in Leuven, Belgium in November 2012. The album is based on a live performance in Leuven, Belgium in November 2012. The four-piece ensemble includes Tom James Scott on piano and Jean Noel Rebilly on clarinet, two of Andrew Chalk's most recent collaborators. The deepening of each of the two core members in their solo works is also evident here, with the peaceful beauty of the water in "Cristaux De Lumiere," the simply transparent "L'Aurore," which needs no explanation, and "Le Manteau d' Etoiles," which whispers of Elodie's forest psychedelia. Etoiles," which transcended time and scene, one could not help but listen to the great big improvised picture scroll of light that transcended time and scene. The dignified wind and keyboard colors of the two guests were also wonderful. This is a great example of Elodie's ever-deepening and matured musical vision. This is one of the best works of this project.

MUSIGUE PAR TIMO VAN LUIJK ET ANDREW CHALK ENREGISTRE : KULTA SAHA 2017

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

Drifts and Surfaces is a three-piece set, with each work originating from commissions, and unified by shared themes: the flux between ephemeral movement and everyday stasis, the paradox of extraordinary and mundane beauty, and the ambition and idleness, that defines living in the 21st century. Saxl continues to utilize chamber-music ensemble alongside analog synth and digital experimentation, deeply tuning into textural emotion and the vivid details of small actions. While her 2021 breakthrough LP, The Blue of Distance, processed recordings from the Adirondacks and Lake Superior, Saxl’s source material here comes primarily from live percussion and other instrumentation. The project started in 2018 in Brooklyn’s Red Hook neighborhood at the practice space that Saxl’s band shares with the percussion trio Tigue. Later that year, they performed a residency together and captured the piece before the pandemic set in. In 2021, she began a new commission with Chicago’s Third Coast Percussion.Drifts shares its title with Kate Zambreno’s 2020 novel, where the protagonist becomes entranced by the work of Chantal Ackerman, which presents the typically female invisible forms of domestic labor as equally valuable to activities more commonly seen as productive. Saxl posits Drifts in the spirit of that feminist thesis: “It feels like there’s a little lineage here of women exploring this idea and celebrating small action that I hope I am continuing the work of.”The final piece, “Surfaces,” was commissioned by the Guggenheim Museum in conjunction with the Alex Katz retrospective in 2022. The group — comprised of Henry Solomon on baritone saxophone, Robby Bowen on glass marimba, and Saxl — leans into light, ruminative tones inspired by the pioneering painter’s present-minded approach. Katz's work deals with the optical perception of “quick things passing,” like the liminality of dusk when an object's outlines start to become unclear. “The ways in which our perception of things change not because they change but because we change,” explains Saxl. “I wanted to have these really minor changes feel dramatic, to mirror the imagined movement in his paintings.”Stepping back to view “Surfaces” within the set, Saxl finds the stream that runs throughout, the concept of the self as part of something greater. “Katz’s depiction of multiple generations of New York City artists inspired me to think about how there is no individual ‘me’ as an artist without both the artists who came before me and the community of artists I’ve grown alongside. The delineation between us blurs, and I feel as though I am carried on an interwoven surface formed by the community around me. At the same time, I know that eventually, I have to turn inwards and swim out alone.”

Released by VDE/Gallo, a long-established label based near Lausanne, Switzerland, this album features performances of classical Mugham music by Elshan Mansurov, a master of the traditional Azerbaijani string instrument kamancha.

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in '89 and get heads bopping.

There are moments in music when masters of their craft cross paths at the height of their respective powers - records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury - where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID's feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. I Guess U Had To Be There is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

Two turntables and a microphone. There is a truth in the clarity of that simple coda, a truth that also belies the breadth of what is possible within its confines. Sometimes you gotta get reminded. I Guess U Had To Be There, the new album from NYC rapper ELUCID and veteran producer Sebb Bash, is one of those ones. So fresh it sounds like it was made tomorrow, but bet money you could put this on in '89 and get heads bopping.

There are moments in music when masters of their craft cross paths at the height of their respective powers - records like Madvillainy, Liquid Swords, Dr. Octagonecologyst, and Hell Hath No Fury - where the result is more than the sum of its parts. ELUCID and Sebb Bash find themselves in this heady, seemingly effortless ephemera on I Guess U Had To Be There. Everything is both familiar and groundbreaking. The beats shift and flip under ELUCID's feet but he tightropes it all, delivery nimble as a mountain goat, producer and rapper moving in perfect synchronization. Some shining stars make memorable appearances: billy woods, Breezly Brewin, Estee Nack, Shabaka Hutchings. But this is a two-man show, and the duo keep the spotlight where it belongs. I Guess U Had To Be There is a captivating, convention-defying listen and a high-water mark for two of the best artists in the genre.

Virga III is the third installment in Eluvium’s inspired experimental series – and the first in nearly five years. In unmistakable contrast to the dense, ominous sprawl of Virga II, the works that make up Virga III offer an almost divine reprieve. The nervous tension, loss of control, and patient recontextualization that inspires each volume of the Virga series manifests in unique ways. As composer and Eluvium architect, Matthew Robert Cooper describes, “While Virga I was brought to me by a temporarily evacuation from my house to my garage during a winter snowstorm – and Virga II by a phantasmal dream sequence during the height of a global pandemic – Virga III takes its inspiration from the worlds found in minor green spaces, culverts, and other miniature biological ecosystems operating within our daily deluge of cruel rhetoric, unspeakable violence, unending disruption and devastating disparity. A reflection on the micro and macro universes that surround us.” The songs on Virga III are composed and performed by Cooper, as always, but in the Virga universe, he essentially feels a unique collaboration within himself. As Cooper explains, “The Virga series affords me an opportunity to return to an older version of myself, but with a new level of understanding. Practicing more patience interacting with these built musical systems and recordings, I hesitantly duet with my past self in a new performance or manipulative layer, only after digesting the first for as long as possible, to a point of it conjuring new and uncharted feelings, in hopes of curating a sense of therapeutic self-awareness and discovery. A mixture of the exploratory mindset against a painterly emotional resonance, gradually unfurling itself unto itself.” The Virga III vinyl format is pressed onto crystal clear colored vinyl and housed in a full-color heavyweight old-style tip-on jacket. It is limited to a one-time pressing of 1,000 copies worldwide.

Since they connected in Kampala back in 2019, Elvin Brandhi and Lord Spikeheart have been recording restlessly, developing a shared musical language that compliments their individual expressions. Both innovative improvisors motivated by the extreme potential of performance, they manufacture a synergistic shriek on their debut set, fluxing between jagged DIY noise, chilly sacred ambience, ratcheting hard dance and quirky leftfield pop. And despite their backgrounds, neither Brandhi nor Spikeheart have approached anything quite so piercing and direct. It's music that sits a few paces from the established timeline, doggedly avoiding contemporary trends and screaming hoarsely at passers by.Born and raised in Bridgend, Wales, Elvin Brandhi has built a reputation for her virtuosic collision of rubberized freeform vocalizing and skillful, irreverent production. Since breaking out as half of father-daughter improv duo Yeah You when she was just a teenager, she's released a slew of acclaimed solo projects including 2019's 'Headroof' recorded in Uganda with a host of Nyege collaborators. She has also collaborated with artists like Drew McDowall from Coil, Pat Thomas and Ziúr. Nairobi-based rapper-producer Lord Spikeheart meanwhile is best known for lending his unmistakable growl to Sub Pop-signed noise-metal duo Duma. Anyone who's seen their live shows will be acutely aware of Spikeheart's power on the mic, and he brings that same energy to this project, trading snarls and syllables with Brandhi over rasping industrialized detritus.The duo's fierce vocal interplay is the heart of their collaboration. On 'Cruxify all the prophets', Brandhi's guttural croaks appear to dematerialize into granulated electronics, transforming into emotional wails before Spikeheart's unmistakable death metal shouts writhe into the sunlight. Intermittently piped through electronics, the voices alternate between chilly cybernetic wails and sickly human spits and coughs, finding an unsteady balance between grindcore gutter punk and Atlanta street rap. Songs spark into life and then flicker into nothingness, switching momentum seemingly randomly before taking unexpected turns; 'DEATH CODE E666' is a terrifying noise lullaby that pivots into classical abstraction, 'whiom8warwomb666' is a long-form rhythmic tongue-twister that oscillates through pneumatic dizziness into grotesque sound art expressionism, and 'do you like feeling awakeee33' reforms squelchy hyperpop into cogwheel whirrs and disquieting cackles.Truly labyrinthine and never predictable, this partnership is a reminder that experimental music can be crucial and progressive without losing its vitality, or its wit.

"Crashing on American shores in a gothic fit of FauxAD melancholy, ethereal wave was the scene that celebrated its own stillbirth. Among the genre’s pinnacle works is Elysium’s lone album Glisten, which arrived on compact disc under the Dewdrops Records banner in 1995. Come for the lush and atmospheric cooings of Jenny Adams, stay for the clean-tone precision of Rodney Rodriguez. Is this heaven or Los Angeles?"

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.