MUSIC

Originally released in 2009. "Back to music after three years of silence... On the suggestion of Robert Ashley, Douglas Dunn commissioned this piece from Éliane Radigue for choreography. Only the first part of Triptych was staged at the premiere at the Dancehall/Theatre of Nancy on February 27 1978. Recorded in the composer's studio in Paris. After the premiere of Adnos I (IMPREC 028CD) in San Francisco in 1974, a group of French students introduced Éliane Radigue to Tibetan Buddhism. When she returned to Paris, she began to explore this spirituality in depth, which slowed her musical production up until 1978. Triptych marks her return to composition, and draws its inspiration from 'the spirit of the fundamental elements,' water, air, fire, earth... Éliane Radigue likes to add that this has often been useful to her in her moments of research and transitions. This three-part composition, with its great humility and contemplative simplicity, heralded a new period of work and was the first in a series of masterpieces inspired by Tibetan Buddhism: Adnos II (1980); Adnos III (1981) [both included on IMPREC 028CD]; Songs of Milarepa (1983), with the voices of Lama Kunga Rinpoche and Robert Ashley; Jetsun Mila (1986); as well as the Triologie de la Mort (XI 119CD): Kyema (1988), Kailasha (1991), and Koumé (1993). Archival images included in the accompanying booklet." --Manu Holterbach

To celebrate the 30th anniversary of Deep Listening, Important Records offer a definitive double-LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album, The Ready Made Boomerang. Recorded in a cistern, this CD reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone. and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone, and modern classical. Listen with attentiveness, listen while lying down, listen with headphones -- as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply. Packaged in a gatefold sleeve with original and updated recollections from the performers, the engineer, and a mesostic from John Cage, to whom these recordings are inextricably linked.

Les Filles de Illighadad comes from the village of Illighadad in a remote region of central Niger. Like many of the villages in the area, its borders are loosely defined, owing to the largely pastoral population. It rests on the shore of a seasonal pond that swells during the rainy season. The center of town has a well, some small houses, and a school. But most of Illighadad’s people live in the surrounding scrubland desert, in tiny patched roof houses or temporary nomadic tents, hidden among the trees. 

Les Filles de Illighadad (“daughters of Illighadad”) was founded in 2016 by solo guitarist Fatou Seidi Ghali and renowned vocalist Alamnou Akrouni. In 2017 they were joined by Amaria Hamadalher, a force on the Agadez guitar scene, and Abdoulaye Madassane, rhythm guitarist and a son of Illighadad. Les Filles’ music draws from two distinct styles of regional sound, ancient village choral chants and desert guitar. The result is a groundbreaking new direction for Tuareg folk music and a sound that resonates far outside of their village. 

To emerge from this small village to perform on stages around the world is no small feat, and is a testament to the band’s unique sound. But their home is more than their narrative. Illighadad is central to everything about the band, from their repertoire, the way they perform, the poetry they recite, even the way they sing. Music has always traveled in the Sahel, from poetry recited by nomads, scratchy AM radio broadcasts, to cell phone recordings sent over WhatsApp. Yet even today each village has its own style. When Les Filles perform, they play the music of Illighadad. 

At the heart of Les Filles’ music is the percussion and poetry of tende—a term used for both the instrument and the type of music— whereby a mortar and pestle are transformed into a drum, and women join together in a circle, in a chorus of singing, chanting, and clapping. Sometimes it’s music for celebration, sometimes it’s music to heal the sick, sometimes it’s poetry of love. But it’s always music of people, where the line between performer and spectator breaks down. To be a witness is to be a participant, to listen is to join in the collective song. 
It’s precisely this collectivism that makes the recording “At Pioneer Works” seem so natural and timeless. Recorded in the Fall of 2019, “At Pioneer Works” finds the band at the height of their touring career. Over two sold-out shows, the band brought Illighadad to New York, their first performance in the city. Speaking of the night, The New Yorker's music critic Amanda Petrusich writes: “The crowd in Brooklyn was entranced, nearly reverent. Les Filles’ music is mesmeric, almost prayer-like, which can leave an audience agog... whatever rhythm does to a human body—it was happening.” 

There’s something bittersweet that it’s the sound of Illighadad that has propelled Les Filles’ to travel so far and so often. Playing on a stage 5000 miles from home, their performance evokes the village with a heavy ever-present nostalgia. In singing the songs of Illighadad, Les Filles’ invite the audience to share in the remembrance, to hear the poetry and driving tende, to stumble out into a night lit by a faint moon, joining in chants that carry over the nomad camps, in a call to come together and sing under the stars.

Shifting tectonic plates, as two island nations collide! London, UK resident Jackson Bailey aka TAPES, makes Jamaica-drenched lo-fi bass music, a forward-looking mix of dub, dancehall and electro roots channeled and filtered through old-school rhythm machines, synths, spring reverb and delay, recorded with glorious grit on cassette, sometimes in the red, tape hiss intact but somehow sounding bigger, better and beatier than it should, with a sweet analog patina. There's an aquatic feel here on this first full album from Bailey, a rich brew of deep and soulful sunny JA roots, hints of UK melancholy and Industrial smoke, even some icily funky NYC early Electro. With an old island soul and a new ear to the future, this first album from TAPES features six new tracks, plus ten other tracks previously issued on his own label and other labels, including Jahtari, in various formats, all gathered here, with new mixes, newly remastered. With a total running time of 43 minutes, these 16 tracks are available on CD and on double 45RPM 12" vinyl. UK, JA, NYC: all these letters, and more, spell TAPES!

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

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

This double CD set was originally released in honor of Pandit Pran Nath’s 84th birthday, November 3, 2002, and is the first recording of his singing on the Just Dreams label. CD 1 features a 1971 recording of a live performance of Raga Malkauns that was one of his most intense and powerful, although technically not so well recorded. CD 2 presents a 1976 studio performance of the same raga and the same compositions that is both well recorded and extremely masterful. Together in one release, the two performances provide a rare opportunity to study, compare and enjoy the range and expressiveness of this great raga and the breadth of musicianship evidenced by the renderings of Pandit Pran Nath.

Tetsuo Furudate has been working on projects including electronic music, films, videos creating time passages between old and new pieces, re-reading the past through re-appropriations. All his recent pieces can be watched or just listened to. it is also a cultural mix embracing all eastern and western cultures (from JS Bach to Merzbow). Here he recreates a borderless and timeless universe, where voices and pianos reach emotional moments of great depth. The whole is driven by Tetsuo who, by a continuous mixing, conceives these different pieces as an editor would a film made of borrowings images, archives material and unpublished fragments. The Nocturne, The Nightmare and a Fruit features Keiko Higuchi and Olga Magieres. Tetsuo Furudate was first the collaborator and friend of Zbigniew Karkowski in Japan, together they created some of the most radical but complex pieces under the name of World as Will (after Arthur Schopenhauer's book), some of which were rewritten for the Viennese Zeitkratzer Ensemble. Keiko Higuchi is above all a pianist and performer, linked to jazz and improvisation. She was revealed by Love Hotel (2008), her concerts are like real performances, she is considered as one of the most singular and impressive performing artists of her generation. Olga Magieres, Russian pianist living in Denmark, specializes in improvised music and the syntactic relationship of languages. She has already collaborated with Tetsuo in 2010 with Introduction Of Blue Of Noon, her first opus Piano and Poetry had been praised.

Futoshi Moriyama is an Osaka-based electronic music producer who began his musical career in the early 2000s improvised music hothouse of Osaka’s Shinsekai Bridge, an important venue for the “Kansai zero sedai” (Kansai Zero Generation), which sprang up in the wake of The Boredoms’ world-wide success. Kazuhisa Uchihashi was the axis of this Bridge scene; his workshops allowed a generation the freedom to develop their own voices. Moriyama’s early improvisational work often saw him using cheap samplers to surprising ends, but since then his work has moved in a more composed direction, while still investigating electronic sound. This particular release, which appeared initially in 2015 as a cassette on the Birdfriend label, run by Koshiro Hino (aka YPY), was a year in the making. All of the music was composed with software instruments, spurred by a desire to move beyond his previous work, and can be heard as a home-recorded orchestral music.

Takao‘s new album is a rare attempt to recreate a previously released album. He has re-recorded his debut album "Stealth" and presents it here as a completely new work. This is a 50-minute full-length album with two new tracks, "Moon" and "Seven Sands". This new "Stealth" is subtitled 'Gold Edition'. 

=From the 2018 album commentary= 
“Stealth” is the aptly-titled debut album from Tokyo-based composer/producer Takao. Gliding in under the radar with thirteen slyly sweet and subtle miniatures, these pieces are refreshing light-explosions of gentle harmony and modestly grand melodies. Fans of New Age and tonal minimalism will enjoy this music, but its brevity reveals a pop-influenced aesthetic as well, and the level of care and detail in the arrangements and recording evinces a nuanced, surprisingly mature sensibility. There’s a blossoming brightness and elegant simplicity that even calls to mind gentle ghosts of Satie and Debussy.

This work "The Apointed Cloud" was developed in 1987 as a large-scale sound installation, and despite being positioned as a representative work of Yoshi Wada, his activities are , It has never been reported to Japan.
Included here are a variety of pipe organ-style instruments, large-scale self-made instruments that combine huge metal plates and junk materials, in addition to installations that vibrate and be beaten under computer control. It is a live performance that announces the opening of the exhibition of works in which the artist participated. This is a very different content from the installation that was open to the public, and it is a one-time performance on November 8, 1987, which was handed down only by the invited guests who experienced this performance at that time and was half legendary.
Bagpipes by Yoshi Wada and other improvisational field artists, percussionist Michael Pagres, who co-starred with David Tudor and others at the Merce Cunningham Dance Company performance, and computer programs were created. At the same time, David Reina assisted the electronic sound in the performance of La Monte Young.

These 28 tracks, 72 minutes in total, cover a wide range of musical styles and eras, from the 60s to the present, urban to rural, primarily by Thai vocalists and musicians, with contributions from Japan and the Philippines. 60s-America-style pop by Suri Yamuhi and the Babylon Band as well as contemporary EDM, trap and hip hop sounds are all present, but the core of this soundtrack are luk thung and molam classics from the 70s and 80s by Angkhanang Khunchai, On-uma Singsiri, Dao Bandon, Khwanta Fasawang and “The Countryside is Great” by Rungphet Laemsing, a pivotal song in the film. All tracks are complete versions, some incorporating dialogue from the film. This CD-only OST features English lyrics, and liner notes by the film’s directors Katsuya Tomita and Toranosuke Aizawa, plus Iwao Yamazaki, Young-G and MMM of the Kuzok team, and Soi 48. This is the first soundtrack release by EM Records. 

TRACKS: 

01. Pai Tuktuk Dwai - DJ Pai Dwai 
02. Pai Massage Dwai - Young-G (stillichimiya/ Omiyuki CHANNEL) 
03. The Smell of Money - Suri Yamuhi & The Babylon Band 
04. You've Left Me Alone - Suri Yamuhi & The Babylon Band 
05. Porra - XXXSSS Tokyo 
06. Only Som Tam - On-uma Singsiri 
07. The Countryside is Great - Rungphet Laemsing 
08. Isan Radio 
09. Bong Ja Bong (Pipe, oh Pipe!) - Dao Bandon 
10. Burn! Burn! Burn! ~ Surfin' Dien Bien Phu - Suri Yamuhi & The Babylon Band 
11. I Will Buy You Back - Bar Nong Khai Band 
12. Samet Love - DJ Pai Dwai 
13. That Goddam Motorsai - Khwanta Fasawang 
14. The Stench of Night – from Chit Phumisak's poem - Surachai Jantimathawn 
15. Saramanda - DJ Pai Dwai 
16. Tamarind Leaf (molam) - Angkhanang Khunchai 
17. Bahn Swairon - Khun Narin's Electric Phin Band 
18. Khaen Whistle Reprise (JRP Tondo mix) - DJ Kensei feat. Tondo Tribe 
19. Vang Vieng Bank (Change Yen to Lao) OST mix - DJ Kensei 
20. Xieng Khouang's Daughter - Thong Boonma (lam), Le Boonma (khaen) 
21. Get Em - XLII 
22. Paun's House - Suri Yamuhi & The Babylon Band 
23. Xanadu - Young-G (stillichimiya/ Omiyuki CHANNEL) 
24. Kanom Party - Young-G (stillichimiya/ Omiyuki CHANNEL) 
25. The Song of an Angel - Suri Yamuhi & The Babylon Band 
26. Ying's Story - Subenja Pongkon 
27. Isan Lam Phloen - Angkhanang Khunchai & The Ubon Phatthana Band 
28. Full Moon (Atsani Phonlachan) - Yuzo Toyoda, Takeshi Yamamura 

“Absorb the pain and react smoothly… don’t become distracted by the white noise of possibilities… experience a flow-like state, even an Ultra Instinct” — Platinum Mike Perry The collection of instrumental piano-based pieces, Kirby says, is the outcome of “trying to accept the duality of the world, and through that find peace”. Though he recorded Conflict about a year ago, Kirby decided to spontaneously release it in response to the escalating global crisis, with the hope that it might help fortify the listener and induce inner calm.

The Caretaker is a dark ambient who has been making cross-border music under a number of names including The Stranger and V/Vm. The Caretaker is a dark ambient gentleman who has been making cross-border music under many names, including The Stranger and V/Vm, etc. The first half of the album, which was romantically sparkling with cheerful sampled melodies from pre-war SP discs, has been blown away, and the cruel noise sounds that are beyond decadence and collapse are exchanged. As time progresses, the darkness and depth deepen, and you can only sink into the face of this overwhelming music that is so isolated.

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work «Northern Stair Projection.» “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

Originally recorded and released in 1988, Nurse With Wound’s ambient opus was years ahead of its time, a ground-breaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months!
 
Originally a limited-edition three-album set housed in a handsome 12-inch gold and black foil embossed box, this new edition, a CD facsimile of the original vinyl set, contains the entire album plus 40 minutes of superb quality, previously unreleased music from the original sessions. A gold foil blocked cover and new parchment insert makes this one of United Jnana’s most elegant and desirable releases to date.

Ultra-positive consciousness from Afro-Caribbean London, circa 1979. Members of the legendary 20th Century Steel Band (one of Grand Master Flash's favourites) sailing Trinidad-wise over gratifyingly intricate African ritual rhythms. Strong vocals compliment reggae, funk, disco and soul influences to form a relentless groove machine. 

Steel an' Skin, a unit composed of young nightclub musicians born in Ghana, Nigeria, St. Kitts, Trinidad and the U.K., who once performed with Ginger Johnson's Afrikan Drummers, a highlife band under the tutelage of the late Ginger Johnson and played at Johnson's Iroko Country Club in Hampstead, London. Steel an' Skin began activities giving concerts and workshops in London schools, expanding nationwide to schools, prisons, psychiatric hospitals and summer festivals, including the world-famous Notting Hill Carnival. The group combined an admirably brave, open and unironic mix of musical forms with community outreach, non-cynical and untainted by preachiness or "social work." Good feelings from good hearts. 

This EM reissue consists of Steel an' Skin's 1979 debut 12 inch single "Reggae is Here Once Again", featuring "Afro Punk Reggae (Dub)", a fine disco-dub workout, plus some tracks from their 1984 recordings, as well as one unissued track.

Although Barton and his wife Priscilla McLean have had a long and distinguished history of LP and compact disc albums throughout their professional composer/performer career, this album is unique in that it is the first one to present, on one CD, such a broad and comprehensive picture of their purely electronic music, spanning 1975 through 2001. Interestingly, although their materials and equipment have changed, their ideas of musical composition are still basically the same, creating a unity throughout the CD.

Regarding the graphic score of "Song of the Nahuatl" which comprises the cover of this CD, Barton McLean and graphic artist Gary Pyle felt a need to explore the subconscious visual domain suggested by the sounds. The artistic rendering preserves dynamics, timing, relative high and low pitch areas, and textural/timbral aspects, while presenting a truly artistic expression in its own right.

To impart a sense of the meaning and composition of these works, along with offering a glimpse into the milieu in which they were created, the following excerpts are quoted here from Priscilla McLean's new autobiography "Hanging off the Edge: Revelations of a Modern Troubadour", published by iUniverse (New York, Lincoln, NE, Shanghai) and also available with corresponding CD, featuring excerpts of her music described in the book, at:
Throughout the time span of the works on this album, Priscilla McLean kept detailed journals of her experiences, forming the basis of her autobiography. These excerpts, abridged and slightly altered, are imbedded in the more specific program notes on each work below.
Book Excerpt: from HANGING OFF THE EDGE, pp. 149 - 159

1973 -1978: South Bend, Indiana to Austin, Texas:
In 1973, Indiana University at South Bend (where Barton McLean taught) ordered from the EMS Studios in London a Synthi-100 synthesizer and digital 256 sequencer, which comprised the first commercial digital sequencing capability in the USA. By 1971 we had also begun our own home studio, purchasing a new Arp 2600 Synthesizer and three reel-to-reel tape recorders: two two-channel half-track Revoxes and a four-channel quarter-track Sony, and borrowing from the college a small Synthi AKS Synthesizerムan update of the EMS Putney, with a ribbon keyboard and 256-note real-time sequencer.

When Bart introduced me to the new studio with the Synthi-100, I stared unbelievingly here was a huge synthesizer, along a whole wall, with hundreds of push-pins (a matrix setup for connecting sounds, rather than the old patch cords), and twenty-two oscillators! The Synthi-256 Digital Sequencer was a full-sized keyboard, standing alone diagonally to the analog synthesizer, but connected internally.
In that studio with the giant machines, one raced from one end of the room to another to play and record the sounds, never sitting down, and in removing unwanted noise or editing out a recorded section, the composer had to take a metal splicing block and sharp razor blade, and pressing down very hard, cut through the 1-inch wide acetate tape in two places, remove the unwanted time segment, and rejoin the two remaining ends with special splicing tapeノSo we three Bruce, Bart, and I worked all our spare time, alternating with each other, in the I.U.S.B. Studio. I spent whole days there, sometimes 22 hours long, working and working to get just the right sound-combinations and record them

The McLean Mix
[NOTE: The McLean Mix, composing/performing duo of Barton and Priscilla McLean, has toured worldwide since 1974, and annually since 1983.]
The McLean Mix was born on September 19, 1974, in our World Premiere concert at St. Mary's College, Notre Dame, Indiana. The faculty, of which I was an adjunct professor, was delighted when I offered to perform with Bart our new electronic music, consisting of Gone Bananas by Bart, as he soloed on the Arp 2600. This was a light piece, and ended with Bart, having set the synthesizer to play the music by itself on its sample and hold controller, sitting on the edge of the stage eating a banana! Second was my Night Images six-minute stereo tape work. Next came my "Dance of Dawn", 22 minutes long. We finished the evening with a jazzy piece by Bart called Groove, which had us jamming on two synthesizers the Arp 2600 for me, and Bart on the Synthi AKS. These early live-performance compositions suffered the demise of all such pieces of the period, but fascinated the audience at the time they who had never heard any live electronic music. The works for stereo tape lived on, however.

"During the halcyon days of the 70's, when all electronic music was enthusiastically received and the audiences large and eager, an album produced out of this concert (CRI SD 335 with Priscilla's "Dance of Dawn" and Barton's "Spirals") garnered a dozen reviews from all over America, and the composers were looked upon as courageous explorers into a vast musical continent unknown and beckoning.

In August of 1976 we moved to Austin, Texas. After the Synthi-100 was removed from the Indiana University, South Bend Electronic Music Studio in 1974, we were left with its digital sequencer, a small ElectroComp 101 Synthesizer, the mini-synthesizer Synthi AKS, and the tape recorders and mixer. This wasn't enough to continue any quality work, so we added our own home studio equipment, and turned back to manipulating found soundsムsteak knives bouncing on violin strings, tennis balls on the piano harp, banging pots and pans, etc. All of these sounds in addition to ones from the synthesizers and sequencer I used in my next major electronic piece, "Invisible Chariots". Because of the unwieldiness of the musique concrete (recorded, not synthesized, sounds) medium, composing the piece was glacially slow.

For instance, the first sound is a scrape up a bass piano string with a metal bar. I wanted the echo from the piano to last over thirty seconds, so I had to record it onto a master tape, then re-record the echo from this tape to each of four channels of another tape recorder, recording each successive one a few seconds ahead of the last one, over and over, until thirty seconds evolved. Then I combined the beginning piano flourish, recorded at home, with a similar keyboard flourish created on the Arp 2600 Synthesizer and performed, playing (forwards and backwards) on the Synthi 256 Sequencer. Much more was involved to complete this complex beginning sound, and two months of time for thirty seconds of music!
After lying low since our performance in the old UT electronic music studio a few weeks after we arrived in Austin in 1976, The McLean Mix was revived and had several engagements the spring of 1979. This included Bart's new electronic piece "Song of the Nahuatl", finishing with my "Invisible Chariots", with all three movements. This varied according to the audience and schedule. [end of paraphrased excerpt] 

Baan Yen Laken is a leading figure who has built up the existence of a female mass idol Mor lam in the heyday, and is a superstar who has been the goal of many singers including Ankanan and Hong Thong since the latter half of the 1960s. Discovered by Isan's big-name producer, Tape Pubut, she has an urban mor lam that was one of the first to incorporate Western music, and destroyed traditional mor lam entertainment with flashy costumes and bewitching stage productions. The state of (* meaning of development and development in Thai) that foresaw this era was criticized at that time, but the influence that it became more enthusiastic and became the mainstream of the present age is immeasurable.

She was supported not only by her cuteness and flashiness, but also by her debut in an era when good and bad songs were the first priority, and she was sung by legendary Morlam singers. Because he was a talented singer who fascinated him. That should be it, Baan Yen's singing ability learned under Morlam's classic apprenticeship is with origami. He is now one of the leading singers in the country (he has also performed at Thai festivals in Japan).

This time, she compiled the most violent 70's innovative Morlam & Luk Thung works, and distributed them in a well-balanced manner from flashy and up-to-date songs to moist and astringent songs. It is a "listening" best compilation album that focuses on the innate talent of Baan Yen, the skill of singing. Soi48, of course, for song selection, commentary, and binding!

Come join EM Records on another of their spatio-temporal musical journeys. This time, we're off to Madras, 1969 to hear legendary south Indian film music composer/director, T. K. Ramamoorthy's prescient Fabulous Notes And Beats Of The Indian Carnatic - Jazz, a daring fusion of Carnatic music and jazz. Although jazz musicians had been using Indian elements before this time, Fabulous Notes was the first recording in which accomplished Indian musicians adopted jazz elements. And these are accomplished musicians indeed -- veterans of the demanding Indian film music studios, trained in the strict discipline of the traditional Carnatic system, led by the visionary Ramamoorthy, a legendary composer who collaborated with M. S. Viswanathan in providing soundtracks for more than 700 films. The music here is a true Indian music, adhering to traditional Carnatic ragas with their varying ascending and descending modes, using a wide range of Indian instruments in an appealing fusion with jazz instruments, ideas and rhythms. The result is not a slavish imitation of modish Western styles, but a stimulating and surprising new entity; fans of later Ethio-jazz may well experience a frisson of familiarity at certain moments when listening to these recordings. Famed composer Ramamoorthy is also a masterful arranger and orchestrator, giving us surprising vistas of timbre, allowing instruments to come to the fore, supported in appealing combinations. But the true heart of both Carnatic music and jazz is improvisation, and T.K.R. allows these fine players space within relatively brief moments to make their own statements within the ragas, as detailed in the liner notes accompanying this reissue. What we hear is a new meeting of worlds, both sharing a respect for the primacy of improvisation, a love for the intricacies of ensemble-playing, and a fine understanding of the power of propulsive yet sophisticated rhythms. Fabulous Notes reveals a true Indian music, not merely Occidental music with hints of Indo-spice. We can picture the recording sessions, with the musicians seated on the floor of the studio, Indian musicians playing Indian music, playing jazz, playing Fabulous Notes And Beats Of The Indian Carnatic - Jazz. Indian instruments include: veena, gotuvadyam, flute, tabla tharang, tape, conch, ghatam, mridangam, chandai & sudha madhalam, tabla, jalra and bul bul thara, and Western instruments include: bass clarinet, saxophone, piano, guitar, double bass, trumpet, drums and bongos.

Originally released in 1978, Music By William Eaton is a private-press album from the accomplished experimental stringed instrument builder. The atmospheric recording techniques, mixed with a hint of Fahey/Takoma-lineage make for a listening experience akin to the mountainscape drawing represented on the album cover. The experience may seem simple at first, but like any great trip in nature, new details consistently reveal themselves upon each listen.

“When I started building instruments, playing guitar took on a whole new dimension. From the conception to the birth of each instrument, new layers of meaning unfolded. Cycles, connections and interdependencies became apparent as I contemplated the growth of trees from seed to old age, and the transformation from raw wood to the building of a musical instrument. I sought out quiet natural environments to play and listen to the “voice” of my 6 string, 12 string, 26 string (Elesion Harmonium) and double neck quadraphonic electric guitar. Deep canyons contained a beautiful resonant quality and echo. A starlit night with a full moon provided all the reflection and endless space by which to project music into the cosmos. The sound of a bubbling stream and singing birds added a natural symphonic tapestry to a melody or chord pattern. As I perceived it, everything was participating in a serendipitous dance. Everything was part of the music.

During this time, I decided to record an instrumental album of music. The idea was simple; it would be a series of tone poems with no titles or any information attached, only the words ‘Music by William Eaton.’ While some of the songs evolved out of composed chord progressions, most of the songs were played spontaneously, only on the occasion of the recording. These improvised songs haven’t been played since.” -- William Eaton

We've got a bit of an obsession with Hozan Yamamoto here at Mr Bongo! A legend of Japanese jazz, he is rightly regarded as a true master and was recognised as a "living national treasure" by the Japanese government in 2002. Over five decades he pushed the genre into new directions, absorbing fusion, funk, spiritual jazz and many other sounds, resulting in a discography studded with gems of rare beauty. Exploring his back catalogue has taken us on an engrossing journey that now sees us reissuing another work from this ground-breaking musician. Though not translating perfectly into English 'Akuma Ga Kitarite Fue Wo Fuku', (kitarite has not been a modern expression in Japanese) roughly means 'The Devil Comes Playing The Flute' / 'The Devil Is Coming While Blowing The Whistle' or 'Devils Flute’. It is the original soundtrack to Kôsei Saitô’s 1979 mystery and suspense movie, ‘Devil’s Flute’. The film is based on a story by the famous author, Seishi Yokomizo, and is centred around a much-loved fictional Japanese detective, Kosuke Kindaichi. A Japanese Sherlock Holmes that has been popular for generations. Hozan Yamamoto was invited to compose the soundtrack directly by the producer of the film, Haruki Kadokawa. Mr Kadokawa also hired keyboard player and producer Yu Imai as an assistant producer on the project, resulting in a stunning cosmic, breaks and beats-laden, funk, disco soundtrack extravaganza. When it comes to the soundtrack and the technology of the time, Hozan Yamamoto and Yu Imai got inventive, tripped out, funked up, and experimented, creating a quirky soundtrack masterpiece that needed to be heard more outside of Japan. Differing from the more traditional Japanese music orientation of some of his other albums such as 'Beautiful Bamboo-Flute' (also released on Mr Bongo) the album showcases a number of genres, from lush atmospheric incidental music to disco and funk grooves, experimental nuggets, drum and flute workouts, to neo-classical and more. A special record that showcases the further depths of this wonderful musician's talents.

Bleep's "100 Tracks 2019" includes Bogdan Raczynski, 808 State, etc. New York's up-and-coming producer Significant Other, who has also worked with Oscilla Sound and anno, released new album. D. Bola, Jay Glass Dubs, Spectre, and even Rob Hall meld together uneasily in his theme of emotions "born from moments of extreme passion and pain". This is a gloomy, meditative IDM/industrial ambient piece that will appeal to anyone who is drawn to the atmosphere around Hype Williams!

John Levy, a London ethnomusicologist and devotee of Tibetan Buddhism who recorded both sacred and secular music on Nagra stereo, left this masterpiece in the mid-1970s for Lyrichord, a prestigious American label with a catalog of recordings of traditional music from around the world. This work is the second part of Levy's entire project to capture not only the sacred music of the Tibetan rituals in the small South Asian country of Bhutan, but also all indigenous folk music. This fully remastered traditional folk/instrumental album features Tibetan and Bhutanese lute and fiddle playing, beautiful folk songs, and some of the yaks and Tibetan-originated dramas of Eastern Bhutan. This is truly a selection of 20 authentic blues songs from the top of the world.

Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English.

A1. Culto Solar - In Altepetl Tonal / A2. Suite Al Culto Solar - Xochiyaoyoloh / A3. Suite Al Culto Solar - Ketzalkoatl Yauh Miktlan / B1. Ipan In Xiktli Metztli

Luis Pérez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of the pre-Columbian instrumentation of Mesoamerica. This research allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico. He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more.

His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old. He continuously utilises these instruments in performances, concerts, lectures, exhibitions, and recordings, keeping them alive.

‘El Ombligo de la Luna’ delves deep into the past but also exists entirely outside of time, as Luis Pérez ‘Ixoneztli’’s offering to the world – the soul of Mexico channeled through the hands and heart of a master musician.

Huge thanks to Carlos Niño for his assistance on this very special project. Copy adapted from original copy written and supplied by Jesse Peterson (2017), used with thanks. Licensed directly from Luis Pérez.