MUSIC

Une pièce nue, trois nuits dans le studio de Salif Keita. Sissoko et Segal ont chassé de leur esprit tout ce qui peut éloigner un musicien de son art pour se concentrer sur l’essentiel : l’entrelacement de leurs chants intérieurs.

One bare room, three recording sessions in Salif Keita's studio. Sissoko and Segal chased out of their minds everything that can distance a musician from his art to concentrate on the essence: the interlacing of their inner song.

French guitarist Mischa Fitzgerald Michel, who studied under Jim Hall, covers the genius SSW Nick Drake, who died young, on this 2012 release. A hidden masterpiece revived in the modern era with unparalleled beauty, refined harmonies and proper interpretation.

A short story published in 2013 by Haruki Murakami, a writer with a passionate fan base all over the world, was adapted into a film directed by Ryusuke Hamaguchi, who has been called the best young director in the Japanese film industry. Drive My Car. The soundtrack for this film was created by Eiko Ishibashi, a musician based in Japan who has released works on overseas labels, toured and performed at festivals in Europe and other countries, and created music for the Art Gallery of New South Wales in Sydney. This is the long-awaited analog version of the original soundtrack by Ryusuke Hamaguchi and Eiko Ishibashi, two people who were destined to encounter each other. This is a must-have item for fans. Ten pieces of music unleashed from two melodies. The music written for the film has been newly constructed as a single musical work. Jim O'Rourke, Tatsuhisa Yamamoto, Marty Holoubek, Toshiaki Sudo, and Atsuko Hatano, all of whom have worked with Ishibashi on original works in the past, participated in this project, creating a wonderful fusion of live acoustic music, electronics, and environmental sounds used in the film. The album was mixed and mastered by Jim O'Rourke, the jacket was designed by Yutaka Kimura (Central67) who has worked on many of Ishibashi's works, and the jacket illustration was drawn by Mayo Akao based on the visuals of the film. The jacket illustration was drawn by Mayo Akao based on the film's visuals. This is a masterpiece that shines with the film.

A collection of non-album singles, tracks recorded for compilations, and new material.

Track 1 For Tom Carter compilation on Deserted Village, 2013
Track 2 Strange Eden cassette comp on Independent Woman, 2019
Tracks 3 - 6 I Dischi Del Barone 7”, 2018
Track 7 Lullabies For Sleepless People In A Tired World cassette comp on Kashual Plastik, 2021
Tracks 8 - 10 unreleased
Tracks 11 - 14 Chemical Imbalance 7”, 2020
Track 15 lathe cut on Epic Sweep, 2011

All songs written by Maxine Funke. Front cover painting is a portrait of Mrs Thomas Pavletich (née Ann Connell) reference 4A15, collection of Toitū Otago Settlers Museum. Used by kind permission of Toitū Otago Settlers Museum. Layout by Studio Tape-Echo. Compiled by Disciples. This is DISC17.

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

Also known as the leader of the jazz trio Inga, Sam Gendel is an L.A. saxophonist who has developed a free and unique sound that has been described as psychedelic, outsider, and meditative, and Shin Sasakubo is a Chichibu-based guitarist. A new album by the duo of Sam Gendel, an up-and-coming saxophonist from LA, and Shin Sasakubo, an uncanny guitarist based in Chichibu, who is also active as a photographer and contemporary artist. The two showed great chemistry in Shin Sasakubo's previous work "CHICHIBU", which has become a hot topic in many places. On this album, Sam Gendel plays on the A-side and Shin Sasakubo plays solo on the B-side, and they feature each other on the final track of each side. The music was recorded in LA and Chichibu during the Corona disaster, and the result is a quiet work with an intimate atmosphere. The release is from Cafe Carne, a cafe in Chichibu where Shin Sasakubo also frequents. The impressive artwork is by Eri Masuko, a popular illustrator who also worked on the Cafe Carne logo.

(LP / 180g / Tip-on jacket / limited to 200 copies)

■ TRACK LIST

SIDE A (SAM GENDEL)
01 IN THE DUNES
02 REEDS
03 PENSIVE FROG
04 PIPE
05 COPYEXERCISE

SIDE B (SHIN SASAKUBO)
01 CARNET
02 OPUS
03 FONTAINEBLEAU
04 HUMAN LOOPER
05 NADJA

Shin Otowa, is a legendary Japanese psychedelic musician who is coveted by psychedelic enthusiasts around the world.
Makoto Kubota and the Sunset Sunset Orchestra participated in the release of his acid masterpiece "Wasuretami" (self-produced in 1974) on LP for the first time in 48 years!

Self-produced album (1974) by a singer/songwriter known for having contributed lyrics to Makoto Kubota's first solo album "Machiboke" (1973).
Makoto Kubota, who made full use of his 12-string guitar and contributed so much to the overall sound that it could be said that he almost produced the album, Yoma Fujita, who created a fantastic space with his slide guitar, and Takashi Onzo, who played the bass guitar in a lighthearted and eerie manner. The members of the Yuyake Gakudan (Sunset Sunset Band), including Makoto Kubota, who contributed to the overall sound, Yoma Fujita, who creates a fantastic space with his slide guitar, and Takashi Onzo, who plays a nice and light bass, all played on this simple but richly expanded world of Otowa's songs, inviting our consciousness into a world that extends far "beyond", but gives a mysterious sense of peacefulness. In other words, it is a masterpiece of acid folk. In this era of rock, this album is a pure and miraculous album of intense rock that abandons any superficial rock sound in order to be rock. Therefore, it has been enthusiastically supported by psychedelic enthusiasts around the world and has been talked about for a long time in Japan, although only a small portion of the Japanese public has heard of it. In 1976, just after the release of this album, Otowa suddenly left for Ibiza, Spain, and is said to have returned to Japan in the mid-1980s.

The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva 1980s albums. 

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. 

Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. 

It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’. 

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Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. 

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process. 

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves [which] gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism. 

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.” 

A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism. 

Matthew Halsall announces The Temple Within – a four track EP on 12", CD, DL and streaming When Matthew Halsall released Salute to the Sun in November 2020, his first new album in five years, he shared the first fruits from an especially fertile period of writing and recording, which also gave birth to the music released here as The Temple Within. The recording sessions featured Halsall's then brand new band of hand-picked local musicians, brought together through weekly rehearsals and a monthly residency at Yes in Manchester, they forged an immersive, communal sound, drawing on spiritual jazz, the heritage of British jazz and progressive world music and electronica influences. Inspired by these monthly sessions, together, they created a body of music that is rooted in Northern England but draws on global inspirations. For Halsall the music on The Temple Within perfectly captures the spirit of those sessions. "I felt really excited by the connection that we were building, both together as a band, but also with the local community. People of all ages and types come to our monthly sessions and the energy of being able to write and rehearse and then perform new music each month is really uplifting. And this music is a perfect case in point. To me it really feels like a perfect pocket of music, a perfect moment. We thought about expanding it to an album, but in the end if just feels right as it is, and we wanted to share that energy of that moment with our wider community, not just people at our shows, but our fans and listeners around the world." The title track, and first single 'The Temple Within' is a darker, heavier tune than anything on Salute to the Sun and has become a firm part of the band's live shows. The enigmatic title is taken from a quote by Alice Coltrane and expands on the idea that your spiritual space is within yourself and not the bricks and mortar of a church or monastery or Ashram. The hard-grooving Earth Fire features beautiful flute work from Matt Cliffe and inspired drums from Alan Taylor, and offers a emotional response to the horrendous bush fires that ravaged Australia. The Eleventh Hour is another dark-toned "banger" with a late-night vibe and with its incessant groove and fiery solos is another track to have found a regular place in the band's sets. Finally, A Japanese Garden in Ethiopia takes it unique flavour from both musical cultures and is one of Halsall's most beautiful wistful compositions. The Temple Within features Matthew Halsall trumpet and electronics, Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Gavin Barras, bass, Alan Taylor drums and Jack McCarthy percussion. The Temple Within is produced by Matthew Halsall and Daniel Halsall, recorded by Matthew Halsall, mixed by Greg Freeman, mastered by Peter Beckmann of Technology Works and vinyl cut by Norman Nitzsche at Calyx. The distinctive artwork is by Ian Anderson of The Designers Republic, Join us on this beautiful journey to The Temple Within, the latest chapter in Halsall's ongoing musical voyage of discovery.

Gustavo Yashimura-Arce comes from humble origins in the Ayacucho region of the Peruvian Andes. He started playing guitar in 1987 and 2 years later he travelled to Montevideo in Uruguay to study music at La Casa de la Guitarra. After spending some years playing classical guitar in Japan, Gustavo returned to Peru in 2004 and began his intense studies of the Andean guitar styles of the Ayacucho region. Later, in 2008 he found the perfect teacher – 80 year old veteran guitarist Don Alberto Juscamaita Gastelú, known locally as Rahtako. Through Don Alberto, Gustavo was able to learn songs and styles from across the Andes, though the main focus remained on the traditional styles of the Ayacucho region. The Ayacucho Province of Peru is mountainous and remote and mainly populated by indigenous people of Quechuan descent, with the main language remaining Quechua, or Runasimi ('the People's Language'). The Quechuan people of the Andes remained resistant to Spanish colonisation and fierce in their preservation of their culture but on this album you will hear one of those strange, hybrid artefacts that can arise when cultures meet. The Spanish guitar was taken by the Quechuan people of the Ayacucho region and employed as a new means to convey their traditional music. The melodies you hear are versions of the traditional Huayno melodies usually played on harps, Andean pipes, charango and mandolin. Gustavo is joined by Luis Sulca Galindo on second guitar and Greys Berrocal Huaya on vocals on 4 tracks on the album. We've been extremely happy to work with Henkel Bellido (Sounds of the Andes) to bring this beautiful music to light.

After a small nap, Tokyo’s finest Studio Mule is back on the scene, bringing the world some deeply composed guitar music from Japan, crafted by Shin Sasakubo. Since almost 20 years the guitarist is specialized in classic and contemporary Andean and Peruvian music. a knowledge that he deepened through a three-year stint in Peru between 2004 and 2007. During his time in Latin America, he played live in Argentina, Chile, or Bolivia and researched in the works of Peruvian novelist, poet, and anthropologist José María Ar-Guedas, as Shin Sasakubo’s take on art is not one-dimensional. He also loves movies, painting, photography, writing, and theater - artforms that con-stantly influence his music on many different layers. since his return to his hometown Chichibu City in the japanese Saitama Prefecture, he launched the "Chichibu Avant-Garde School”, a college that looks through art and lectures on the Chichibu region, and his en-vironmental and folkloristic history. As sincerely driven composer, he released three guitar leaning albums in the past ten years. his latest sensation “Chichibu”, originally only released in Japan, now travels the globe via Studio Mule, making his fantastique listening voyage available for all those souls that seek joy through the sound of guitar strings.

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.

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

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

Alison Statton of Young Marble Giants, an avant-garde / indie pioneer in Wales, has established himself as a masterpiece released from the prestigious Rough Trade in 1982, a band formed with guitarists Simon Booth and Spike. The debut album "La Varieté" has been completely remastered from And is a happy reissue! !! This work is a bold work that breaks the flow of post-punk by incorporating various elements such as bossa nova, afrobeat, and truly original contemporary exotic pop based on jazz! A masterpiece of Neo-acoustic that was highly evaluated by critics at the time of its release and had a great influence on Saint Etienne and Belle and Sebastian, who later became active in the indie world! !! Clear vinyl specifications. Limited to 500 copies.

Songs 9, 11, 12, 13 by Myriam Gendron; 1 by John Jacob Niles; 8 by John Jacob Niles / Myriam Gendron. All other selections: traditional revived by Myriam Gendron. Recorded at home, early 2021. Mixed by Myriam Gendron & Tonio Morin-Vargas. Produced by Myriam Gendron, Eric Villeneuve & Tonio Morin-Vargas. Mastering by Harris Newman at Grey Market Mastering. Chansons 9, 11, 12, 13 par Myriam Gendron ; 1 par John Jacob Niles ; 8 par John Jacob Niles / Myriam Gendron. Toutes les autres pièces : traditionnelles ravivées par Myriam Gendron. Enregistré à la maison au début de 2021. Mixé par Myriam Gendron & Tonio Morin-Vargas. Réalisé par Myriam Gendron, Eric Villeneuve & Tonio Morin-Vargas. Matriçage par Harris Newman chez Grey Market Mastering.

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.

180-gram reissue of John Fahey's 1972 major-label debut. "In the liner notes for this wonderful disc, sideman Chris Darrow comments, 'I remember the first time I ever heard him, I thought they'd turned the record from 45 to 33 or something, 'cause I couldn't believe how slow he played.' One of the (many) great beauties in Fahey's approach is just that: he takes his time and savors every last resonance he can wring from his guitar. This 1972 release was his first for a major label (originally on Reprise) after more than a decade of issuing work privately or on small imprints, and also the first instance of Fahey having access to a large ensemble of musicians, including a brass and string section. Still, the extra players don't come close to swamping the session; Fahey is very much in the foreground and a number of the pieces read, essentially, as solo performances. It opens with 'Steamboat Gwine 'Round de Bend,' as gorgeous an example of Fahey's slide guitar work as he ever recorded, languid, soulful, and profound. Similarly, his medley of 'Deep River' and 'Ol' Man River' is steeped in Delta humidity, lazily floating downstream. The tracks with the brass band raise the ghosts of Dixieland, while some of the string accompaniment may recall Van Morrison. In any event, Fahey, major label or not, is simply himself, leisurely rolling along, sharply perceptive in his observations and sumptuously gorgeous in his evocations. A fine effort and certainly something that belongs on the shelves of any fan of the late, very great guitarist." --Brian Olewnick, AllMusic

Rooms With Walls and Windows is the first album by Seattle-by-way-of-Chicago-by-way-of-Buffalo singer, songwriter & guitarist Julie Byrne. Blending psychedelic & traditional folk elements, Julie Byrne creates a highly personal & quietly mystical world that echoes the early work of Leonard Cohen & Vashti Bunyan. Rooms With Walls and Windows' twelve tracks were collected from two limited edition cassette releases, recorded between 2011 & 2012 by Jake Acosta in Chicago, IL. Each song was recorded live, with Julie accompanying herself on fingerpicked acoustic guitar or keyboard. Rooms With Walls & Windows was lovingly remastered for vinyl by Owen Ashworth & Matthew Barnhart.

Mike Hanapi (1898-1958), a famous steel guitarist and vocalist from Honolulu, Hawaii, left behind one of the greatest collections of pre-war Hawaiian music in the 20th century with his Kalama's Quartet. This is the long awaited analog reissue of the original 78rpm disc with remastering! This is a miraculous reissue of a number of recordings that have never before been reissued in any format. Gorgeous falsetto voice with a bottomlessly beautiful clarity and presence, and harmonious voice with a backing band as rich as a lonely yodel. Purely acoustic instruments such as lap steel guitar, ukulele, and harp guitar are gently woven into the vocal melodies, creating fluid, harmonious layers and hauntingly beautiful blue notes. This is truly peaceful, serene, and unique music. Reverse board jacket, 8-page full-size booklet with biography, rare photos, and full lyrics in Hawaiian and English.

Kazuo Imai is one of the few artists to traverse both Japan's early avant-garde and free jazz movements. Though he began performing in the 1970's, his 2004 P.S.F. album "far and wee" was only the second under his name. In a series of thrilling acoustic guitar improvisations - Imai's playing crackles with dynamic tension and physicality as well as a subtlety and nuance that reveals him as one of the instrument's true masters and innovators. Newly mixed and remastered under Imai's supervision, available for the first time ever on LP. Pressed to high quality vinyl at RTI and housed in heavy Stoughton "tip-on" jacket with laminate gloss finish and additional insert. Originally released on CD in 2004 by P.S.F. Records, Japan.

Music From Memory are excited to present a special release with The Zenmenn in the shape of a limited 7” containing 2 tracks taken from the same recording sessions that resulted in their debut album 'Enter The Zenmenn' from 2021. About MFM057 The Zenmenn say: “Bella Fantasia and Topaz 2 are two uncut gems that we couldn't quite fit on the record. In the last couple of days before the deadline, we were tripping a little bit that Topaz was no good, so we tried to do it in a different way and came out with this more melancholy vocal version, looking back at the small moments from a past relationship that somehow slipped away. We kept both versions in the collection.” “For Bella Fantasia we were finding it funny to have this vocal using Ben's extremely limited Italian vocabulary, but after a while of it being a joke, it slowly settled into just being what it is. An angelic female voice seemed like it would fit in well, so we called up our dear friend Kari K and she flew in on gossamer wings to take care of the job like a real professional sent directly from beyond the pearly gates. In the final seconds of the song, much like Indiana Jones reaching back in the nick of time to snatch his hat from beneath the closing temple door, Magnus heroically managed to squeeze in a quick reference to the late great George Michael – R.I.P. Hopefully his estate never finds out about this.”

Curious, eccentric pop experiments, steeped in the melody of the Far Eastern tradition. Strange, hypnotic incantation and another winner on The Trilogy Tapes!

The goddess of British folk mythology, Vashti Bunyan's first self-produced and final album.
It's been 9 years since the previous work Lookaftering. When she was recording alone, which she liked, she produced most of the work herself, trying to return to the state before the release of the masterpiece "Just Another Diamond Day". Therefore, it seems that this production time was necessary, but Vashti Bunyan. All the sounds that come out are Vashti Bunyan. The warm singing voice and the world of poetry, the simplicity of the performance packed with it, is a crystal that no one else can create... The artwork is produced by her daughter Whyn Lewis following the previous work Lookaftering. It is said that it is paired with Lookaftering.