MUSIC

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

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

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

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

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

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

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

The culmination of Glenn Gould's interpretation of Bach.
Limited Edition] Analog / 90th anniversary of Glenn Gould's birth and 40th anniversary of his death Special Edition / Japan Original Edition
The debut album "Goldberg Variations" was released in January 1956 and made the young Glenn Gould's name famous all over the world. The last album released before his death, "Goldberg Variations," was released in September 1982, about a month before Gould's death. This work frames Gould's life like a closing circle, and is indispensable in considering his unique music. When we think of Gould, we think of Goldberg, and vice versa.
The fourth in a special series of six analog reissues of four different performances of that important work is a re-recording that was recorded over a period of ten days in April and May of 1981. The performance time is over 51 minutes, 13 minutes longer than the 1955 version, and the tempo continuity of each variation has been redefined, making this the ultimate performance in which every note has been thoroughly examined. 2000 DSD remastering is scheduled for cutting at Sony Music Nogizaka Studio in Japan. The gatefold jacket of the first U.S. release, IM 37779, is reproduced.

Robin Carolan’s latest soundtrack for Robert Eggers’ highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself. With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic. Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack’s eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity. Carolan’s inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score’s otherworldly tone.   Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan’s artistry and the enduring power of collaboration.

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

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

Dive into the evocative soundscapes of the past with the first ever vinyl reissue of Piero Umiliani's 1972 library masterpiece, "Guerra E Distruzione." Known for his innovative and genre-defying compositions, Umiliani's work on this album encapsulates the raw emotions and tumultuous energies of war and destruction through a unique blend of orchestral finesse and experimental brilliance. This exclusive reissue has been remastered for vinyl by Davide "Bassi Maestro" Bassi to capture the full depth and richness of the original recordings, bringing to life every nuanced note and intricate layer. Presented in a stunning gatefold jacket with opening in the inside, replicating the original pressing, the album's artwork is a tribute to its historical significance and artistic value, offering fans and collectors a visual and auditory feast. Limited to just 500 copies, this release is a rare gem for connoisseurs of library music, soundtrack enthusiasts, and vinyl aficionados. Immerse yourself in the hauntingly beautiful and profoundly stirring world of "Guerra E Distruzione," a timeless work that stands as a testament to Piero Umiliani's enduring legacy in the realm of cinematic soundscapes.

Glenn Gould's great starting point is now available in Japan in analog form from monaural masters for the first time in 57 years.
Limited Edition] Analog / 180 gram weight vinyl version.
The debut album "Goldberg Variations" was released in January 1956 and made the young Glenn Gould's name known worldwide. The last album released before his death, "Goldberg Variations," was released in September 1982, about a month before Gould's death. This work frames Gould's life like a closing circle, and is indispensable in considering his unique music. When we think of Gould, we think of Goldberg, and vice versa.
The first of a special series of six analog reissues of four different performances of this important work is the debut recording, made over four days in June 1955. It is the most successful classical music album of all time and an icon in recording history. It was cut at Sony Music Nogizaka Studio in Japan, based on high-resolution recordings carefully transferred from the original monaural masters, which were never released out of the gate.

Many still see Louis Cole foremost as a drummer. nothing, Cole's fifth album and his third on Brainfeeder – released on 9th August 2024 – is bound to change that impression. Collaborating with the Metropole Orkest and Jules Buckley, he rejected the well-trodden path to orchestral renditions of his greatest hits and instead opted to compose a suite of brand new music for this project – bigger, bolder, and more expansive than ever. Yes, there are nods to his GRAMMY-nominated 2022 album Quality Over Opinion, but 15 of the 17 tracks included here are brand new. This is jazz. This is classical music. It's got that funk. You'll hear synths and loops. You'll hear a band and live drumming. There's a world class orchestra playing. Some pieces are ultra concise, whereas the sprawling ‘Doesn’t Matter’ surpasses the ten minute mark. To Cole, jazz has always been the one place where you can really let go of all expectations – on nothing, he is putting the music where his mouth is.

The Metropole Orkest proved to be the ideal partner for this endeavor. Over the course of its 80 year history, it has worked with legends like Ella Fitzgerald, Pat Metheny, and Herbie Hancock – exactly the kind of border-crossing mentality Cole was looking for. Add into the equation the conductor, arranger, curator and composer Jules Buckley and this really is a triple threat of epic proportions. Buckley is a unique and rare breed of artist – a GRAMMY winner who has redefined the rulebook of orchestral music and the role of a conductor.

Together, the ensemble embarked on a multi-date sold-out tour through Europe with the 50-piece orchestra, Cole's band, as well as guest stars like his long-time creative partner Genevieve Artadi. With the exception of a few vocal re-recordings and instrumental overdubs, everything you'll hear on nothing was culled from these ecstatic live dates.

This is remarkable because, almost until the very end, nothing was not actually an album. It was a collaboration, a series of concerts, a cross-over between two worlds. Cole had been eagerly waiting for an opportunity like this for years. His father had been a big classical music fan and as a kid, he'd absorbed a lot of that. Once he got the call to work on a project involving an orchestra, he instantly “went hard” with the writing. The finished recording encompasses 17 tracks and stretches across more than an hour of music – and still, a few more tracks had to be left on the cutting room floor.

Cole was looking for something very specific. The challenge was to create music that had a deep emotional impact, while also being really simple and straight-forward. Already at the earliest stages of his orchestral ambitions, he had tried and failed to achieve this ideal. It would remain an obsession for years. Even when nothing was still a live project, it didn't seem like he would be able to pull it off. And then, at the very last minute, Louis decided to give it one more go. One night, he sat down at the keyboard and instantly realised: “This is it!” He struck on the ideas and themes which would become the pivotal title track of the album.

Just as with many of the orchestral pieces, there was a clear vision of the feeling and the sound he was looking for. For “Ludovici Cole Est Frigus”, he based everything on a 30-40 chord progression at a pace of “one chord at a time”. Then, he went back in with the pencil tool and Logic, finding and weaving together little melodies. It was a slow, assiduous process. But working with an outside arranger was never an option: “It was the only way I was ever going to be happy with the results. This is my pure vision. It doesn't get blended in or mixed with anyone else's.”

Having already written and arranged the suite, Cole is also very proud of the mixing, an epic task in its own right. For a full nine months, he selected the best takes, tweaked the sonic balance and adjusted frequencies until the orchestral parts really shone. “I was sad when the mixing was over,” he laughs, “Sometimes, when I'm mixing my own solo stuff, I'll feel like a song needs a little magical dust. But mixing an entire orchestra and your own rhythm section, there's so much human energy! You don't have to add any magic. It was there the whole time.”

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

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

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

Compilation of our favorite Arvo Part pieces. All sparse and beautiful arrangements. Some solo piano pieces, some duets with piano, violin cello and viola and one string quartet. The pieces on this record are all unique to the style of Arvo Part – deceptively simple compositions that force you to live in the moment you are listening to them. A Part quote from the back of the record – “You can kill people with sound. And if you can kill, then maybe there is also the sound that is opposite of killing. And the distance between these two points is very big. And you are free—you can choose. In art everything is possible, but everything is not necessary.”

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

Many still see Louis Cole foremost as a drummer. nothing, Cole's fifth album and his third on Brainfeeder – released on 9th August 2024 – is bound to change that impression. Collaborating with the Metropole Orkest and Jules Buckley, he rejected the well-trodden path to orchestral renditions of his greatest hits and instead opted to compose a suite of brand new music for this project – bigger, bolder, and more expansive than ever. Yes, there are nods to his GRAMMY-nominated 2022 album Quality Over Opinion, but 15 of the 17 tracks included here are brand new. This is jazz. This is classical music. It's got that funk. You'll hear synths and loops. You'll hear a band and live drumming. There's a world class orchestra playing. Some pieces are ultra concise, whereas the sprawling ‘Doesn’t Matter’ surpasses the ten minute mark. To Cole, jazz has always been the one place where you can really let go of all expectations – on nothing, he is putting the music where his mouth is.

The Metropole Orkest proved to be the ideal partner for this endeavor. Over the course of its 80 year history, it has worked with legends like Ella Fitzgerald, Pat Metheny, and Herbie Hancock – exactly the kind of border-crossing mentality Cole was looking for. Add into the equation the conductor, arranger, curator and composer Jules Buckley and this really is a triple threat of epic proportions. Buckley is a unique and rare breed of artist – a GRAMMY winner who has redefined the rulebook of orchestral music and the role of a conductor.

Together, the ensemble embarked on a multi-date sold-out tour through Europe with the 50-piece orchestra, Cole's band, as well as guest stars like his long-time creative partner Genevieve Artadi. With the exception of a few vocal re-recordings and instrumental overdubs, everything you'll hear on nothing was culled from these ecstatic live dates.

This is remarkable because, almost until the very end, nothing was not actually an album. It was a collaboration, a series of concerts, a cross-over between two worlds. Cole had been eagerly waiting for an opportunity like this for years. His father had been a big classical music fan and as a kid, he'd absorbed a lot of that. Once he got the call to work on a project involving an orchestra, he instantly “went hard” with the writing. The finished recording encompasses 17 tracks and stretches across more than an hour of music – and still, a few more tracks had to be left on the cutting room floor.

Cole was looking for something very specific. The challenge was to create music that had a deep emotional impact, while also being really simple and straight-forward. Already at the earliest stages of his orchestral ambitions, he had tried and failed to achieve this ideal. It would remain an obsession for years. Even when nothing was still a live project, it didn't seem like he would be able to pull it off. And then, at the very last minute, Louis decided to give it one more go. One night, he sat down at the keyboard and instantly realised: “This is it!” He struck on the ideas and themes which would become the pivotal title track of the album.

Just as with many of the orchestral pieces, there was a clear vision of the feeling and the sound he was looking for. For “Ludovici Cole Est Frigus”, he based everything on a 30-40 chord progression at a pace of “one chord at a time”. Then, he went back in with the pencil tool and Logic, finding and weaving together little melodies. It was a slow, assiduous process. But working with an outside arranger was never an option: “It was the only way I was ever going to be happy with the results. This is my pure vision. It doesn't get blended in or mixed with anyone else's.”

Having already written and arranged the suite, Cole is also very proud of the mixing, an epic task in its own right. For a full nine months, he selected the best takes, tweaked the sonic balance and adjusted frequencies until the orchestral parts really shone. “I was sad when the mixing was over,” he laughs, “Sometimes, when I'm mixing my own solo stuff, I'll feel like a song needs a little magical dust. But mixing an entire orchestra and your own rhythm section, there's so much human energy! You don't have to add any magic. It was there the whole time.”

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

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

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

Daisaku Kume - Violent Cop (Original Soundtrack) Vinyl LP: Limited Edition of 500! Official Reissue / Remastered / 45 rpm Original Soundtrack from 1989’s Japanese crime/drama movie Violent Cop (その男、凶暴につき) composed by Daisaku Kume (久米大作) (keyboardist late 70s fusion bands T-Square and Prism), with superb Erik Satie re-interpretations, melancholic smooth jazz, and modern Western atmospherics. First film directed by (and starring) the one and only (Beat) Takeshi Kitano (北野 武) (Sonatine, Hana-Bi, Kikujiro, Battle Royale, Johnny Mnemonic, Ghost in the Shell)

Emotion and Reason. Past and present.
The pianist Nobuko Kondo, who highly integrates conflicting elements to create a well-honed musical world, plays richly flavored Bach. While Kondo has expanded her international activities through first and second prizes at the Artur Schnabel Competition and prizes at the Busoni International Competition, she has also been active in premiering new works and performing contemporary music, including Stockhausen's works, Bach has always been present in her activities.
Included on this CD are six works that were featured in a 2014 recital and garnered rave reviews from all quarters. Each of the six works encompasses a completely different style, and Kondo sublimates them with a high degree of emotional and rational integration, while maintaining the philosophy of the works themselves. The unique, one-of-a-kind, and solitary Bach resonates from a unique piano and contemporary perspective.

[1]-[2] Chromatische Fantasie und Fuge d-moll BWV903
Fantasia
Fuga

[3]-[4] Fantasie und Fuge a-moll BWV904
Fantasia
Fuga

[5]-[6] Ricercar a 3 / Ricercar a 6 aus dem „Musikalischen Opfer“ BWV1079
Ricercar a 3
Ricercar a 6

[7]-[12] Capriccio B-dur sopra la lontananza de il fratro dilettissimo BWV992
1. Arioso. Adagio
2.
3. Adagiosissimo
4.
5. Aria di Postiglione. Allegro poco
6. Fuga all’imitatione di Posta

[13]-[16] Vier Duette BWV802-805
Duetto I e-moll BWV802
Duetto II F-dur BWV803
Duetto III G-dur BWV804
Duetto IV a-moll BWV805

[17]-[19] Concerto nach Italienischem Gusto F-dur BWV 971
1.
2. Andante
3. Presto

[20] Ricercar a 6 aus dem „Musikalischen Opfer“ BWV1079 (Bonus Track)

Nobuko Kondo
D. in Instrumental Music from Tokyo University of the Arts. D. for her thesis and performance of Stockhausen's piano music, and received the Bunka Hoso Music Award. She was awarded the Bunka Hoso Music Prize, and studied at the Berlin University of the Arts as a scholarship student of the German Academic Exchange Service (DAAD) from 1986 to 1988, graduating with the highest honors. He won a prize at the Busoni International Competition and was awarded the Nancy Miller Memorial Prize at the William Kapell International Piano Competition in 1990. He has performed with the Berlin Symphony Orchestra, Symphony Orchestra Berlin, Haydn Orchestra (Italy), Tokyo Symphony Orchestra, Tokyo University of the Arts Orchestra, and many others. In 1993, she began the recital series "Piano Music of the 20th Century". In recent years, she has also concentrated on the works of J. S. Bach, especially her recitals in 2000 and 2005 of the complete works from "The Well-Tempered Clavier, Volumes I and II", which were highly acclaimed. She has also released the CDs "J.S. Bach Toccata Complete Works," "New Viennese Music School Piano Works," and "Nobuko Kondo Plays J.S. Bach" (specially selected for "Record Geijutsu"), which have been well received. In April 2017, he spent a year in Berlin as a long-term overseas trainee at Kunitachi College of Music, where he conducted research focusing on Beethoven's piano works. She is currently a professor at Kunitachi College of Music.

TRIO SR9 is composed of French classical percussionists (Paul Changarnier, Nicolas Cousin and Alexandre Esperet) from the Conservatoire de Lyon. They play orchestral percussions such as marimba but also plenty unique "second-hand" objects collected in a breaker's yard (crystal glasses, metals, etc).

Their Déjà vu project was created after an encounter with French composer and arranger Clément Ducol. Together they decided to embark on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. They wanted to make pop without machines, guitars, bass or synths. 100% Acoustic.

This interest in global hits by the likes of Rihanna, Billie Eilish, Ariana Grande, Lana Del Rey, Franck Ocean or Pharrell Williams might come as a surprise to some, but it’s basically pretty logical for these three conservatoire-educated mavericks, who are all well aware of the fact that many classical themes were adapted from popular dance tunes that have been long-forgotten.

They have invited talented singers such as Blick Bassy, Camille, Camélia Jordana, Malik Djoudi and Sandra Nkaké to cover those global hits.
All have inspired the music with their own particular energy, tenderness, the grain of their voice and their craziness, and a thousand other nuances that play their part in that troubling sensation that English speakers express using the French term déjà vu. 

Hilary Woods builds on the airy mystery of 2021's genius 'Feral Hymns' with the crepuscular 'Acts of Light', featuring nine creeping dirges played with double bass, field recordings and sacred choral chants that sound like mournful, Celtic ghosts wailing into a moonlit woodland. Brilliant, gaseous material for anyone into Deathprod, Sarah Davachi, David Darling or Antonina Nowacka. That last album married Wood's surreptitious hooks with Lasse Marhaug’s petrified, doomcore production, a highly distinctive marriage of cursed atmospherics and memorable songs that still sounds like pretty much nothing else we’ve heard since. Her followup ‘Isolation Tank’ for our Documenting Sound series was essentially a screwed audio diary, creating rhythms out of the clicking whirr of her old polaroid camera, her voice drifting into abstraction. In other words, Woods is no stranger to getting deep into her process, and on 'Acts of Light' she increases the contrast, bringing out cracks of colour to contrast her Vantablack striations. Voices are blurred against microscopic sounds on 'Wife Mother Lover Cow', as euphoric pads swelter into mist; like spying a midnight ritual from a safe vantage point, watching forest nymphs dance to the beat of their own drum. Ghostly, choral vapours gather on 'Where the Bough has Broken', recorded with the Palestrina Choir at Dublin's Procathedral, and with Galway City Chamber Choir in Galway, crashing into environmental recordings Woods gathered during travels across Spain. The title track plays pitched vocals against low, nauseating murmurs, while strings provide an ominous sustained drone. Voices chatter in the distance, and a rhythmic thud sounds like a march to the afterlife. Woods strips things back further on 'Awakening', giving us a short break from the crippling gloom with angelic chorals and gauzy cello, before the disorienting heartbeat 'Blood Orange' transports us into another lysergic reality. 'The Foot of Love' is the album's most emotionally resonant moment, all poetic curls of ornate instrumentation and fogged-out dark ambience that wouldn't sound out of place on an Akira Rabelais album, leading masterfully into Woods' brief, subtle denouement, the aptly-titled 'Vigil', freezing phantasmagoric vocals in a sodden mess of cello and captured rainfall. It's the ideal finale to an album that escorts us through a magickal, dusky wilderness that's never oppressive, always tender in its own way. Music that’s as creakingly baroque as it is verdant and folksy. Acts of Light is a fugue comprised of nine slow hypnotic dirges. Vulnerability, majesty, and candour elicited with drone, double bass, cello, synth, viola, field recordings, electronics, noise, vocals, processing and sacred choral chant compose its private ritual. Following excavations and explorations in intuition and physicality through sound which culminated in her 2021 EP Feral Hymns, Acts of Light is a disquiet personal offering to wilderness, loss, absence, mystery and love supreme. Awakening hidden forms that emerge from the shadows with each listen, its rich and weighted lament is subterranean and chasmal whilst simultaneously detailed and tender. Textural dust and speckled light move slowly and expansively here through a deeply sonic and sensory rite of passage where Woods’ moving compositions confide in us feeling to be received with the entire body. Written, recorded, mixed and produced over a span of two years along the west coast of Ireland and Dublin, Woods recorded the voices of Galway City Chamber Choir, before recording the choristers of the Palestrina Choir in the Pro Cathedral Dublin. Strings were recorded by Jo Berger Myhre in Oslo, whilst field recordings were recorded nomadically throughout her time spent traveling through the north west of Spain.

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

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

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

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

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

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

Official reissue of the 1977 album of Clara Rockmore’s stunning theremin performances of various classical compositions, accompanied by her sister Nadia Reisenberg on piano. Includes gorgeous interpretations of pieces by Rachmaninoff, Tchaikovsky, Stravinsky, Ravel and more. An all time classic classical album, finally back in print. Rockmore was a violin child prodigy with training at the Imperial Conservatory in St. Petersberg. A refugee of the Russian Revolution, she arrived in New York with her family in 1921, and soon after met Professor Lev Sergeyevich Termen, inventor of the remarkable theremin, one of the first electronic instruments in existence. Rockmore stunned crowds by playing music both highly technical and emotionally intense, all without ever touching her instrument. Her work represented the cutting edge of electronic music, inspiring a generation of innovators (including Bob Moog, who co-produced this record). On her custom built theremin, Rockmore channeled deep human emotion through an electronic device for the first time.

“Blue” Gene Tyranny’s debut album Out of the Blue — newly remastered with original cover art — which was among the first to releases on Lovely Music in 1978 alongside Robert Ashley Private Parts, David Behrman On the Other Ocean, Jon Hassell Vernal Equinox, Meredith Monk Key, and Peter Gordon Star Jaws. Disarmingly direct, funky, and profound, Out of the Blue is an equanimous, wide-open exploration of Tyranny’s musical world: equal parts song cycle, tone poem, keyboard fantasia, and avant-garde pop record. Recorded and mixed by Tyranny at Mills College, this album emerged following the legendary 1976 Trust in Rock concerts, where Tyranny and collaborator Peter Gordon presented New Music for rock band. “Next Time Might Be Your Time” and “For David K.” were co-produced by Gordon, and also feature Mills’s Maggi Payne on flute as well as Oingo Boingo’s Steve Bartek on guitar; “Leading a Double Life” is sung by Lynne Morrow and Jane Sharp, accompanied by Tyranny on piano and polyMoog synthesizer; “A Letter from Home” is a half-hour electro-acoustic narrative meditation on “the Doppler effect as a metaphor for the development of consciousness.” Out of the Blue lives up to its name: it is both surprising and familiar, revealing for the first time something that was always already there.

Highly recommended for music fans interested in birds and animals.
A concert where composers compete with birds

Birds have been singing long before humans started making music. While humans create perfect music calculated and thought out, birds naturally produce strange tunes.
Composers have attempted to express natural phenomena and certain types of noise, but birdsong has been turned into music all over the world, each with their own ingenuity. In addition to Renaissance and Baroque paintings, you can also enjoy modern bird depictions by Saint-Saëns, Ravel, and Britten.
Furthermore, I listened to "Carnival of the Endangered Species" made by Vincent Bouchot by punning on Saint-Saëns' work. In the style of a classical suite, it draws unfamiliar animals, and the ending with "Humanity" is also meaningful and makes me think about various things. The booklet is full-color and has detailed explanations of various birds and animals.
La Réveuse is a period instrument group founded in 2004 by Florence Bolton and Benjamin Perrault. Although he mainly works on works from the 17th and 18th centuries, he has become a hot topic for composing works with themes that combine music and current affairs.

[Recording information]
1. Purcell: Prelude to Birds from "Fairy Queen"
2. Van Eyck: England's Nightingale - from "The Flute Paradise"
3. Theodor Schwarzkopf: Sonata in imitation of Nightingale and Cuckoo: Allegro/Gigue
4. F. Couperin / La Revouse: Nightingale in Love ~ from "Clavesin Songs Volume 3"
5. Jean-Baptiste Bousset/La Réveuse ed.: Why, sweet nightingale - from "Ale Volume 14"
6. Monteclaire: Chirping - Concert No. 5 for 2 flutes
7. F. Couperin/La Réveuse ed.: Lamenting Bunting - from "Clavesin Songs Volume 3"
8. Colette: Cuckoo
9. Saint-Saens/Vincent Bouchot: Cuckoo in the depths of the forest - from "Carnival of the Animals"
10. Britten/Vincent Bouchot Arr.: Cuckoo from "Friday Afternoon"
11. Rameau/Vincent Bouchot: Hens
12. Saint-Saëns/Vincent Bouchot: Hens and Roosters from "Carnival of the Animals"
13. Ravel/Vincent Bouchot: The Queen's Pottery Doll Redronet ~From "Ma Mère Roi"
14. Vincent Bouchot: Carnival of Endangered Species
Prelude: Sorrow of the Pangolin
Armando: Javanese Slow Loris
Courant: old poultry dodo
Intermezzo: Lesomira 63
Sarabande: white and black owls
Gavotte: Indian gharial (crocodile)
Intermezzo: Lesomira 92
Varus Twist: Sea Cucumber
Jeeg: Mankind, its evolution

A new LP collection of incredible performances by the virtuosa of theremin, Clara Rockmore, accompanied by her sister Nadia Reisenberg on piano. Recorded in 1975 and never before released on vinyl, this compendium features stellar performances of compositions by Bach, Chopin, Schubert, Gershwin and more, and even features a cello ensemble on a few songs! Some of the finest examples of Clara Rockmore’s unrivaled art - rich with bittersweet moments of air, electricity, human grace and emotional composition all merging into some new thing that is transcendent of time and genre. 160 gram vinyl comes in old school tip-on jacket and includes an 8-page booklet of interviews, photos, and insights with Clara Rockmore, Nadia Reisenberg, Robert Moog, and more.

Colin Curry Group coming to Japan in April
Performance songs that will be performed for the first time in 15 years in Japan
"Music for 18 musicians" latest recording!
"Brilliant" trance experience! !

Reich recognized percussionist Colin Curry. Curry led his own Colin Curry Group to record Reich's Music for 18 Musicians. Recorded at Abbey Road Studios, famous for The Beatles. The Colin Curry Group was formed in 2006 to play Reich's Drumming. The precision and groove that Reich recognizes are becoming more and more refined.
In April 2023, he plans to visit Japan and perform this ≪Music for 18 Musicians≫ and other works. Please experience the "brilliant" trance state woven by overlapping, synchronizing, and shifting rhythms that change little by little!