MUSIC

Track A1 recorded 20/2/73 Track B1 recorded 29/1/74 Tracklist: A1 Up To The Bakerloo Line With Anne (18:46) B1 Tony Wanna Go (14:27) Personnel : Bass: Holger Czukay Vocals: Damo Suzuki Drums: Jaki Liebezeit Guitar: Michael Karoli Keyboards: Irmin Schmidt

Urban and Tribal Portraits reaffirms the idea of postmodern pastiche as a multimedia multisensory experience and sound as an ecosystem that is both aleatory and concrete, ephemeral and durable. In these binary paradoxes, a radical notion of the nature of collaboration, that is both chance induced and conversely conceptually worked out, is also established. The result is a work that exposes the fixed assumptions about the constructed boundaries and flows between musical traditions and practices. On its own this is the ultimately problematic place where many of the so-called musics concerned with the world reach an impasse, incapable as they are of questioning their own basic assumptions and ultimately end up strengthening those very same boundaries and flows that they had apparently set out to challenge. Musci and Venosta go further, principally and more fundamentally, by picking away at the margins of pure sonorous events and musical material, noise and sonance. In doing so, Urban and Tribal Portraits repoliticizes the notion of pastiche, engaging as it does in a kind of ecopractice, turning the process rather than the musical object into the poetic focus of the work. Fixed categories are rendered ephemeral, temporal and spatial categories including the margins, so hard to overcome, between composition, improvisation, authorship, recordedness and live performance are deconstructed. In the end, where one would expect seriousness there is levity and where one might see some postmodern appropriative ironic juxtaposition there is intensity and respect of the magical organicness of the material sources.

The Loa of Music is the first recording project of Milanese composer and musician Roberto Musci inspired by Voodoo Religion; Vever (the magical voodoo paintings) and Loas, the dark and magic spirits. The deep charm of non-Western music has led him to travel for many years across Africa, India and Asia, studying rhythms, scales, performance and interpretation of the most varied traditional and indigenous music, as well he make many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa of Music. Recorded in 1983 originally had 80 minutes of music but only half was released on original LP. SOAVE pressed for the first time the Complete Recording Session from original tapes of this masterpiece that combines in a natural, spontaneous and unforced manner the sounds of distant and historic cultures, loopped, cut and effected, with avantgarde and mystical approach creating a very personal and inspired innovative musical language.

An Ideal for Living is Joy Division’s debut EP, self-released in 1978 when the band was still developing its identity. The record reflects their early sound and marks a pivotal step before they gained wider recognition.

Roberto Musci returns with *Dusty Colors*, an extraordinary new album by one of the leading figures of Italian minimalism. Staying true to his unique approach to electroacoustic composition—which was already revolutionary in the legendary *The Loa of Music* (1984)—Musci weaves together field recordings, samples, and instrumental elements, drawing primarily on sounds and recordings collected during his travels in India over the past two years. The result is an immersive and deeply sensitive work—an exciting new chapter in a career that defies convention.

Recognized as one of Cal Tjader’s most distinctive explorations of the exotic-jazz aesthetic of the early 1960s, this album combines his fluid vibraphone playing and Latin-jazz foundations with Japanese and East Asian-inspired melodies, arrangements and sonorities. Featuring a polished ensemble of piano, organ, flute, percussion, bass and drums, the album is a highly atmospheric and accessible record made up of sophisticated arrangements and a unusual concept. First ever vinyl reissue since album's release in 1964.

Fully licensed, all tracks remastered ! Bim Sherman’s seminal second album from 1978 returns in true showcase style, complete with both vocal and dub versions. Recorded at Randy's and Channel One, the record features the legendary mixing touch of King Tubby's Studio, with Jammy at the controls. Rhythms are delivered by top-tier musicians from the Roots Radics and Soul Syndicate. Back in print with its original Jamaican album artwork!

An adventurous instrumental jazz-rock fusion album that captures the free-form chemistry between keyboardist Howard Wales and guitarist Jerry Garcia. The record blends jazz improvisation, psychedelic rock, blues, funk, and progressive influences into fluid, exploratory compositions driven by Wales' inventive keyboard work and Garcia's expressive, melodic guitar playing. Supported by musicians including John Kahn, Bill Vitt, and Martin Fierro, the album emphasizes spontaneous interplay over conventional song structures, making it one of Garcia's most experimental and influential side projects and a landmark recording in early jazz fusion. This release on vinyl is the first since late 80s.

Bonnie Dobson’s self-titled 1969 album is a striking blend of folk-pop and psychedelic nuances, marking a move beyond the traditional acoustic style that made her famous in the early 1960s. The album’s mood is often reflective and melancholic, balancing pastoral beauty with darker themes of change, loss, and uncertainty. One of the hidden gems of the album is track B4 “Pendant Que” by the celebrated Quebec songwriter Gilles Vigneault, which stands out since it is sung in French and reflects Dobson’s long-standing interest in French-Canadian repertoire. Today, Bonnie Dobson is often regarded as a cult favorite among fans of Canadian and psychedelic folk and one of the strongest albums in Dobson’s catalog. This new release on vinyl is the first since early 70s.

Adventures in Paradise is Minnie Riperton’s third studio album, released in 1975, and a sophisticated blend of soul, jazz, funk, and quiet-storm R&B. Following the huge success of Lovin’ You from her previous album Perfect Angel, Riperton moved toward a more mature, atmospheric sound. The album is known for its lush arrangements, intimate songwriting, and Riperton’s extraordinary five-octave voice. Although it did not match the commercial impact of Perfect Angel, Adventures in Paradise is widely regarded as one of Riperton’s artistic peaks, which captures her at her most expressive, adventurous, and emotionally nuanced. This vinyl edition is the first after ten years and the first ever in Europe since its release in 1975.

Originally released in Canada in the early eighties featuring Scientist's deep & heavy mixes of Bunny Lee produced riddims featuring some of Jamaica's best musicians of the time Bobby Ellis, Sly Dunbar, Ansel Collins and many more.

All Songs Written and Produced by UNDER THE BIG BRIGHT YELLOW SUN

"Béwara" is Basajan's debut album, exploring the Sundanese philosophy of Tri Tangtu through ten instrumental compositions that blend Priangan vibes with psychedelic grooves and contemporary soundscapes.

1993 release. Bana OK present Bakitani. When the colossus of Congo, Franco Luambo, died in 1989, the great band he had led for more than 30 years, OK Jazz, was of course, devastated. But its members survived their enormous loss and lived to rock another day. Nine of the best of them carried on as Bana OK - "Children of OK" - and sustained the signature tout puissant ("all-powerful") sound of their late master's band. The leader was saxophonist and composer Rondot Kasongo Wa Kasongo, who had long been Franco's right-hand man. Three more of these "children" were veteran guitarists Fan Fan Sesengo, Papa Noel and Thierry Mantuika. And the singers included the female star of the last years of OK Jazz, Baniel Mbambou, and the heartthrob tenor Malage de Lugendo. Bakitani would have made Franco proud.

A compilation album featuring the signature songs of Pamelo Mounk'a, one of the Republic of the Congo’s leading singers. Having reached the peak of his artistry as a solo artist following his time with groups such as Les Bantous de la Capitale, his sweet, soaring high-pitched vocals beautifully intertwine with a dazzling horn section. From the graceful rumba vocals, which evoke Afro-Cuban and Latin influences, to the dynamic sevén tracks in the latter half—marked by leaping guitar refrains—this album encapsulates the elegance and passion of refined Congolese rumba.

Gregorian chant works performed by the Edmundus Novus choir—a Gregorian chant ensemble composed of novices from the Order of St. Edmund, conducted by Marie Peirick.

Includes 32 pages booklet in French, Portuguese and English. Many songs are representing the still missing style Semba.

The Novodevichy Convent, where this recording took place, was founded in 1524. It is known as one of the most famous women’s convents among the Orthodox monasteries in Moscow and was designated a UNESCO World Heritage Site in 2004. Often described as a jewel of Moscow architecture, the convent features a cluster of Moscow Baroque-style buildings arranged in the shape of a cross, giving it a beautiful yet distinctive appearance. In particular, the Cathedral of the Dormition of the Mother of God of Smolensk, composed of six columns and five domes, is renowned as a monumental structure, and its beautiful form has captivated people from all over the world. At the Uspensky Cathedral (Cathedral of the Dormition of the Mother of God), one of the main churches on the monastery grounds, the unique Russian Orthodox tradition of beautiful mixed-gender, unaccompanied polyphonic choral music is carried on. These voices are widely recognized as a precious cultural heritage that faithfully conveys to the present day both the solemn spirit of Russian Orthodox prayer and the acoustics of this World Heritage-listed architecture. This recording is a collection of solemn hymns performed a cappella by the Choir of the Church of the Dormition of the Mother of God at the Novodevichy Convent, conducted by Abbot Petr Polyakov (recorded in 1989). It was recorded to commemorate the 1,000th anniversary of the adoption of Christianity in Russia (the Baptism of Russia). In addition to traditional liturgical chants and hymns, the recording also features the bells of the Novodevichy Convent, allowing listeners to fully immerse themselves in the rich, immersive atmosphere of the cathedral. The recording includes “My soul doth magnify the Lord,” derived from the Magnificat found in Luke 1:46–55 of the New Testament, as well as the mystical hymn “Angel Cried,” sung during the Divine Liturgy of the Russian Orthodox Church’s Easter (Pascha), and the “Megalynarion for the Dormition,” sung on the Feast of the Dormition of the Theotokos, for a total of 28 tracks.

Ry-Co Jazz became pan-African heroes during the 1960s when they introduced their vital Congo/Latin rhythms to West Africa. The band was founded in Congo in 1958/59 and managed by Henri Bowane, the hit parade guitarist who first brought Franco into the recording studio. Original members Freddy N'kounkou [vocal], M'Bilia Casino [congas and vocal], and Panda Gracia [double bass], were soon joined by ace guitarist Jerry Malekani who stayed with the group until they ended their epic adventure in 1972. From 1967, with sax master Jean Serge Essous on board, they spent four years in the French Antilles, leaving their influence on the pioneers of 'zouk' music.

A compilation album of Caribbean jazz and calypso jazz released in 1958 by the renowned audio label *Cook Records*. Compiled by Emory Cook—a pioneer of high-fidelity recording—from field recordings he made on-site in Trinidad, this album is an extremely rare and rich collection that perfectly captures the excitement and atmosphere of 1950s Caribbean jazz. The tracks center on danceable instrumental jazz, where bold saxophone and horn sections intertwine with the energetic calypso beat. The album features ensembles led by Trinidad and Tobago’s leading saxophonists, including Cyril Diaz and Johnny Gomez. It also includes “Tabu,” a cover of the Afro-Cuban classic by the Cyril Diaz Orchestra—a group highly regarded as the pinnacle of calypso jazz and extremely popular in the club jazz scene!

'Persistent Repetition Of Phrases' success comes from the attention it pays to the function of 'the loop', not only as a narrative ordering system in modern music, but as a means by which the brain itself recalls and interprets information; it's as old as recorded sound itself, but in this context the repetition of small shards of auditory information becomes an elegy to fading memory and the worn-out synapses of old age. The track titles offer signposts through Kirby's labyrinth of faulty remembrances, pointing their way towards the peculiarities dictating the manner by which the mind stores and attempts to recover information.

Madelyn Byrd draws on teenage years spent in the Sonoran Desert for Night Rider, a dreamlike meeting of poetry, electronics, ambient music and experimental pop. Cicadas, engines, clattering percussion and processed vocals evoke the desert after dark, while Patrick Shiroishi’s sax cuts through the electronic haze. There are echoes of Robert Ashley and Harold Budd in Byrd’s mix of spoken narrative, choral passages and abstract sound design, but Night Rider follows its own road, moving from the insect-like crunch of ‘Imprint’ to the woozy pop pull of ‘What Is, What Was’.

Ulla’s 28912 label returns with a gorgeous bouquet of lowercase wonders that'll cast a gentle spell over anyone on the line from Vincent Gallo to The Humble Bee, Sofie Birch to Tenniscoats.​ The fourth release on the label following Naemi's 'Breathless, Shorn' and Ulla's own 'Hometown Girl', and its ‘Other Girl’ companion piece, 'Puff' is a new album from Justin Cantrell aka J and the Woolen Stars, a core member of Naarm's underground scene as part of local supergroup Picnic, and the brains behind the excellent Daisart and se Dessaisir Publishing labels - we recommend you check in on both if you haven't already done so. ‘Puff’ is a glistening pool of lush refractions and music-box lullabies, featuring an array of acoustic instruments and fragile foley sounds that are gently peeled away until all we’re left with are the faded outlines of half-remembered songs. A sound that roots itself in the prophetic machinations of artists like Fennesz and the languid Japanese minimalism of Fourcolour or Moskitoo, 'Puff' strikes a delicate balance, sounding as bewitchingly informal as a Tenniscoats set, but also consistently muddling the perception of high and low-brow sound. Cantrell's skill lies in a sort of sonic conjuration, bamboozling the brains of those of us who grew up listening to stepped-on audio via ramshackle RealMedia streams by alchemising the content, turning found sound into gold. Just tell us you don't get chills from hearing the bitrate-impaired acoustic guitar on 'Dirty like an angel', set against a backdrop of windy, harmonic detritus. It's both meticulously contrived and gloriously off-the-cuff, like one of Vincent Gallo's classic 'When'-era demos reduced down to 96kbps. Similarly, 'She knows just what to say' provokes faint memories of folk music, with impromptu fiddle parts gently steamrolled to create a sound that’s nothing short of exquisite, like pressed flowers rediscovered in an old, discarded book. Even the more palpably electronic elements are hand sculpted in a way that belies the era we're living in - it's music for a digital age that sounds oddly unplugged, flawed and human. An unmistakably lovely antidote to the opiating nostalgia of our time.

Henri Bowane was a crucial figure in the development of Congo rumba. He was one of the first generation singer/guitarists to record in Kinshasa (then Leopoldville) during the early 1950s. As resident bandleader and arranger at Loningisa studios, Bowane was the first professional boss and mentor of the legendary Franco.