Buscar:modern tapes

International power duo Dasom Baek (traditional Korean flutes) and Violeta García (cello) present their debut album. is the sound of two leading composers and improvisers pushing their instruments to the technical and creative limit, then beyond into places unnavigated, futuristic and often haunting.

Dasom and Violeta tussle with playful and at times brutal mastery between passages of sparse melody, acrobatic percussion and harmonic drift, while interjecting voices fracture and reassemble into intimate, improbable forms. It is hard to imagine an album more abundant in ideas and motifs, all atomised as soon as they are brought to life. The effect is a tapestry of rugged spirits - moving, and at times just plain beautiful.

Recommended for fans of Okkyung Lee, John Butcher, Messiaen, or Ernst Reijseger.

Dasom Baek is a composer, improviser and performer of traditional Korean instruments, mainly Daegeum, Sogeum. Dasom pursues ground-breaking and modern music rooted in traditional Korean instrumental performance. She is a Certified Master of Important Intangible Cultural Asset, no.45. She has achieved Bachelor's and Master's degrees from the Korea National University of Arts, and is currently undertaking a PhD course at Seoul National University. She has also represented Korea at the International Flute Festival. In 2019 she was selected as a fellow for the OMI Music residency in New York, collaborating with various genres of musicians from different countries. In 2020, she released her debut album, titled . In 2021 she was selected as a showcase artist at SXSW Festival.

Violeta García is a cellist, improviser and composer born in 1990 in San Nicolás de los Arroyos, Buenos Aires, Argentina. She studied at the Conservatory Astor Piazolla, and holds a degree in Composition from the Conservatory Manuel de Falla, with Ricardo Capellano. She also has a degree in Musical Arts, specialising in violoncello, from the Universidad Nacional of Arts (U.N.A).

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

Previously unreleased on vinyl, Emanuelle and the White Slave Trade comes from the series of cult exploitation films based on the Emanuelle character. Similar to it peers in sound, full of disco, funk and library-esque
music. Taken from the original tapes and pressed on translucent Orange vinyl. The Orange Crush edition
will be the retail edition limited to 400 copies or less.

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Einen schönen Fang hat das Chicagoer Label Trouble In Mind vor Kurzem mit DUMMY gemacht: Das Quintett aus Los Angeles verblüfft auf seinem Debüt ,Mandatory Enjoyment" mit einem derart ausgereiften Noise-Pop-Entwurf, das man kaum glauben mag, dass es sich hier um ein Erstlingswerk handelt. Nach gerade einmal zwei veröffentlichten EPs aus dem letzten Jahr, haben DUMMY ihren mit einem wundervollen Groove ausgestatteten Sound auf ,Mandatory Enjoyment" sichtlich gefunden und bis zur Perfektion destilliert. Das spielfreudige Debüt kombiniert geschickt Einflüsse aus Krautrock, Dream-Pop, Ambient, Psychedelic und Shoegaze zu einem Soundgebräu, das sowohl avantgardistisch als auch immer noch genug im Pop verwurzelt ist. Songs wie "Daffodils" und "Fissured Ceramics" zeichnen sich durch unerbittlich treibende Energie und reichlich psychedelischen Lärm aus. An anderer Stelle gleicht Dummy die Aggression mit meditativen Synthesizerlandschaften aus, die sich auf Sounddesign und Studioexperimente konzentrieren, wie bei dem motorischen "X-Static Blanket". Das Herzstück "H.V.A.C." und der letzte Track des Albums, "Atonal Poem", versuchen schließlich, diese beiden Pole miteinander zu verbinden und bieten mehrteilige Reisen durch unbekanntes Klangterritorium. Im Gegensatz zu der glückseligen Instrumentierung untersuchen Dummys sardonische Texte die Last des modernen Lebens, den Konsumismus, den Zusammenbruch der Umwelt, die Entfremdung und andere Ängste, die aus dem Leben in diesem absurden Moment der Geschichte entstehen. Innenarchitektur, Meeresverschmutzung, die Psychologie kommerzieller Architektur und Atomtests sind Themen, die aufgegriffen werden. Die rastlose Kreativität von Dummy treibt die Band immer weiter voran, sie fordern sich selbst ständig heraus und treiben ihren Sound in aufregende und erheiternde Bereiche. Dies ist - wie der Albumtitel schon sagt - "Mandatory Enjoyment". ENG Los Angeles band Dummy refuses to slow down. After releasing two cassette EP's in 2020 (on Popwig and Born Yesterday respectively), Dummy's debut full-length album arrives via Chicago's Trouble in Mind Records. Employing pummeling guitars and celestial ambience within the same breath, the band folds a myriad of reference points into their drone-pop style. Influence from '60s melodicism and '90s UK noise pop can be found woven in with inspiration from spiritual jazz, Japanese new age, and Italian minimalism. Dummy dodges the brooding, dark, dramatic tropes of contemporary "artistic" music often found in punk, experimental, and electronic, instead insisting on joyous and euphoric sonic palettes. They refuse to be artistically stagnant, continuously shifting their approach to writing across 12 tracks. Shaped by performances around Los Angeles in 2019, songs like "Daffodils" and "Fissured Ceramics" feature relentless driving energy and ample psychedelic noise. Elsewhere, Dummy counterbalances the aggression with meditative synthscapes focused on sound design and studio experimentation, like on the motorik "X-Static Blanket". Finally, centerpiece "H.V.A.C." and the album's final track, "Atonal Poem", seek to synthesize these two poles, offering multi-part journeys through uncharted sonic territory. In contrast to blissed-out instrumentation, Dummy's sardonic lyricism examines "the burden of modern life, consumerism, environmental collapse, alienation, and other anxieties born out of living in this absurd moment in history". Interior design, marine pollution, the psychology of commercial architecture, and nuclear testing are all featured subjects. Dummy's restless creativity keeps them moving ever-forward, continuously challenging themselves and pushing their sound into exciting and exhilarating places. This is - as the album title suggests - "Mandatory Enjoyment".

Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

Eight years deep into their existence, Paris-based Mawimbi are proud to present their debut album Bubbling.
Through their own label and events, the collective have championed up and coming artists who look to fuse african music
with the modern dancefloor. They’ve released records from Lya, Onipa, Afriquoi and James Stewart and brought
established artists and fellow travellers to such as Auntie Flo, Africaine 808, Awesome Tapes From Africa and Esa to
Paris. Now it’s time for the collective to unveil their identity as producers and musicians in their own right.
“Bubbling” refers to the many ideas, encounters and projects that the collective have come into contact with over
the past years. Through their events and their work as label curators and remixers (for artists such as Oumou Sangaré,
Blick Bassy, Cerrone, Onipa), Mawimbi have become known as ambassadors for “afro-electro” - whatever that might
mean - and their debut album buzzes with the contagious energy of the music they love. If you ask Mawimbi, Afro-electro
is about global and local inspiration, from both sides of the Black Atlantic. It’s about paying tribute to the forefathers and
the brothers and sisters in arms across the world. Afrobeat, highlife, South African bubblegum pop, Malian music,
maloya… Bubbling seeks to connect geographically separate but spiritually similar club sounds.
Hence “El Caribe” (feat. Ghetto Kumbé) is half cumbia, half Carribean dancehall, while “Ngana” (feat. Fatim
Kouyaté) has some elements of dub music and “Kakraa” (feat. K.O.G) nods to disco‐infused Ghanaian productions from
the 70s. Despite the influences, this is a record designed for home-listening, a nod to our present circumstances, but also
a deliberate step away from dancefloor. A moment of patience and reflection as much as joy and celebration.`
Above all, Bubbling is a personal record, about unexpected cross-pollinations and the collective’s individual
explorations of these musical territories. Mawimbi's own history is one of coincidences and chance encounters, and so is
“Bubbling”. All the collaborations were born out of the connections made over the last 8 years. A WhatsApp chat with
Zambian artist Mufrika, a spontaneous studio jam with Ghetto Kumbé in a Parisian Basement: these are captured
moments of real, vital connections made.
Like Mawimbi itself, Bubbling is a collage of relationships and shared experiences, shaped by nascent friendships
and musical encounters. It’s a truly DIY document in that sense, the sound of the last eight years of the Mawimbi
adventure: free spirited, passionate, warm and generous.

It's not often that an album disavowed by its own author at the time of release goes on to become considered a modern classic. Yet that's exactly what happened with Chicago blues legend Howlin' Wolf's 1969 LP The Howlin' Wolf Album, a release that has since attained mythical status due to the controversy behind it. Released on Cadet Records, a subsidiary of legendary imprint Chess Records, The Howlin' Wolf Album was a radical experiment for a wellestablished artist: attempt to integrate electric instruments and psychedelic arrangements into his revered signature blues sound. The result was an album that Wolf himself initially disregarded on the nowinfamous cover, but one that has won a special place amongst dedicated music aficionados thanks to its unique mix of traditional blues and electric rock elements. Get On Down's reputation for high quality reissues continues with The Howlin' Wolf Album, which features a special Stoughton vinyl pressing with audio remastered from the original analog tapes for optimum sound quality and comes packaged in a paste-on style jacket featuring the album's famous original artwork. A1. Spoonful A2. Tail Dragger A3. Smokestack Lightning A4. Moanin' at Midnight A5. Built For Comfort B1. The Red Rooster B2. Evil B3. Down In The Bottom B4. Three Hundred Pounds Of Joy B5. Back Door Man

The Bride stripped Bare Bryan Ferry’s fifth album released independent of Roxy Music. Ferry approaches much more effectively, allowing him to cover such romantic soul standards as “That’s How Strong My Love Is” alongside his despondently modern “When She Walks in the Room.” It has been considered as Bryan Ferry’s most stunningly personal album. Lovingly Re-Mastered from the original tapes by Frank Arkwright at Abbey Road Studios. London. Featuring artwork that has been faithfully restored to reflect its original first press “The Bride Stripped Bare” is presented on 180g heavy weight vinyl and is one of those classic albums that would not look out of place in any record collection.

From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others.
Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV.

This Tezeta album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.

Virtually unknown recording outside Ethiopia.
Documents Mergia & Walias legendary early period.
Follow-up to reissue of hugely popular seminal Ethiopian instrumentals LP Tche Belew (ATFA012)

Cassette-only, released in 1975 on the band’s in-house label to fund their record store.
Beautifully-rendered instrumentals of classic Ethiopian standards.

"The Shape Of Jazz To Come" - Ornette Coleman (as); Don Cherry (crt); Charlie Haden (b); Billy Higgins (dr)

It was John Lewis, pianist of the Modern Jazz Quartet, who brought Ornette Coleman to the renowned Atlantic label, having heard him play in Los Angeles. »Ornette Coleman is doing the only really new thing in jazz …« he reportedly said. The present initial Atlantic album was released just in time to coincide with the New York debut of the Coleman Quartet in November 1959. Lewis was sure that Coleman would open up new paths for jazz, and his opinion is reflected in the title of the album – "The Shape Of Jazz To Come". After the rather worn-out hard bop routine of the past years, this music was like a breath of fresh air. The fast numbers ("Eventuality", "Chronology") remind one of wildly hyped-up bebop. Other numbers ("Congeniality", "Focus On Sanity") juggle with catchy, almost folk like short motifs. This album contains two of Coleman’s most beautiful compositions: "Peace" and "Lonely Woman", which was later given lyrics and often heard in its vocal version. The Mulligan-Baker Quartet provided the model for the pianoless quartet – and when the band swings along once in a while with a moderato tempo, it is truly reminiscent of cool jazz. Be that as it may, the two wind instrumentalists just love the frenetic 'cry' and the intentionally 'imprecise' interplay. Clearly defined stanzas or traditional harmonic forms were not for them. The jazz musicologist Peter N. Wilson wrote: »A record, which is not unjustifiably so entitled« about this LP which was given 5 stars by the magazine Rolling Stone.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: May 1959 at Radio Recorders, Hollywood, CA, by Bones Howe

Production: Nesuhi Ertegun

Out now for the first time on vinyl! The world first heard Pill on their self-titled cassette release on Dull Tools. And the world took note. Evan Minsker, writing for Pitchfork, says 'they are loose with form, they pack in a lot of ideas, and they successfully deliver an emotionally complex narrative where joy is accompanied by an impossible-to-ignore undercurrent of danger. The band's debut outing is enigmatic—a Dull Tools record through and through—but it's also well crafted, full of stellar performances and unflinching lyrics.'
The band then signed to Mexican Summer, releasing their debut LP. Shortly after, prolific in a way that has become a hall- mark of Dull Tools artists, they release another cassette, 2017's 'Agressive Advertising'. If one thought the self-titled cassette couldn't get more acerbic and confrontational, Agresstive Advertis- ing proved them wrong.
Now both releases are available on one LP. This LP is an important document of New York City's DIY scene and one of the best bands to emerge from it. Pill are an ever present force in NYC's scene. Playing small clubs like Baby's All Right, DIY spaces like Silent Barn and even the Museum of Modern Art. When the art and culture of New York is examined in, much in the way we examine culture from the past, you can bet that Pill will be a shining example of this moment in time.

From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others.
Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV.

This Tezeta album, the band’s second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible.
Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.

Virtually unknown recording outside Ethiopia.
Documents Mergia & Walias legendary early period.
Follow-up to reissue of hugely popular seminal Ethiopian instrumentals LP Tche Belew (ATFA012)

Cassette-only, released in 1975 on the band’s in-house label to fund their record store.
Beautifully-rendered instrumentals of classic Ethiopian standards.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

“South Africa’s lost jazz history contains many an overlooked classic. But even within that hidden tradition, there are few albums that suffered such an unlucky fate as Spring, the monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

Though Shihab was only twenty-two when Spring was recorded, he was already a lynchpin of the Cape Town scene, and the album was to be his first major statement as leader and composer. It is a magnum opus gilded by the presence of the upcoming saxophonist Winston ‘Mankunku’ Ngozi, who was soon to find huge acclaim with the hit album Yakhal’ Inkomo.

Three months of touring southern Africa in 1968 honed the band to the point that this entire album was recorded within the just two hours of allocated studio time. This album was repressed just once before the master tapes were destroyed by an ignorant record company executive. While it has remained out of print since then, the album was ‘kept alive’ as an ‘add-on’ to a 1996 CD of Mankunku’s Yakhal’ Inkomo. As a result, many modern jazz lovers still incorrectly believe these five compositions come from Yakhal’ Inkomo.

With this edition of Spring, Matsuli Music corrects an historic wrong. This edition of Shihab’s stunning debut, produced with the blessing of the man himself, is the first time it has been properly available in over forty years, and the first time it has ever been available outside South Africa. Restored and presented with new liner notes by Valmont Layne, Spring can now be seen for what it is: a peerless masterwork of Cape Jazz, blessed by the presence of the great Mankunku, but truly animated by the subtle vision and original musical spirit of its creator, Ibrahim Khalil Shihab.”


• The monumental 1968 debut album by pianist Ibrahim Khalil Shihab, formerly Chris Schilder.

• Almost lost recording is back on vinyl after more than 50 years.

• Heavyweight 180g vinyl with remastered audio, inner sleeve with photographs and new notes by Valmont Layne

A stunning collaboration, this is Ray Charles' second "true" studio album for Atlantic, after The Great Ray Charles. While he released R&B singles for the pop market during his time with the label, he used his LPs to explore modern jazz. Here he is heard both on piano and alto sax.
The mono version is available on vinyl for the first time since release date with lacquers cut straight from the original master tapes.

To reveal to the world all the musical riches of Mali, and more particularly the music of the Mandé region, cradle of the great griot families, is the highly laudable purpose of this LP The Lost Maestros Collection. To perpetuate and transmit this ancestral musical history, The Lost Maestros Collection brings together 8 wonders of Mali who have each in their own way managed to develop this tradition towards more modern and electrified countries and associates pioneers of Mandingo music and actors of the young post generation.

The Lost Maestros Collection is the result of the collaboration between Deviation Records, newly created by Phil Margueron and the independent Malian label Mieruba, which has been working since 2010 to ensure that this golden age of Mande music does not fall into oblivion. Aware that these nuggets are not eternal, Mieruba, based in Ségou on the banks of the Niger river and capital of the former Bambara kingdom, undertook for eight years the preservation of this musical heritage by putting these 16 pieces on tapes at the Kôré studio de Ségou as well as at the famous Bogolan studio in Bamako.

For fans of AMON DÜÜL, CAN, FAUST, NEUBAUTEN, BRIAN ENO, CLUSTER, CULT OF LUNA, NINE INCH NAILS, MASSIVE ATTACK OR - Norwegian for "dizzy, confusing" - is the third album from Italian avant-rock trio OSLO TAPES, and the album keeps what the word promises: a dizzying ride through a feverish dreamscape of imaginary Norwegian highlands painted in cubistic shapes. Hypnotic basslines, repetitive drum patterns, new wave synths and psychedelic guitar textures covering the full width of the stereo room, all seamlessly woven into a gloomy Kraut - tapestry which sounds refreshingly_ modern, while paying tribute to the aged genre. Marco Campitelli, born and raised in Lanciano on the Southern Adriatic coast of Italy, founded OSLO TAPES in the early 2010s after a trip to the Norwegian Capital left him deeply impressed. Under the influence of this infatuation, he composed and produced OSLO TAPES' first record "OT (un cuore in pasto a pesci con teste di cane)" within a week in 2013. Supervised and supported by friend Amaury Cambuzat (faUSt / Ulan Bator), Campitelli's first attempt to capture the mystical vibe of Norway was released on DeAmbula Records (Ulan Bator, The Marigold, 7C). In 2015 he was joined by Mauro Spada and Federico Sergente (Zippo) and together they recorded OSLO TAPES' sophomore album "Tango Kalashnikov", also released on DeAmbula Records. "OR" is a much more collaborative effort for OSLO TAPES than the first two records. Next to Campitelli, the album was co-produced by Amaury Cambuzat (Ulan Bator) and James Aparicio (house engineer for Mute Records and mixing and mastering engineer for Depeche Mode, Mogwai, Nick Cave). During production, Campitelli became friends with Emil Nikolaisen of Serena Maneesh w h o guided him "through the Norwegian imagination". As a result, the record's title is also courtesy of Nikolaisen. During this journey spanning over eight songs, OSLO TAPES, completed by Mauro Spada (bass) and Davide Di Virgilio (drums and percussions) construct a dense and ever so dark atmosphere that is captivating, brooding and imaginative. After a spiraling takeoff with "Space is the place", we find ourselves floating weightlessly above the nocturnal Norwegian highlands through "Zenith" and "Kosmik Feels", an airy circulation of jazzy drums, pulsating bass lines and shimmering guitar clouds. We saddle up, gallop across the sky on "Bodo Dakar" and drift back into the night on "Cosmonaut". The trifecta of "Norwegian Dream", "Exotic Dreams" and "Obession Is The Mother of All" conclude this agitated fever dream journey. There is a sense of solitude in OSLO TAPES' compositions which makes it easy to imagine them as interstellar jam sessions between cosmonauts, each in their own isolated space capsule. Every spin of "OR" brings new discoveries: sometimes it is a noise that we did not notice before, sometimes a slight change in the drum groove, sometimes just a piece of the lyrics, meandering through our mental space. "OR" is a vertiginious journey to be remembered - and repeated. "The focus of Oslo Tapes is to harmonize the noise" says Marco Campitelli.

Unknown recording outside Ethiopia which documents Mergia Hailu & The Walias legendary early period. Beautifully-rendered instrumentals of classic Ethiopian standards, "Tezeta"is the follow-up reissue of the hugely popular seminal Ethiopian instrumentals LP "Tche Belew" (ATFA012). It was a Cassette-only release in 1975 on the band's in-house label, to fund their record store. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album, the band's second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.