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EMA

Emahoy Tsege Mariam Gebru

Church Of Kidane Mehret

    Deeply resonant spiritual music transmitted via piano, organ, and harmonium by beloved composer and Ethiopian Orthodox nun Emahoy Tsege Mariam Gebru. Church of Kidane Mehret collects all the musical work from Emahoy’s 1972 private press album of the same name, alongside two additional unreleased piano recordings, exploring Emahoy’s take on “Ethiopian Church Music.” Recording herself in churches throughout Jerusalem, Emahoy engages directly with the Ethiopian Orthodox musical liturgy. For the first time, we hear Emahoy on harmonium and massive, droning pipe organ, alongside some of her most moving piano work.

    “Ave Maria” is one of our favorite pieces Emahoy ever recorded, her chiming piano reverberating against ancient stone walls. Her familiar melodic lines take on new resonance when played through the harmonium on “Spring Ode - Meskerem.” Two towering organ performances comprise the B Side, combining Emahoy’s classical European training with her lifelong study of Ethiopian religious music.
    Nowhere is Emahoy’s unique combination of influences more apparent than on “Essay on Mahlet,” a meditative slow burner in which Emahoy interprets the free verse of the Orthodox liturgy note for note on the piano.

    This revelatory piece, alongside the dramatic piano composition “The Storm,” comes from another selfreleased album, 1963’s Der Sang Des Meeres. One of the only known copies was saved from the trash and shared with Mississippi by a fellow nun at Emahoy’s monastery when we visited for Emahoy’s funeral in March of 2023. We are proud to work with the Emahoy Tsege Mariam Music Foundation to bring you these rare spiritual recordings in what would have been the artist’s 102nd year. Available in black and clear vinyl editions. Oldschool tip-on jacket with metallic silver foil stamping along with a 12-page booklet featuring extensive liner notes from scholar and pianist Thomas Feng.

    TRACK LISTING

    1. Ave Maria
    2. Spring Ode – Meskerem
    3. The Storm
    4. Essay On Mahlet, The Prayer Of Saint Yared
    5. Via Dolorosa, XIth Station Of The Cross
    6. Prayer For Peace. Ps. 122 (Kyrie Eleison)

    The Emanations

    Better Days / Rumrunner

    Fragments of cult classic dance tracks sent through the sonic prism to create fresh cut and paste hybrid tracks, The Emanations acts as a production vessel for Greg Wilson and son, Ché.Their remix partnership has seen numerous releases in recent years, most notably their epic take on 'Love And Hate In A Different Time' by Gabriels for Parlophone); their two Heavenly Records remixes for Melbourne group Confidence Man, 'Out The Window' and 'Does It Make You Feel Good'; and the current 'Loose Fit' mix for the Happy Mondays on London Records.

    We don't speak lighly when we say this is an incredible release. Greg and Che have created an instantly timeless modern disco classic. Warm, infectious, soul rousing, groovy and with just the right touches of finesse without being overtly flamboyant. One of those tracks that'll catch you off guard, and have you incessantly wiggling to it's fiery conclusion.

    "Rumrunner" is another stroke of genius. Taking the bassline from "Keep That Fire Burning", The Emanations add gilded vocoder lines, warm pads, futuristic sfx and slick guitar chops; reigniting this instantly familiar groove with a sophisticated modernity most DJs and dancers are gonna go absolutely ape shit for.

    Do NOT sleep on this one I urge you!

    Proceeds of the record go to Danielle Moore Foundation, which will be set up by her family soon.


    STAFF COMMENTS

    Matt says: Todmorden's bastion of creativity and independence drop one of their hottest dance records to date. Greg Wilson and his son Ché have conjured up an infectious slice of grooving disco that few can resist!

    TRACK LISTING

    A: The Emanations - Better Days (6:13)
    B: The Emanations - Rumrunner (5:39)

    Prins Emanuel

    Diagonal Musik II

      "For his fourth full length album, we see the proficiency of instrumentalist and composer Prins Emanuel in full bloom as he turns head deep into the techniques he established on the preceding outing of Diagonal Musik. Here, he revisit what he refers to as a diagonal approach in composing; i.e. starting at one point and then moving to the farthest point in the process, as a way for him to connect the dots somewhere in the middle, or - like I previously described it for the liner notes of that album - “something akin to drawing only shadows and then finishing with the contours”.

      And in the tradition of great sequels, this is a much larger and intricate production. While relying on the guitar as a formative backbone to many songs, the layering of brass and woodwinds houses these compositions in bold and sharply lit structures. Mallets and percussion adds an air of momentum but also grounds these tracks in earthy hues.

      Thawed and gracious, Diagonal Musik II in essence creates a space that bridges the various paths of Prins Emanuel’s musical universe. At once post-minimalist and avant garde in nature while also peeking through the door at both IDM and folk music, the lingering sensation is that of a well balanced palate that doesn’t break under the presence of repetition. Enveloped in a fourth world approach to jazz and incorporating the more contemplative side of post punk or art pop, there is a story hidden in here that gives cause to the appropriation of these influences.

      The inherent warmth of certain instruments play their part in this story. Emanuel often builds on the notion of ‘organic music’ but broadens the definition via subtle electronic enhancements that sit naturally alongside their acoustic counterparts. Take for instance the voice emulator sequence that opens “Kadens Tre” and is dashed on by guitar slides and flute drills to roll further down a hill of staccato percussion. A few tracks in, the lines are so blurred it becomes a natural state until the harsh and eerie sample loops of closing track “Östan Vind” finally breaks the spell. ”

      TRACK LISTING

      1. Kadens Tre
      2. Boetia
      3. Paia
      4. Västen Vind
      5. Naides PT.1
      6. Naides PT.2
      7. Parnassos
      8. Year-End
      9. Ruach
      10. östan Vind

      Trees Speak

      Vertigo Of Flaws: Emancipation Of The Dissonance And Temperaments In Irrational Waveforms

        This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity, time travel, dream speech and transfiguration. A seriously next step release! Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity and sound.

        Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, trippedout 60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

        If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona’s natural desert landscapes.

        ‘Trees Speak’ relates to the idea of future technologies storing information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively. Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul Millan, Stephani Guilmette, and Davis Jones. The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.

        STAFF COMMENTS

        Barry says: Ridiculously prolific Arizona natives Trees Speak come out with their 4th album in just over a year, and it has all of the cosmic heft and swooning arpeggiated bliss of the previous (very well regarded) LP's. This time though, we get a little more grit, turning otherwise upbeat pieces into slightly more avant-ambient-jazz territory. A sound all of their own, but one they do perfectly.

        TRACK LISTING

        1. Seventh Mirror (3.23)
        2. Cybernetic Dreams (4.07)
        3. Interference (3.40)
        4. Computer Garden (0.46)
        5. Pyramid (2.34)
        6. Halide Crystals (2.08)
        7. Integratron (4.20)
        8. Imaginary Forces (3.26)
        9. Phantom LFO (3.13)
        10. Opticks (2.56)
        11. Mannequin (2.17)
        12. Mind In Light (3.10)
        13. Palantír (1.28)
        14. Vertigo Of Flaws (3.15)
        15. Exit Syndrome (1.11)
        16. Stasi (5.35)
        17. Atomic Voyage (3.11)
        18. Ultraviolet (2.51)
        19. Violence Cascades (3.27)
        20. Traumsprache (3.51)
        21. Zeitgeber (2.04)
        22. Prism (3.03)
        23. Threnody (2.56)
        24. Mind Oscillation (3.19)
        25. Hidden Machine (3.00)
        26. Transhuman (1.01)
        27. Ionization (3.12)
        28. Cloud Chamber (3.16)
        29. Harmonic Oscillator (1.19)

        Limited Bonus 7” (LP Format Only)

        A. Transfiguration (3.34)
        B. Urzeit (2.37)

        After the success of 2011’s ‘Past Life Martyred Saints’ and 2014’s prophetic ‘The Future’s Void’, EMA retreated to a basement in Portland, Oregon – a generic apartment complex in a non-trendy neighbourhood, with beige carpeting and cheap slat blinds. Now, she returns, with a portrait of The Outer Ring: A pitch-black world of dark night highways, American flags hung over basement windows, jails and revival meetings and casinos and rage. In a year dominated by white working-class alienation and anger, EMA – a Midwesterner who never lost her thousand-yard stare -- has delivered an album that renders Middle American poverty and resentment with frightening realism and deep empathy.

        “I want to explain to outsiders that the people where I come from aren’t beyond hope and reason”, says EMA, “I want this record to bridge a divide.”

        The album, co-produced with Jacob Portrait of Unknown Mortal Orchestra, is a return to EMA’s roots in the noise-folk outfit Gowns, whose 2007 album Red State prefigured many of Exile’s core themes, along with its mix of stripped-back folk (“Always Bleeds,” originally a Gowns song), spoken word (“Where the Darkness Began”) and noise epics (“Breathalyzer”).

        The album is unique in its mingling of gender politics with American working-class anxiety. The voices we hear in these songs — druggy, surly societal outcasts; Byronic nihilists bringing down fire — speak to a kind of rebellion that’s typically reserved for men, and the archetype of the “dirtbag teenage boy” dominates the album. Yet EMA claims some of that same dirtbag alienation for women — “a woman who swallowed a scumbag teen boy whole,” as EMA puts it – and uses it to interrogate both her own vulnerability and how male violence shapes the world, as on the anthemic “Aryan Nation.”

        The result is a deeply personal, confrontational, but ultimately redemptive album from a quintessentially American artist at the peak of her form.

        TRACK LISTING

        A1 – 7 Years
        A2 - Breathalyzer
        A3 – I Wanna Destroy
        A4 – Blood And Chalk
        A5 – Down And Out
        B1 – Fire Water Air LSD
        B2 – Aryan Nation
        B3 – 33 Nihilistic And Female
        B4 – Receive Love
        B5 – Always Bleeds
        B6 – Where The Darkness Began

        Emanuele De Raymondi & Marco Messina

        SARO (Original Soundtrack)

          SARO (soundtrack of the film by Enrico Maria Artale) is the latest work by Marco Messina and Emanuele de Raymondi, two of the rising stars, respectively, in ambient electronic and contemporary classical scenes in Italy. The result of their collaboration is an elegantly crafted musical journey, between minimalistic string arrangements and textural modular synths, perfectly integrated to enhance the imagery of the film. SARO, as the name of film director’s father, it is both an intimate road-movie and a documentary that tells the journey through the evocative landscapes of Sicily in search of a father never known.

          Emanuele de Raymondi is an Italian composer and sound artist. A graduate of the Berklee College of Music in Boston, his work is based on digital processing techniques combined with traditional compositional structures. He has composed numerous soundtracks, including Arianna by Carlo Lavagna (awarded at BAFTA and Venice Film Festival), and in December 2016 he released the electronic music single "EXUL EP" (ZEROKILLED). 

          Marco Messina is a musician, producer and sound designer. He was born and lives in Naples, where in the 90s he founded 99 Posse and Mousikelab Studio. He has scored numerous films, including creating soundtracks for of all of Pietro Marcello films, among the others The line Passage, Beautiful and Lost, The Mouth of the Wolf, (awarded at Berlinale film festival and Davide di Donatello).

          EMA

          The Future's Void - Bonus Disc Edition

          City Slang is excited to announce the new album from EMA, "The Future's Void". The follow-up to her acclaimed 2011 LP, "Past Life Martyred Saints," “The Future’s Void” was written by Erika M. Anderson, recorded in Portland, Oregon, and produced by Erika and Leif Shackelford.

          EMA recently told NME that the album was influenced by, among other things, NiN demos, the heavier side of early K Records, and William Gibson’s Neuromancer, and that the album looks at the digital commodification of our online lives. She says, “I gravitate toward hooks and melodies, and in some ways the structure of these songs are my poppiest yet,” while noting that the jarring production includes a lot of first takes and spontaneously-recorded ambient sounds “to keep the songs from sounding like advertisements".

          Last month the first single "Satellites" was released to raves, garnering "Best New Track” from Pitchfork, who said, "It’s discontent composed to Carl Sagan proportion, and it’s easily the most bracing thing yet from an artist already more bracing than most.“ Spin said, “it’s a rumbling mammoth that feeds off canned, clapping percussion and waves of static feedback,” while Stereogum noted, “anxiety this ferocious is a timeless thing.”

          TRACK LISTING

          1. Satellites
          2. So Blonde
          3. 3Jane
          4. Cthulu
          5. Smoulder
          6. Neuromancer
          7. When She Comes
          8. 100 Years
          9. Solace
          10. Dead Celebrity


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