If the news that there are two new volumes of the magnificent, hugely influential and spectacularly long– running Ethiopiques series must be cause for celebration, on first sight it all looks disconcertingly over¬familiar. Golden Years of Modern Ethiopian Music? Didn’t we have that ten – or was it 20 – volumes ago? But while many readers will feel they’ve had a surfeit of that classic Ethiopian blend of brooding traditional melody and jumping soul arrangements, it still sounds amazingly fresh on Volume 24. Seyfou Yohannes, who died young, having recorded only six tracks, provides moody readings of two songs by Mulatu Astatke, who has become an international cult figure since gaining wider exposure on Ethiopiques Vol 4 back in 1998. Meanwhile, Ayelew Mesfin’s rather thin voice is given a kick by energetic horns on five tracks. Tamrat Molla’s rousing ‘Ben Abar Seberelewo’ takes things on a more traditional tack with clapping and call–and–response singing for several numbers, while Astatke himself appears with two early curiosities. Recorded in London circa 1965 with Guyanese singer Frank Holder, they have a strong Caribbean feel, while two straight soul tracks by Addis–based Kenyans the Ashantis are for die–hard Ethio– historians only.

If Vol 24 is a mixed bag then Modern Roots 1971–1975 has a more grittily coherent feel, comprising acoustic ensembles from the Amhara and Oromo traditions supplemented with booming upright piano, pumping accordion and the occasional drum–kit. Iconic Addis pop voices, including Tlahoun Gessesse and Alemayehu Eshete, make guest appearances. There’s an earthy drive to this music, with squeaky traditional fiddle sounding like fuzz–guitar on Abbebe Heyle– Michael’s wonderful ‘Qonditye’ – unless, of course, it is in fact a fuzz guitar. While the many Éthiopiques–inspired projects may be undoubtedly worthwhile there’s still no substitute for the magic of the real thing. And there are further volumes still to come.