Katalog

Suchergebnisse

  • 01. Sundown
    02. Playback
    03. Reset
    04. Enclosed
    05. Firebird
    06. Clutch
    07. Here We Are
    08. Loaded
    09. Afterburner
    10. Adult Themes
    11. Haunted
    12. Last Breath
    13. For Real
    14. Promises
    15. Secrets (feat. Ella Thompson)
    16. Daybreak
    cover

    POWER GLOVE

    Payback

    [engl] Holy smoke! Did Power Glove deliver. Not only were their soundtracks for several Ubisoft games like Far Cry 3 absolutely top-notch, but also very unique in their style. This new album however is radical & new, a shadowplay full of sound and fury, beginning as the sun goes down. Tracks abound in wailing siren sounds, nasty guitar licks, deep synth drums, stormy atmospheric sh*t you only hear when you’re in a dark alley with a leather jacket on & a whole can of mousse in your hair. This album went through the roof like a rocket and its bill board charts position is absolutely justified.
    Format
    DoLP
    Release-Datum
    31.07.2019
    EAN
    EAN 4260016924325
     
  • 01.Blood,Sweat And Megabytes
    02.Downsampled Future – Glorious Past
    03.I Am The Danger
    04.Brainwave Accelerator
    cover

    POWERNERD

    Brainwave Accelerator

    Sie ist daaaa! Powernerd haben heute endlich ihre neue EP „Brainwave Accelerator“ released!! Wir konnten es kaum noch erwarten, und wir wurden nicht enttäuscht. Die Scheibe ist 100 % Powernerd mit dem ein oder anderen fantastischen Twist. Besonders der Titeltrack hat es uns angetan, der mit seinem schweren aber melodischen Bass eine etwas düsteren Ton ins Powernerd Repertoire bringt.
    Format
    CD
    Release-Datum
    10.11.2018
    EAN
    EAN 4260016924097
     
  • 01. Testosterossa (featuring – PJ D'Atri)
    02. I See Murder (featuring – Lebrock)
    03. Maniac Driver (featuring – Cody Carpenter)
    04. Flame (featuring – Dana Jean Phoenix)
    05. Flame (remix – Volkor X)
    06. Vendigo
    07. Neon Nights
    08. No Man's Land
    09. Highscore
    10. We Got The Power (mixed by – VHS Dreams)
    cover

    POWERNERD

    Testosterossa/Vendigo

    [engl] - cover with gloss finish - limited to 400 copies
    Format
    LP black
    Release-Datum
    31.03.2018
    EAN
    EAN 4260016925759
     
  • 01. Am Ufer
    02. Hamtramck
    03. Myrtle & Knickerbocker
    04. Another Drippy Day
    05. Merapi
    06. Char
    07. Vostok
    08. Minato Mirai
    09. Riding The L-Train
    10. Irresponsible Happy
    cover

    PYROLATOR

    Neuland

    Format
    LP
    Release-Datum
    14.07.2011
    EAN
    EAN 4047179576819
     
  • 01. Space Bass Blues
    02. Star Flight
    03. Walking in Space
    04. Space Shuttle
    05. Journey Into the Unknown
    06. I've Got My Helmet On [Bonus]
    07. Terrestrial Beings
    08. Docking in Space
    09. Creations Beginning
    10. Dance of the Droids
    11. Deltoids in Space
    12. Bottomless Pit of Space
    13. Living in This Station
    cover

    ROCKET ROBERT

    Rocket Robert

    [engl] Those who've dirtied their fingers searching high and low for analog synth nuggets can rejoice at the arrival of under- the- radar synthesizer maverick ''Rocket'' Robert Moore. Less a reissue than an exhumation- what with a scant, hand- screened 142 copies produced in 1982 that circulated little outside the confines of Oregon state- Rocket Robert drifts in the backward- looking sounds of early synth innovators, while equally mining the kraut- tinged moments of punk- era instro synth explorers and the first breaths of synth- pop, rather than carrying similarities to the ''New Wave'' that was then talking hold of the masses. Issued by Moore's own Salem, Oregon- based Future Records in 1982, his eponymous debut is simultaneously light- hearted and shot- though with ominous oscillations and offers up a darkly- throbbing, other- worldly vibe that is sure to ensnare synth- heads, beat- diggers and those searching the margins of the private- press alike.
    Format
    LP
    Release-Datum
    ---
    EAN
    EAN 4040824085537
    Format
    CD
    Release-Datum
    ---
    EAN
    EAN 4040824085544
     
  • 01. Camino Real
    02. $hevol
    03. $$ PTBRK (aka Gringolicker)
    04. Whaxaxaxki
    05. Off The Wall
    06. Sccenic Farm
    07. EE
    08. Yates And Madison
    09. Slicer 7
    10. Shit Fuck Mountain
    11. Hundrd N Nine Teeth
    12. Have You Been Drinking 2EM
    13. Slubb
    14. Illegal Redneck Flashlight
    15. Lowside
    cover

    Shit And Shine

    Scenic Farm

    colored vinyl / gatefold cover
    Format
    DoLP
    Release-Datum
    27.03.2020
    EAN
    EAN 5060446124215
     
  • 01. Artifice Percussion
    02. Cha Tatch Ka
    03. Asiatic Dream
    04. Pussy Ring
    05. Implacable ring
    06. Super Angoisse
    07. Phasing Round
    08. Sexy Soxy
    09. Gang Train
    10. Rallye Du Diable
    11. Percussionnistement Votre
    12. Emeute à Tokyo
    13. Coeur Polaire
    14. Pussy Cacatoes
    15. Angoisse au Coeur
    16. Marionnettes Club
    cover

    SPACE ODDITIES - STUDIO GANARO

    Feat BERNARD ESTARDY

    Format
    LP
    Release-Datum
    01.03.2018
    EAN
    EAN 3521381544046
    Format
    CD
    Release-Datum
    01.03.2018
    EAN
    EAN 3521383444030
     
  • cover

    SPACE ODDITIES - STUDIO GANARO

    Feat ROGER ROGER, EDDIE WARNER & NINO NARDINI 1972-1982

    [engl] During the 60s and 70s, three distinguished old gentlemen who had built their careers playing “made in France” exotic jazz – Roger Roger, Nino Nardini and Eddie Warner – met every evening in the Ganaro recording studio, playing like kids with their new toys: souped-up keyboards that looked more like prototypes of spaceships to explore the Milky Way. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music. Let’s take a trip with them toward a pop, light-hearted and electronic future. At the dawn of the twentieth century, Roger Roger and Georges Achille Teperino entered the world. Roger was born in 1911 in Rouen; Teperino the year after in Paris. They followed in their parents’ footsteps. Roger’s mother was a singer, and his father conducted the orchestra at the Opera. Teperino was taught music by his father, an Italian violinist and composer. Roger and Georges met in secondary school in 1927 and became the very best of friends, to the extent that Roger’s first wife was Teperino’s mother, making the latter his son-in-law. They formed a band called Les Diables Rouges (The Red Devils) that played halls and nightclubs where people would swing dance. For the band, Teperino adopted a nickname that made him famous: Nino Nardini. After World War II, he formed the Nino Nardini orchestra, specializing in “exotic” musical styles. They set the dance floors on fire in the clubs where young people, when not flirting, would twirl to the paso doble, foxtrot, calypso, slow rock, cha-cha and tango. At the same time, he conducted an orchestra for Radio Luxembourg, and one in a traveling circus, providing closely-tailored accompaniment for acrobats, clowns and lion tamers. For his part, Roger Roger (his real name) also worked as a conductor at Radio Luxembourg and accompanied Edith Piaf, Maurice Chevalier, Jean Sablon and Charles Trenet on stage. Radio France asked him to record some of his compositions as production music for its programs. These melodies attracted the attention of Chappell & Co., a music publisher in London that had just opened a department specializing in library music, which they sold “by the ton” to radio, television and cinema. Roger thus made his debut in production music. He was to become an emblematic figure in this domain, for the profusion and eclecticism of his productions, but, above all, his pronounced taste for experimentation. Nardini soon joined him in what appeared to be a new Eldorado. Together the pair made a clean break with rigid French traditions, via compositions featuring unexpected instruments like the harpsichord, marimba and Ondioline. Later, when the first analog synthesizers, oscillators and other electronic keyboards appeared, they were adopted as well. Always seeking innovative sounds, Nardini got deeply into concrete music in the early 60s, as put forward by Pierre Schaeffer (who had just founded the GRM, Groupe de recherches musicales), popularized by Pierre Henry and twisted by the whimsical Jean-Jacques Perrey. Seeking independence, Roger and Nardini decided to create their own studio in Jouy-en-Josas, southwest of Paris. They handled the creative side, while Francis Gastambie took care of the business end. The studio was named “Ganaro,” an acronym of the first two letters of their respective family names. It became the scene of magical nightly sessions of experimentation, in the company of their friend Eddie Warner. The acquisition of a Moog synthesizer brought these pioneers of electronic music to a new level. Roger Roger manufactured his own punch cards to invent new sounds. Then, in 1969, under the pseudonym of Cecil Leuter, he published the albums Pop Electronique and TVMusic 101 (with Nardini), two truly avant-garde “100% electronic” disks that anticipate the hegemony of machines in pop music, from space disco in the late 70s to the electro funk of the early 80s. With a Stakhanovite output of production music, the duo composed more than 40 albums (including the incredible Informatic 2000) for specialized labels: Chappell Music, Southern Library of Recorded Music, Neuilly, IM (Eddie and Hannelore Warner’s label, which published, notably, The Strange World of Bernard Fèvre in 77) Mondiophone, Hachette, Musax and Crea Sound Ltd. A veritable Atlantis of electronic music, rediscovered at the turn of the 21st century by electronic artists like Barry 7 of Add N to (X), with his Connectors series, or Luke Vibert, with the Nuggets compilation. Jess and Alexis Le Tan contributed a bit as well, digging up a few gems from “Ganaro’s Nights,” tracks composed with joy and humility by a merry trio of sixty-somethings for whom making music was always a source of amusement and wonder. Nino Nardini passed on in 1994; Roger Roger in 1995. Eddie Warner (the fortunate composer of the theme song for the TV game show “Des chiffres et des lettres”) had died a few years earlier.
    Format
    LP
    Release-Datum
    19.04.2016
    EAN
    EAN 3521381535976
    Format
    CD
    Release-Datum
    19.04.2016
    EAN
    EAN 3521383435960
     
  • 01. Interspace
    02. FAMVS
    03. Night Games
    04. Freak Night (album mix)
    05. Polyanna
    06. Black Star (feat. ikonoklasm & HAYLEY)
    07. New Cydonia (feat. HAYLEY)
    08. The Fury
    09. Trapped in America
    10. Midnight Signals Overture
    cover

    STARCADIAN

    Midnight Signals

    [engl] limited to 300 copies
    Format
    LP black
    Release-Datum
    30.09.2018
    EAN
    EAN 4260016924028
    Format
    LP white
    Release-Datum
    30.09.2018
    EAN
    EAN 4260016924035
    Format
    LP white
    Release-Datum
    30.09.2018
     
  • 01. Ultralove
    02. Dance or Die
    03. Money
    04. Alien Victory
    05. Entoptica
    06. Heart (Saturdaze version)
    cover

    STARCADIAN

    Saturdaze

    [engl] Starcadian - Saturdaze comes on heavy 10" black/blue split vinyl with white splatter, limited to 200 copies only. The record is housed in a black simple innerbag and comes aside its cover printed on heavy 350gsm paper in a PVC overbag.
    Format
    10'' col
    Release-Datum
    30.09.2018
    EAN
    EAN 4260016924042
     
  • 01. The Day I Lost You (Feat. Meteor)
    02. Cold Rain
    03. Holding onto Yesterday (Feat. The Encounter)
    04. Reaction (Feat. Megan McDuffee)
    05. Still Night (Feat. Crockett)
    06. Purple Eyes (Feat. Dimi Kaye)
    07. A Stranger's Stare
    08. Reaction (Instrumental)
    cover

    STILZ

    Holding onto Yesterday

    [engl] limited to 300 copies
    Format
    LP black
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925889
    Format
    LP blue
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925896
    Format
    LP white
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925902
     
  • 01. Intro
    02. Judicator
    03. Electric Nights
    04. Nova City Sector 3
    05. Tetsuo (Feat. The TCR)
    06. Don't Look Back
    07. Pursuit
    08. Dream Sequence
    09. Desire
    10. Scanner (Feat. The Encounter)
    11. Moonlight Prowler
    12. The Eyes Follow
    13. Don't Look Back (Volkor X Remix)
    14. Electric Nights (Emmett Brown Remix)
    15. Don't Look Back (DevilRazor Remix)
    cover

    STILZ

    Judicator

    [engl] limited to 300 copies
    Format
    LP black
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925858
    Format
    LP blue
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925865
    Format
    LP splatter
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925872
     
  • 01. Metropolis
    02. The Fog
    03. Manhandler
    04. Better The Devil You Know
    05. You Can't Run Forever
    06. Garbage Day
    07. From Ashes
    08. Tower Gates
    09. Annihilation
    10. The Crossing
    11. Life A.D.
    cover

    STREET CLEANER

    Annihilation

    [engl] gatefold cover with yellow flood print inside
    Format
    LP splatter
    Release-Datum
    01.12.2019
     
  • cover

    STREET CLEANER

    Payback

    [engl] limited to 200 copies
    Format
    LP black
    Release-Datum
    31.05.2018
    EAN
    EAN 4260016925988
     
  • cover

    SUNG

    Fahrenheit

    Format
    LP black
    Release-Datum
    30.11.2018
    EAN
    EAN 4260016924110
    Format
    LP splatter
    Release-Datum
    30.11.2018
    EAN
    EAN 4260016924127
     
  • 01. Concert At WBAI Free Music Store
    02. Concert At Phil Niblock’s Loft
    cover

    SUZANNE CIANI

    Buchla concerts 1975

    [engl] Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking. This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance. In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith. These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then. The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “non-records”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines. You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!
    Format
    LP
    Release-Datum
    08.07.2016
     
  • 01. Flowers Of Evil - Based On The Poem Élévation by Charles Baudelaire
    02. Glass Houses
    03. Token Spokes Part One
    04. Token Spokes Part Two
    cover

    SUZANNE CIANI

    Flowers Of Evil

    [engl] As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil). In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless… Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/ electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.
    Format
    LP
    Release-Datum
    01.06.2019
     
  • cover

    SUZANNE CIANI

    Help, Help, the Globolinks!

    [engl] As faithful guardians of the Ciani Musica Inc. studio vault Finders Keepers Records twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in the history of multi-disciplinary electronic music. Open-minded, unpretentious, enigmatic and consistently inspiring, Suzanne Elizabeth Ciani would shatter the mould and invert the stereotype of electronic composers in the early 1970s with a bona fide education in classical music, a clear understanding of technology and a genuine will to communicate and naturalise electronic music. All of these unique attributes, coupled with her natural charm and generosity, would win her success and notoriety in the colliding worlds of art, film, advertising, theatre, dance and eventually popular recorded music in the latter part of the 21st century – a multifarious achievement which remained unrivalled by any of her contemporaries, regardless of gender, conquering many male-dominated platforms and breaking creative ground in the process. It is exactly these key factors that would form the basis for this multifaceted musical project that is stored within the grooves of the record you are now holding. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theatre production for children of all ages not only further reveals Suzanne’s vibrant and versatile skills as an experimental musician and narrative sound designer but also highlights her European heritage – working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department). Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the 80s which called for a new approach to the music and sound effects – all of which would make their world premier in New York high school theatres in April of 1980. “I was honoured to have been selected to create a new electronic score for Gian Carlo Menotti’s opera for children,” Suzanne told Finders Keepers. “The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production.” For this task Suzanne would approach the brief with the same zeal and tenacity that she continues to apply to all her work by reinventing the process, challenging convention and supplying the audience with something they have never experienced before. For Help, Help The Globolinks Ciani would give Menotti’s well-travelled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality quite potentially overshadowing the “human” casts exceptional abilities and challenging the director’s and writer’s authority in true Ciani style: “I recall meeting with Maestro Menotti at his home in New York City,” recalls Suzanne. “Later I was told that he was upset by the size of my credit on the poster.” Unlike many successful electronic composers, Suzanne, as a serious and genuinely revolutionary artist, managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema (Swiss composer Bruno Spoerri readily observes that all the best space film scores veered from this pairing) but within the realms of opera and education Suzanne found her perfect channel (scratching her other cosmic cinematic itches with android music in The Stepford Wives and as “the first female composer to score a major Hollywood movie” with The Incredible Shrinking Woman release one year after The Globolinks redux debut). Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl’s Aniara or Remi Gassman’s Electronics for family consumption, this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Having honed her craft in the close company of late synthesiser designer Don Buchla (a company of whose development she played a key role) it is plain to see how the young Suzanne Ciani combined roles as an abstract artist and an astute technician in equal measures, a rare duplicity which would be essential The Globolinks and all our musical quests for a brighter future.
    Format
    LP
    Release-Datum
    17.11.2017
     
  • 01. Lixiviation
    02. Atari Video Games Logo
    03. ‘Clean Room’ ITT TV Spot
    04. Almay ‘Eclipse’ TV Spot
    05. Paris 1971
    06. Sound Of A Dream Kissing
    07. Atari Corporate Tag
    08. Princess With Orange Feet
    09. ‘Pop & Pour’ Coca-Cola Logo
    10. ‘Discover Magazine’ TV Spot
    11. Live Buchla Concert 1975
    12. ‘Inside Story’ PBS TV Spot
    13. ‘Liberator’ Atari TV SPot
    14. Eighth Wave
    15. Sound Of Wetness
    16. Second Breath
    cover

    SUZANNE CIANI

    Lixiviation

    [engl] The American Delia Derbyshire Of The Atari Generation With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the elec- tronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a woman’s touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract Sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani's synthetic sound (The Buchla Synthesiser). Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica companybecame the test- ing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experi- ments which have remained untouched for over 30 years... until now. Finders Keepers Records are happy to announce a new creative archive based rela- tionship with Suzanne Ciani, a very unique and celebrated experimental composer in her own right, who, as one of the very few female composers in the field (Save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerised music modules throughout the 1980s dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early 70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humour) shines throughout this new collec- tion of previously unreleased recordings. Lixiviation complies and recontextualises both secret music and commercial experiments of Suzanne Ciani made for micro- cosmic time slots and never previously documented on vinyl or CD. This is the first sneak peek of the early Ciani metal music and non-pop that later went on see her nominated for multiple Grammy awards for her later achievements which brought synthesiser music to the new age movement.
    Format
    LP
    Release-Datum
    13.02.2012
    EAN
    EAN 5060099503665
     
  • 01. AT&T Logo
    02. Slo-Mow
    03. Hot Streak
    04. Mercury
    05. ABC Logo
    06. Pouring
    07. Red HoT
    08. Clean Room
    09. B&D Logo
    10. The Vanishing Bottle
    11. Atari Summer*
    12. Time
    13. Discover
    14. Prince Tennis
    15. Eclipse
    16. Becomes A Loner
    17. Octabred
    18. Instrumental
    19. Harpbirds
    20. Becomes A Friend
    21. Tape 38
    22. Clone Meets Octabred
    23. Harpbirds 2
    24. Octabred At The End
    cover

    SUZANNE CIANI / CLONE

    Logo Presentation Reel 1985 / Octabred

    [engl] A very special Disposable Music edition comprising two programmes of lost early 80s North American synthesiser music from American/Italian Buchla pioneer Suzanne Ciani and Alaska’s only dedicated electronic collective Clone. Comprising of instrumental versions of Ciani’s much coveted cassette-only electronic advertising portfolio (featuring Atari music and power tool jingles) alongside a Clone archive of exclusive Anchorage one-off radio synth sessions and theme tunes, this release represents another Disposable Music milestone bringing lost embryonic electro and proto-synth pop from a place beyond the outskirts of the oblivious record industry. Quite possibly one of our most requested releases on any format and one of Finders Keepers proudest vault digging moments to date, the limited release repackaging of Suzanne Ciani’s original cassette portfolio of electronic advertisement music harboured some of her most radical and uninhibited experiments - unconsciously redefining synth pop and electro from behind American TV screens whilst totally evading the radar of the record industry. These commissions originally made for companies such as Atari, a major power tool firm, soft drinks companies and printed publications, provided a new canvas and challenging directive for Suzanne who would deploy her maverick expertise with some of the most experimental electronic instruments and forward thinking visual/sound artists. As one of the only female composers in the global advertising industry Ciani’s results represented a small sound revolution in the world of production music forging deep nostalgic memories of the would-be electronic-music generation in its wide-eyed infancy. Finally for their precious Disposable Music series, Finders Keepers are now able to present these originally truncated TV and radio recordings in their full-length forms mastered from original tapes including much coveted instrumental versions. Including 15 tracks in total these original recordings are presented here in a new wider musical context as pieces of early synth based pop music, designed specifically for widespread commercial consumption whilst retaining veritable maverick integrity an attribute that quickly diminished at the hand of less adventurous, less sensitive and more complacent production music composers. Finding a perfect bedfellow on this early synthesiser based Disposable Music edition and adding weight to one of our most exciting musical partnerships of recent years these newly excavated early 1980s recordings from the Alaska based Clone synthesiser collective (see Harmonitalk CACHE04) are the results of the group’s wide library of weekly synth jam sessions primarily recorded for band leader (and electronic harmonica soloist) Gary Sloan’s weekly radio show The Import Hour, which specialised in playing the earliest slim pickings of global new wave and electronic music to the station’s Anchorage fan base. Relying on the very records and tapes that actually made it over to Alaska in 1980, Gary and Clone would compose and create their own music to fill the gaps providing us with a long archival shelf of C60 and C90 masters to cement their legacy of perhaps the only dedicated synthesiser initiative to exist in this extreme North American state.
    Format
    LP
    Release-Datum
    24.03.2014
    EAN
    EAN 5060099504983
     
  • 01. Electronic Rock (1983 Instrumental Version)
    02. Electronic Rock (Original 1981 LP Version)
    cover

    T.R.A.S.E

    Electronic Rock

    [engl] Known amongst a small group of teenage friends as T.R.A.S.E. (Tape Recorder And Synthesiser Ensemble) this previously unearthed and fully formed electronic music project was spearheaded by a 16-year-old school- boy as an extension of his woodwork, metalwork and science classes in 1981. Composed and recorded using a self-made synth, audio mixer and elec- tronic percussion units T.R.A.S.E would bridge the gap between a love for sci-fi horror soundtracks, Gary Numan b-sides and an extra curricular hobby as a sound and lighting designer for school plays - bequeathing a backstory as unique and unfathomable as the individualistic sonic results that he would finally commit to C90. Having successfully recorded his only solo album, Electronic Rock (which was never duplicated beyond his own demo copy), this early musical achievement by Andy Popplewell stands up as a rare self-initiated example of embryonic experimental electro pop and genuine outsider music, marking the early domestication of synthesisers and the dawn of electronic home recording studios and the uninhibited results. Unhindered by adult concepts like self-consciousness, popular snobbery, fashion, pride and fear of failure (while funded by paper rounds and odd jobs in his Mancunian community), Andy, armed with the plans to the Chorosynth kit module, an old junk shop piano keyboard and some hand-me-down tools from his recently deceased dad, would fill an exercise book with plans, arrangements and self-penned new wave pop lyrics to fully realise the potential of his one-man synthetic symphony. Reaping the benefits of his own stencilled circuit boards and soldering iron skills (whilst occasionally enlisting the part time help of his younger brother on guitar) T.R.A.S.E’s homemade technology pop continued to bloom right up until the very cusp of adolescence when careers officers and real life responsi- bilities saw the end of Andy's reel to reel multitracking which is finally pre- sented here for the first time since it was sung and played. This ambitious cross section of robotic funk and moody soundscape sequences makes instrumental nods to John Carpenter and Kraftwerk next to unpolished vocal drones worthy of a sedated Human League or Joy Divison, all of whom shared radio dial digits amongst Giorgio Moroder, Tubeway Army and The Glitter Band as Popplewell’s clearest unabashed influences. The T.R.A.S.E tapes, finally unearthed by Finders Keepers, show the full extent of the projects repertoire before the "group's" final hiatus which, for Andy, was followed by a working education in London under BBC employ- ment as a trainee radio engineer (not far from the closed door of the Radiophonic Workshop) which has since led to a widespread reputation as one of the country’s leading independent tape engineers/editors/archivists indiscriminately splicing and baking vintage tapes for anyone in-between Alpha in Brussels and ZTT in London. Having worked with hundreds of reputable studios, pop stars and media companies throughout his career Andy claims he has rarely been asked about his own musical history in 30 working years, Finders Keepers are glad we Popped that very question.
    Format
    7''
    Release-Datum
    27.10.2013
    EAN
    EAN 5060099504686
     
  • 01. T.R.A.S.E. Sketch-1
    02. Electronic Rock (1983 instrumental version) 03. Harmonium
    04. T.R.A.S.E. Sketch-3
    05. Talk To Me (1983 version)
    06. T.R.A.S.E. Sketch-4
    07. Angel Face
    08. Unrequited Love (1983 instrumental version) 09. T.R.A.S.E. Sketch-5
    10. This Life Of Yours (1981 version)
    11. We Are So Fragile
    12. Momento (1983 electric guitar version)
    13. Twilight
    14. War Machine
    15. Voice
    cover

    T.R.A.S.E

    Tape Recorder And Synthesiser Ensemble

    [engl] Known amongst a small group of teenage friends as T.R.A.S.E. (Tape Recorder And Synthesiser Ensemble) this previously unearthed and fully formed electronic music project was spearheaded by a 16-year-old schoolboy as an extension of his woodwork, metalwork and science classes in 1981. Composed and recorded using a self-made synth, audio mixer and electronic per- cussion units T.R.A.S.E would bridge the gap between a love for sci-fi horror sound- tracks, Gary Numan b-sides and an extra curricular hobby as a sound and lighting designer for school plays - bequeathing a backstory as unique and unfathomable as the individualistic sonic results that he would finally commit to C90. Having suc- cessfully recorded his only solo album, Electronic Rock (which was never duplicat- ed beyond his own demo copy), this early musical achievement by Andy Popplewell stands up as a rare self-initiated example of embryonic experimental electro pop and genuine outsider music, marking the early domestication of synthesisers and the dawn of electronic home recording studios and the uninhibited results. Unhindered by adult concepts like self-consciousness, popular snobbery, fashion, pride and fear of failure (while funded by paper rounds and odd jobs in his Mancunian community), Andy, armed with the plans to the Chorosynth kit module, an old junk shop piano keyboard and some hand-me-down tools from his recently deceased dad, would fill an exercise book with plans, arrangements and self- penned new wave pop lyrics to fully realise the potential of his one-man synthetic symphony. Reaping the benefits of his own stencilled circuit boards and soldering iron skills (whilst occasionally enlisting the part time help of his younger brother on guitar) T.R.A.S.E’s homemade technology pop continued to bloom right up until the very cusp of adolescence when careers officers and real life responsibilities saw the end of Andy's reel to reel multitracking which is finally presented here for the first time since it was sung and played. This ambitious cross section of robotic funk and moody soundscape sequences makes instrumental nods to John Carpenter and Kraftwerk next to unpolished vocal drones worthy of a sedated Human League or Joy Divison, all of whom shared radio dial digits amongst Giorgio Moroder, Tubeway Army and The Glitter Band as Popplewell’s clearest unabashed influ- ences. The T.R.A.S.E tapes, finally unearthed by Finders Keepers, show the full extent of the projects repertoire before the "group's" final hiatus which, for Andy, was fol- lowed by a working education in London under BBC employment as a trainee radio engineer (not far from the closed door of the Radiophonic Workshop) which has since led to a widespread reputation as one of the country’s leading independent tape engineers/editors/archivists indiscriminately splicing and baking vintage tapes for anyone in-between Alpha in Brussels and ZTT in London. Having worked with hundreds of reputable studios, pop stars and media companies throughout his career Andy claims he has rarely been asked about his own musical history in 30 working years, Finders Keepers are glad we Popped that very question.
    Format
    DoLP
    Release-Datum
    14.10.2012
    EAN
    EAN 5060099504631
     
  • 01. The Beyond
    02. Enter The Crypt
    03. Unholy Dominion
    04. Spellbound
    05. Pray For Daylight
    06. Pandemonium (ft. Dimi Kaye)
    cover

    TIMESTALKER

    Pandemonium

    [engl] - heavy 180g vinyl - LP housed in polylined innerbag - comes with poster
    Format
    LP orange
    Release-Datum
    31.03.2018
    EAN
    EAN 4260016925766
    Format
    LP yellow
    Release-Datum
    31.03.2018
    EAN
    EAN 4260016925773
     
  • 01. Henk Badings - Arioso
    02. Lasry-Baschet - Ballet Jeux D’Ombres
    03. Alwin Nikolais - Glymistry
    04. Remi Gassmann - Scherzo
    05. Pierre Henry - Tam Tam
    06. Karl-Birger Blomdahl - The Yurg/The Mimarobe
    07. Henk Badings - Ragtime
    08. Jean-Claude Vannier - L’Enfany Assassin Des Mouches
    09. Henk Badings - Konflikt
    10. Lasry-Baschet - Ballet Du Soho
    11. Igor Wakhevitch - Danse Sacrale
    12. Alwin Nikolais - Aeolus
    13. Jean-Claude Vannier - Le Ballet Des Accoucheuses
    14. Pierre Henry - Transfiguration
    11. Truncheon Man (Man Of Iron)
    12. You Are My Hope (Man Of Iron)
    cover

    V/A

    Danse Sacrale

    [engl] 14 early avant-garde and electronic compositions for ballet and modern dance. The roots of Electronic Dance Music (EDM) by definition. An unlike- ly combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospec- tively unified by their commitment to the musical enhancement of 20th Century ballet and the evolution of modern dance. Presenting key exponents of the musique concrete and tape music movements along- side masters of the early electric sound synthesisers, as well as pre/ anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements which found an improbable, spo- radic and vibrant creative outlet via one of Europe’s proudest and sacred cultural institutions. Featuring composers names such as Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier and Remi Gassman alongside choreographers like Béjart, Ballancine and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed inhibited achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomena and an unconferred global synergy that formed the true foundations of electronic dance mu- sic and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.
    Format
    LP
    Release-Datum
    30.12.2013
    EAN
    EAN 5060099505126