- 01. Mothers Love
02. Ballad Of The Spirits
03. Song Of The Sea
06. Jordan River Song
07. Garden Of Gethesemanie
08. Song Of Abayi
09. Story Of The Wind
10. Evening Breeze
11. Tenkou! Why Feel Sorry?
GEBRU, TSEGE MARIAM
s/t[engl] One of our favorite Mississippi releases yet -- the transcendent piano of the classically trained Ethiopian nun Emahoy Mariam-Tsegue Guebrou (Gebru). This is the second LP in our ongoing series of releases of Emahoy Guebrou's back catalog -- all tracks that are nearly impossible to find on vinyl. More 1960s recordings of her unique solo piano performances -- somewhere between Erik Satie, Debussy, liturgical music of the Coptic Ethiopian Church, Ethiopian traditional music, and a touch of the divine. A spiritual salve for troubled times. Old-school tip on jacket with gold foil.
- 01. The Homeless Wanderer
02. The Last Tears Of The Deceased
03. A Young Girls Complaint
04. The Mad Man's Laughter
GEBRU, TSEGE MARIAM
Spielt Eigene Kompositionen[engl] A most unusual & stunning album. Tsege Mariam Gebru is an Ethiopian nun who has dedicated her life to helping others. She has been composing & playing music on the piano since the 1960’s. Her music is a unique mix of Western classical music in the vein of Erik Satie, Ethiopian music & Religious Christian meditation music. On this reissue of her first LP, originally released in Germany in a very small pressing, we find Tsege Mariam Gebru playing her own compositions solo on piano. She plays with restrained grace & purity. The record invites repeated listening well and is filled with spiritual warmth. We are very proud to present this LP – the first in a series of records we will be releasing with music culled from the monumental Ethiopiques CD series. We firmly believe that she is among the very greatest piano players and composers of all time.
- 01. Assenza Di Gravità (Part One Edit)
04. Il Cobra
05. Produzione Industriale
06. Verso La Frontiera
07. La Caverna
08. From Tokyo To Las Vegas
11. Città Spiertata
12. CittàDel Cap
13. Assenza Di Gravità (Part To Edit)
Le Avventure[engl] Combining all the traits of an international superhero or intrepid comic book adventurer, the true identity, whereabouts and history of the spectacular Italian composer known as Gerardo Iacoucci has been a mystery to record collectors for many years. As a result of the best efforts of secretive archivists and DJs as well as and the overprotective force field that surrounds the clandestine world of Italian library music, the commanding experimental psychedelic pop music made singlehandedly by this early pioneer of the anti-genre time after time rises to the top of collectors’ want lists, commands huge ransom notes, ignites dancefloors and decimates genre tags before returning to its mythical status as one of the kings of the underworld without removing his mask. Despite the fact that original Italian copies of records by Gerardo Iacoucci are amongst the rarest, enigmatic fixtures of European psychedelia, his music simply refuses to be ghettoised and as the name of this album suggests the history of this artist reads like the memoirs of a genuine musical adventurer as well as a well-travelled prophet of experimental music and unsung pillar of Italian jazz and sound design. Recorded in early 1970, Iacoucci’s wide-eyed L’Avventura suite spanned 6 sides of loud, heavyweight monophonic vinyl for Romano Di Bari’s Deneb label and created an epically detailed blueprint for independent mood music companies whilst sharing release schedules with likeminded workaholics Alessandro Alessandroni and A. R. Luciani. However, Gerardo’s adventure didn’t begin here…
HAND OF FOOD
Swimming Mindlessly[engl] Following up their initial cassette release ‘Tropical Income Tax’, Providence/NYC based holiday hypnotherapists Hand Of Food have returned and invite you to luxuriate in a perverted idea of paradise with their debut LP, ‘Swimming Mindlessly’. Despite coming from noise rock and damaged electronic backgrounds, the band sits in an odd nether region somewhere between a brutalized ambience or conceptual exotica, while at times dipping a toe into the self-help section. The record plays like the warped audio brochure for a struggling resort town, luring you in with motivational rhetoric and a transparent facade of tranquility. Although your instincts tell you something is off and the regional jokes are all lost on you, an all-inclusive vacation deal this good hasn’t landed in your inbox in a while so you go ahead and book the trip anyways. The opening track Sign Of The Lemon would have you believe everything is fine — lush pads, chimes, and 100% real flutes commingle harmoniously — you made the right choice. As your stay progresses similar instrumentation takes a more anxious turn. A professional voice-over artist or possibly the cruise captain interjects to insist that everything is ok, but hazy ambient atmospheres lead to reflection on the flight over, to all the decisions that led you here, and ultimately, regret. Doing your best to keep those spirits high, Chelo’s By The Sea whisks you away to the on-site cocktail lounge for some of the resort's complimentary entertainment, an evening with ‘legendary’ resident crooner Publicity Dave. But by the time the album's title track new-age dirge rolls around it’s clear things have taken a turn for the worse. A catastrophe of some sort has occurred and a strained voice pleads for mercy through a cacophony of eyewitness accounts. Against all odds relaxation is finally achieved when renowned audio book narrator Rebecca Mitchell’s soothing meditation picks you up, dusts you off, and guides you to a seemingly permanent place of peace. Swimming Mindlessly dislocates the typical island narrative cliches to articulately illustrate tropical disarray and tell the story of a retreat gone awry. A transportive listening experience taking you directly to the heart of beach-bum dystopia. Judging by this record the Google reviews comment section for the Hand Of Food travel agency would be a treasure chest of pure gold.
- 01. Vel Muruganukku (featuring Malaysia Vasudevan)
02. Don't Compare (Instrumental)
03. Kadal Mele (featuring S. Janaki and S.P.Balasubramaniyam)
04. Thullum Ilamai (featuring S.P.Balasubramaniyam)
05. Ilasa Sirusa (featuring Gangai Amaran and Malaysia Vasudevan)
06. Aththi Marakkili (featuring Malaysia Vasudeva)
07. Poo Poo Kkum (featuring P.Susheela)
08. Sirikkum Mattum (featuringS.P.Balasubramaniyam)
09. Adi Rani (featuring Mano)
10. Nan Koduthathai (featuring Malaysia Vasudevan)
11. Ponmani (featuring K.S. Chitra and S.P.Balasubramaniyam)
12. Mancha Podi (featuring Malaysia Vasudevan and S. Janaki)
13. Unithaan (featuring S. Janaki and S.P.Balasubramaniyam) 14. Poongatre (featuring K.S. Chitra, Mano and S.P.Balasubramaniyam)
15. Sangeetham (featuring Vani Jayaram)
16. Thamthana Nam Thana (featuring Jenky and B. Vasantha) 17. Needhi Idhu
18. Eswarane (featuring Malaysia Vasudevan)
ILECTRO[engl] For the uninitiated the composer of the music on this record is also a master craftsman who throughout the 1980s combined his off-the-wall ideas and sky high expectations using craft, experi- mental technology and a trusted team of participants to help con- coct some truly bizarre local produce in mass quantity without compromise. Ilaiyaraaja, known to his family as Gnanadesikan, and to many of his zillion strong fan base as Isaignani (meaning musical genius in Tamil) represents the epitome of a nostalgic national treasure especially for a single solo composer in the Tamil micro music industry. His euphoric electrified music of the 70s and 80s (and beyond) captures every essence of joy and jubi- lation and is still used in celebration as much as it is celebrated in its own right. Ilaiyaraaja, a man of humble physical stature, sparsely equipped with a self-sufficient studio of compact elec- tronic devices literally COMMANDS celebration with his single handed symphonies. Defying any fair comparisons in the Western world (besides inad- equate parallels to Joe Meek and Jean-Pierre Massiera) it is also virtually impossible to find similar electronic mavericks in the East. Imagine a mixture between Turkey’s Ilhan Mimaroglu and the acidic synthesiser ragas of Charanjit Singh and you're still left short of the songs. Essentially, Ilaiyaraaja is to the local Kollywood film industry what RD Burman/Bappi Lahiri or M.Ashraf/Tafo are to Bollywood and Lollywood but then remember that Ilaiyaraaja is a one-man band, with a single vision and zero competition. This compilation reveals more tasty treats from Finders Keepers ongoing obsession with The Crown Prince Of Tamil Pop - focus- ing on his growth in the mid-1980s as a confident young compos- er adding freak pop fuel to the flickering flame of Kodambakkam's Kollywood film industry, while embracing domestic synthesiser technology and fusing the power of electro and synth pop to his Carnatic canon.
- EAN 5060099503931
- 01. Kiu Intro
02. Tema De Kiu
03. Un Dia Especial
04. Quan Jo Sigui Una Estrella
05. Tema De La Lluno
06. Ball De Berth
07. El Mon De Kiu
08. Un Dia Boig
09. Beat De Beth
10. Kiu Outro
J. M. PAGAN
Kiu I Els Seus Amics ?– Banda Original De La Serie De TV[engl] From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, Video Nasty film composer, occasional Jaume Sisa (Mu?sica Dispersa) collaborator and future electronic music therapy pioneer comes the synth- ridden vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alieni?gena amic and the unidentified flying object of thousands of Catalonian kids affections through the 1980s as Finders Keepers present J. M. Pagan’s lost lunar modular synth score to Kiu I Els Seus Amics (Kiu And Friends aka Kiu Is Your Friend). From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in “Badi” or South Africa’s lo-rent homage “Nukie” to our unregulated small screens, and the same craze which filled international airwaves with the likes of Extra T’S electro smash single “E.T. Boogie” or the million selling Columbian “Cumbia De E.T. El Extraterrestre” smash hit… not to mention a wide range of unofficial theme- tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album) the creators of the movie which inspire the music on the album you are about to hear made no bones about their intergalactic muse. In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21st century, resulting in an unexpected high-demand/short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before. At the precise moment that international audiences saw that cute little baldy poke his retractable neck around the corner and started stealing beer from the fridge, demanding long distance phone calls while circuit bending kids toys and frankly not looking after the plants… the human race was hooked! and we wanted more! more! more! When Spielberg regrettably told interviewers that he had no intention of making a sequel to E.T. The Extra Terrestrial, it instantly became open-season for the imitators… but way before somebody squeezed- out, Mac & Me, ALF and The Purple People Eater a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisio? de Catalunya (TV3) and screened exclusively in Catalunya, Kiu I Els Seus Amics was one of the first E.T. “tributes” to make it out of the gate, and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, “Kiu” has since remained a short but sweet micro-memory in the hearts of an entire generation of Catalonian cosmonauts.
- EAN 5060099507250
- 01. Bombarde Lamentation
02. L’Ours Paresseux
03. La Girafe Au Ballon
04. Claquez Klaxons
05. Saturnin Vaca Vaca
06. L'Automne À Barbès Rochechouart
08. La Douleur De L'Orchestre
09. Theme 504
10. Le Ballet Des Accoucheuses
11. Road To Cuba
12. Je M'Appelle Geraldine
13. L’Éléphant Équilibriste
14. Bombarde Lamentation (Reprise)
Electro Rapide[engl] To mark Finders Keepers Record's 50th release label heads Andy Votel, Dom Thomas and Doug Shipton return to where it all began in 2005 with a long overdue return to Jean-Claude Vannier's vaults! Electro Rapide is a collection of rare and unreleased archive material from the studio archives of legendary French orchestral pop composer Jean-Claude Vannier. Taken from the period before and during his revered creative relationship with Serge Gainsbourg (reaching their halcyon with 1971’s Histoire De Melody Nelson) these tracks reveal a rare glimpse of Vannier’s self-initiated instrumental projects that were crowbarred between an airtight studio diary as one of France’s most in demand arrangers and composers of the post Mai-68 generation... Alongside a handful of his contemporaries and collaborators such as Michel Colombier, Serge Gainsbourg, François de Roubaix, Brigitte Fontaine, Claude Nougaro and Gerard Manset, composer and orchestral arranger Jean-Claude Vannier is globally recognised as one of the key exponents of the Gallic pop cognoscenti to make the significant change from 60s yé-yé to the brooding con- ceptual pop which defined the following decade. His own masterworks, Histoire De Melody Nelson and L’Enfant Assassin Des Mouches (both of which benefited from the poetic prose of Serge Gainsbourg), are two such productions that con- tinue to inspire and challenge popular music as long as five decades since they were first released to moderate audiences in the early 1970s. Electro Rapide is a collection of similarly underexposed instrumental works that combine a mixture of Jean-Claude Vannier’s familiar trademark motifs and stylings from his coveted work for idiosyncratic French pop vocalists (such as Fontaine, Nougaro, Leonie and Anna St. Clair) with the seldom heard experimen- tal music for ballets, fashion shows as well as his infamous film music (such as the soundtracks for Cannabis and La Horse).
- EAN 5060099503337
- 01. L’Enfant la Mouche et les Allumettes
02. L’Enfant au Royaume des Mouches
03. Danse des Mouches Noires Gardes du Roi
04. Danse de L’Enfant et du Roi des Mouches
05. Le Roi des Mouches et la Confiture de Rose
06. L’Enfant Assassin des Mouches
07. Les Garde Volent au Secours du Roi
08. Mort du Roi des Mouches
09. Pattes de Mouches
10. Le Papier tue Enfant
11. Petite Agonie de L’Enfant Assassin
L’Enfant Assassin des Mouches[engl] To mark the ten years of Finders Keepers we present a lovingly remastered and repackaged release of the album where it all began. Within the last ten years the resurgence of sixties Gallic pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French disco had soon found new floor space in some of the most credible nightspots in London and Japan. Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was Histoire de Melody Nelson by one Serge Gainsbourg. An inimitable, 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven sent, 1001 piece orchestral and choral symphony. The album left hip hop producers alongside progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own… or was it? The seldom-sung musical arranger for Melody Nelson has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folklore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil… For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began. So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra special EVERYTHING. Peruse the following genres: psychedelic, classical, soundtracks, jazz, hip hop, samples, avant-garde, funk. Then place a copy of L’Enfant Assassin des Mouches in each section. History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story “The Child Assassin Of The Flies” was to be included as the only information to grace the LPs highly collectible, concertina gatefold sleeve. The story in full is reproduced in its native-tongue on this very special re-release package. DJs and Producers such as Jim O’Rourke, Stereolab’s Tim Gane and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as ‘One Of The Best’. Recent copies on eBay have commanded ridiculous price tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community.
- EAN 5060099500015
- 01. Five Against Seven-Random Canon
03. Variation In Timbre And Attack
04. Molto Amoroso
05. Beat Canon 6. Melodie
JOHN ROBINSON PIERCE
Music From Mathematics[engl] Originally released in 1960 and 1962 on two unique formats with over- lapping tracklists, the seminal Music From Mathematics Showcase Project marked the phonographic introduction of computer generated music for the first time in the public arena. Almost exclusively created at Bell Laboratories using an electronic to sound transducer and a state of the art IBM 7090 (complete with a gargantuan 32KB of disposable memory!) Music From Mathematics featured multiple random-not-ran- dom sound assaults preconceived by a host of technicians-cum-musi- cians eager to challenge the way humans would make and create music at the turn of the New Millennium. Amongst a list of pioneering composers, the two original limited releases pressed by Decca and Bell Telephone Laboratories feature a majority cross section of recordings by two leading composers - project instigator Max Mathews and Bell Laboratories’ stalwart vacuum tube scientist John Robinson Pierce. Having played a leading role in the development in Telstar 1 (the first commercial communication satellite) as a radio communications poly- math, Dr. John Robinson Pierce and his earliest lesser-known abstract musical achievements might well have been the only bona fide first- hand examples of space rock - a concept that even Joe Meek couldn’t come close to. Working extensively as a well respected figure in the fields of psychoacoustics, radio communication, computer music and science fiction writing, Pierce's post-concrète abstract submissions to the Music From Mathematics Showcase Project mark the very earliest murmurs of the experimental computer music which would eventually lead to his position at Stanford University in the late 70s where he developed non-octave scales such as his own pioneering Bohlen–Pierce Scale. Coining the self-deprecating phrase "funding artificial intelligence is real stupidity" is self-admission that alongside Max Mathews (with their research into computer generated music) he created the happy monsters that became electro or techno and the dawn of the musical replicants that followed. Itis time for microchip pop fans to visit your grandparents.
- EAN 5060099505034
- 01. Krst I
02. Krst II
03. Krst III
04. Krst IV
Krst"Krst" ist ein 75-minütiges Werk, das Drones, minimale Beats und byzantinisch beeinflusste Gesänge als elektronische Oper Noir vor einer bedrohlichen Lärmkulisse inszeniert.
- LP Box
- EAN 9120047540084
- 01. Lustmord
Krst RemixesDer jugoslawische Elektroniker Slobodan Kajkut aka Kajkyt hat 2010 das Stück »KRST« veröffentlicht, eine unheilige Melange aus Klangexperimenten und ritualisierten Gesängen. Diese Remixe sind eine logische Konsequenz daraus.
- LP Box
- EAN 9120047540121
- 01. Madfilth
02. Nuclear In
03. Gulp It
06. Mad Strip
07. Voglio Un Cugino
09. Io Sono Voi
s/t[engl] From the pumping heart of The Magnetic System comes the “dirtiest” Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra rare and unscrubbed, Finders Keepers finally snip the trip from the cash machine to the trash machine. Pay dirt just got dirtier. Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic this ecological illogical political crab cabaret clearly broke the mould before way before the jelly had set. Fans of “other” obtuse outernational agit-camp might find a fantasy fusion between France’s J. P. Massiera and Sweden’s enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle – but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers at the bottom of the psych rap scrapheap. Originally drip fed out of Cesare Andrea Bixio’s Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label’s commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens’ teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation – combining the skills of overqualified composers with undercooked conceptual mind farts! Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool’s gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don’t bite the spoon. As both doctors and diggers will agree, always read the label. It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of B-musical diamanté discoids. It will also come as little surprise that Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curates egg with the men who many consider to be the group’s greatest assets in bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin’s career, weathering the temporary departure of Claudio Simonetti and maintaining the stylistic heartbeat of the group. Madfilth’s inclusion of Goblin synth Maverick Maurizio Guarini and the band’s mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films Buio Amiga and Squadra Antigagsters. This lesser celebrated late 70’s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farinas Discocross LP, Simonetti’s own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going – all of which, alongside Madfilth, provide a strong mutual stylistic support system for their claim to cosmic discos deep red bloodline.
- 01. The Poor Neighborhood
03. The Port
04. Courtyards Citizens
05. Power Station
06. Luna Park
08. Between Town And Country
09. Public Gardens
10. Modern Residential Complex
11. Marshalling Yard
12. International Airport
13. Sunday In Town
MARIA TERESA LUCIANI
Sounds of the city[engl] Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook’s Archigram group or the soundtrack to Charles and Ray Eames’ private sketchbooks, hinting at a new municipal, utopian metropolis just hours before the blueprints are suspiciously misplaced by the courier and mainstream pop building regulations piss on our asbestos bonfire. These 1972 constructions of progressive, cyclic, proto-industrial colour music were never intended for public habitation. These are the Sounds Of The City in a galaxy far, far beneath our radar and above your expectations that was never built. Pseudo-futurist pop music? Cubic folk? Tape-op-art? Sì, grazie! Before the needle hits the first groove, the story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust… Naturally, you are holding a genuine Finders Keepers article. To say this rare Italian concept album is “unbelievable” is justified on multiple levels. This multi-storey storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical folk, cinematic vision, sound design, educated music theory, political pop and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre. This is why Sounds Of The City presents us with a brand new genre defying compositional framework, pre-dating sampling culture, cut ‘n’ paste plunderism and industrial music in the process. Pre-digital, indefinable and genuinely unbelievable. But who is Maria Teresa Luciani? On hearing this record respected collectors and enthusiasts have suggested “the female answer to Basil Kirchin,” or “the Italian Daphne Oram”. Both with justified cause. Mystery, myth, legend, teacher, artist, inventor, author, musician, psychologist, daughter, and (possibly most importantly) sister.
- EAN 50600999506628
- 01. Electrodes
04. Air liquide
05. Rose des vents
06. Poignée de soleil
MARTIAL SOLAL JOUE MICHEL MAGNE
Electrode[engl] A record of huge significance to the Finders Keepers family, this quintessential Cacophonic release documents the first full-length LP commission for the young Jean-Claude Vannier in collaboration with Musique Tachiste experimental score pioneer Michel Magne (owner of the Château d’Hérouville studio which has hosted Bowie, Pink Floyd, Magma amongst others). The first appearance of Vannier’s signature ethnic strings appear alongside Magne’s oblique co- writes with French jazz piano legend Martial Solal for this early benchmark in conceptual French music. Bringing together two of Finders Keepers leading artists, longtime critical favourites and out-and-out pioneers of the French conceptual rock scene that we at FK HQ often refer to as the No-No years, Cacophonic are proud to present this rare collaboration between Jean-Claude Vannier and Michel Magne along with pianist Martial Solal for the pioneering Electrode album from 1967. As the creators of the albums that launched both our Finders Keepers and Cacophonic labels respectively it is plain to see how this early LP represents a historic keystone in our precious roster. Electrode also documents the first professional job as an album arranger for the young Vannier, working under two of his heroes, at the tender age of twenty four (some five years before he cemented his relationship with Serge Gainsbourg providing the music for the celebrated Histoire De Melody Nelson). Marking the earliest example of Vannier’s evident penchant for ethnic influenced string arrangements (inspired by his early studio work with Algerian musicians) Electrode elaborate introductions drawn comparisons to the orchestral elements in the Don Cherry/Ronald Frangipane score for Jodorowsky’s Holy Mountain - complete with its fervent anti-pop overtones. This one-off patchwork arrangement of brooding cinematic flair, anti-concrete soundscapes and free jazz piano flirtations represents each of these important artists in equal proportions and serves as a direct meeting of Vannier’s L’Enfant Assassin Des Mouches (FKR001) and Magne’s Musique Tachiste (1CACK) with the privileged inclusion of one of France’s most lauded jazz pianists Martial Solal - a mantle shared only, in our opinion, by Francois Tusques. An essential prototypal release for our expanding Cacophonic label Electrode exposes yet another side of off kilter European free music continuing to prove to the die hard skronkophobiacs that jazz is not a four letter word.
- EAN 5060099505164
- 01. Three Against Four
03. Bicycle Built For Two
04. The Second Law
05. May Carol
06. Joy To The World
Music From Mathematics[engl] Originally released in 1960 and 1962 on two unique formats with over- lapping tracklists, the seminal Music From Mathematics Showcase Project marked the phonographic introduction of computer generated music for the first time in the public arena. Almost exclusively created at Bell Laboratories using an electronic to sound transducer and a state of the art IBM 7090 (complete with a gargantuan 32KB of disposable memory!) Music From Mathematics featured multiple random-not-ran- dom sound assaults preconceived by a host of technicians-cum-musi- cians eager to challenge the way humans would make and create music at the turn of the New Millennium. Amongst a list of pioneering composers, the two original limited releases pressed by Decca and Bell Telephone Laboratories feature a majority cross section of recordings by two leading composers - project instigator Max Mathews and Bell Laboratories’ stalwart vacuum tube scientist John Robinson Pierce. As a tutor to many experimental electronic composers who studied at Stanford Artificial Intelligence Laboratory (including Suzanne Ciani) and as an inspiration to the subsequent generations that followed the origi- nal electronic music boom, Professor Max Mathews’ legacy began with the birth of computer programming technology for music composition (his method known as MUSIC-N) in the 1950s which was showcased amongst other performers on these seminal recordings from 1960. For a man with as many protégés as personal electronic music achieve- ments Mathews maintained a strict behind the scenes role despite per- haps his most notable public endorsement when referenced in Stanley Kubrick's 2001 which paid homage to his haunting robotic version of Daisy Bell/Bicycle Made For Two (which appears here) sung by the Hal anti-character. As the man who taught the robot to sing it is fair to state that a vast portion of the electro or techno made by today’s musicians can be technically (undeniably) attributed to Mathews’ early achieve- ments exemplified here, and not least substantiated by the fact that the leading visual programming language found in music production soft- ware known as Max MSP remains a testimony to his legacy. It’s time for microchip pop fans to visit your grandparents.
- EAN 5060099505027
Bring Your Own Pencap[engl] None or all of the following is true about Maximum Ernst: Maximum Ernst is an art band. Maximum Ernst is a rock group. Maximum Ernst is a jazz combo. Maximum Ernst is fusion. Maximum Ernst is a duo. Maximum Ernst has performed naked. Maximum Ernst is magick. Maximum Ernst is a joke. Bring Your Own Pencap is the eventual beginning, the final phase, the plastic molding wrapped in paper towel.
Hallmark Of A Crisis Period[engl] Five years into their long strange drip, the duo of Maximum Ernst continues to confound, perplex, confuse and refract. Foetal returns yielded guitar/drum scramble in service of improvisational incongruity and radical reimaginings of alt-world smash hits by Faust, Snatch and Easy Cure. A link with Old Master horn maestro and official NYC gem Daniel Carter emerged and soon thereafter a CD and live cassette popped a few eardrums just right, so tight. Further uncharted territories were conquered and liberated as Maximum Ernst furiously and fitfully would-shedded. Woodn’t you? Quit playing. That was the advice of one medical doctor and also a licensed quantum mathematician; but still the daft, disappearing duo of Maximum Ernst gestured, rudely, NAY and thus, this newest release finds itself in your hands, begging for a vigorous clean. Please, indulge. “Un Menace Natural” welds together extra-dimensional birdsong, soothing bursts of noise, the timbre of waves on a nonexistent beach and uncanny, unnerving shrieks smeared into beguiling patterns. It builds, it ebbs, it flows, it knows. It knows everything. It’s like if Jon fucking Hassell and Black fucking Dice had a fucking Baby. “Hallmark Of A Crisis Period” is a cut-up tour de force that shivers with unhinged delirium and barely-concealed malice. Imagine William S. Burroughs interpreting a Whitehouse “banger” as being live-mixed by Nurse With Wound. Imagine it, you fool! Despair not, heathen, as Maximum Ernst has imagined it for you. And it is as glorious as a sunset must be to a hanged man. Rejoice, for you have entered the Crisis Period, and nothing will ever be the same.
Live at Legion Hall[engl] Following a successful collaboration released on CD and cassette by New York City’s Ever/Never Records, legendary reeds-master Daniel Carter and the duo known as Maximum Ernst converge once again. Retaining a sense of continuity within the narrative jolt, Carter is unflappable and steadfast amidst the storm-drone conjured by Maximum Ernst. On each untitled cut, Daniel Carter switches horns effortlessly as Ernst churns, hums and slums via guitar, tapes and drums.
Perfect Mixer / Matchless Pair[engl] The worm never stops turning at MaxE HQ, so as we make another trip thru the solar system on Spacefish Mirth, Ever/Never presents Perfect Mixer/Matchless Pair. Before you ask—Yes, it’s good. Yes, you will enjoy this ravishing ear-tickle of a release. Past meets future. Beats in space. Time falls fast and twists into a funnel cloud of distortion. Perfect Mixer/Matchless Pair is a funhouse reflection in an abandoned amusement park. Perfect Mixer/Matchless Pair is a suicide ride into the vanity mirror universe.
s/t[engl] On one side, we have upstart NYC free-rock duo Maximum Ernst and on the other, masterful journeyman horn specialist Daniel Carter. Daniel has been blowing through his array of horns for over fifty years now. The list of people and ensembles that he has played in over the decades is staggering. Carter was part of the legendary lower Manhattan free jazz scene as epitomized by the classic Wildflowers compilations. An essential component of a group of musicians that includes such luminaries such as David S. Ware and William Parker, Carter has maintained his connection to the foundation of revolutionary “fire music.” But this is only a fraction of what Carter does day in and day out. Daniel Carter plays; anywhere and everywhere, any time and all the time. As part of ‘90s free jazz fire-breathers Test, Carter and compatriots made a name for themselves playing in subway stations around the city. And Carter can still be found playing in stations to this day. His is true underground music. But Carter never limited himself to just “jazz,” even of the outre’ variety. In the 1980s, Carter could be found on stage with bands such as hardcore demi-gods Bad Brains and primal industrial insurrectionists Missing Foundation. In the present, you can find Carter throughout the city, playing with young masters such as Chris Corsano and old sages such as Loren Mazzacane Connors. Which brings us to this wild n’ woolly CD/cassette release on New York City’s Ever/Never Records. Joining forces with the guitar and drum-based Maximum Ernst, Carter gets to let his freak-flag fly high. Here we have five distinct pieces chronicling their collaboration. “Iceflower Shawl and Gulf Stream” opens things up with a deceptively jazz-like intro before eventually melting down like a three mile island. “Whip Lashes or Lava Threads” begins in the eye of the hurricane but pretty soon, the gale winds are whipping your face and the trio have stumbled upon a sound beyond rock and jazz. “Scarcecrows” is a brief respite featuring sharply plucked guitar, lyrical sax work by Carter and a spectral radio signal from another dimension. “Fields Of Honor Flood Seismic Plants” is both the longest title and the longest track on the album. It begins with each musician patiently probing the boundaries until building to its natural conclusion. “The Habits of Leaves”ends the proceedings with a perfect mix of improv clatter and old-fashioned rock power. Maximum Ernst with Daniel Carter is a testament to the rush of creative friction between colliding talents. Open your ears wide. -e/n
Time Delay Safe[engl] In advance of a scintillating 12” EP, Ever/Never perplexes the masses with another Maximum Ernst curveball that is a harbinger of things to come. Like some form of residue from the past, “Signal Thru Flames” blends beats/speech/noise into a morass of ever-shifting shapes. Phases and phrases swan-dive off the 13th floor while cascades of right/wrong sounds slap you silly. Sir Steven Stapleton remixed the Vanity Records catalog? Iykyk. On the flip, the Maximum Ernst duo make like Indiana Jones and Lara Croft unearthing a long-lost Jon Hassell deep cut on “Orb-Like” and then bringing the secrets they learned all the way back home via the classical strain of “Glass Enclosure.” For Time Delay Safe, Maximum Ernst went stark raving mad in the Fourth World so that you could leave your body safe on the couch.
- 01. Song For Alice
02. Dreams That Money Can Buy
03. Days On A Mountain
04. Good Old Days
05. Tearoom In The Train
MINX / ZIMMERMAN
Minx / Zimmerman[engl] Minx / Zimmerman were a duo comprised of Don Minx (Marq van Broekhoven, now a well known comics artist) and Aldomir Zimmerman (Tonnie Eiting), two friends from the city of Eindhoven, who were into comics, avant–garde music and homemade cassette recordings. Influenced by diverse bands / artists such as John Foxx, Brian Eno, Fad Gadget, Sparks or Devo, (among many others), they decided to release an album. "Minx / Zimermman" was the result, self–released on their Freudian Backroom label, now very sought–after by minimal wave collectors.
- 01. DORIAN PIMPERNEL (+ Forever Pavot) = Echolana
02. JULIEN GASC ( + Forever Pavot + Chassol) = Léger léger
03. FOREVER PAVOT ( +Julien Gasc) = Nos vélos sous la pluie
04. FOREVER PAVOT (+ Dorian Pimpernel) = C'est de L'or
05. DORIAN PIMPERNEL (+ Julien Gasc) = Minor Nipple
EP feat FOREVER PAVOT, JULIEN GASC, DORIAN PIMPERNEL & CHASSOL
- EAN 3521381535990
- 01. Sonic Contours
02. Fantasy In Space
04. Invention In Twelve Tones
05. Low Speed
06. Poem In Cycles And Bells
OTTO LUENIG & VLADIMIR USSACHEVSKY
Tape Recorder Music[engl] One of the very earliest and most important examples of electronic tape music to be pressed on to vinyl (alongside the Radiodiffusion-Télévision Française musique concrète compilations in France and Jim Fassett’s comedic Strange To Your Ears novelty record) this privately pressed 1955 LP was released on a one-off label owned by businessman Gene Bruck to document a custom made performance at the New York Museum Of Modern Art back in 1952. This facsimile edition of this important LP archives remastered versions of the first recorded unison of Otto Luening and Vladimir Ussachevsky and a partnership that founded the Columbia-Princeton Electronic Music Center at Columbia University in 1959, which would later count Ilhan Mimaroglu, Wendy Carlos, Dariush Dolat Shahi and Alice Shields as its graduates. The October 28th 1952 performance showcased the debut of the seminal Fantasy In Space based on resampled flute recordings which were manipulated on magnetic tape to create an otherworldly melodic composition, stylistically begging comparison with the early recording of Kraftwerk (made some twenty years later) and bringing a palatable and tuneful alternative to the stark avant garde experiments of their French counterparts. The mechanical construction of the track was even “performed” on prime time American television to celebrate this groundbreaking approach to modern music. Alongside four other tracks the full programme comprises further experiments with manipulated recordings of bells and woodwind instruments subjected to mechanical “augmentation, diminution and retrograding” to create pieces that “cannot be played with conventional instruments.” In the following years labels like Folkways and Desto would also plunder this important session as a milestone in electronic music. For the purpose of this release Cacophonic have also included the seldom heard 14 minute track A Poem In Cycles And Bells For Tape Recorder And Orchestra which was recorded using the same techniques with the Royal Danish Radio Orchestra in 1956 and released via the Composers Recordings Inc. label founded by Otto himself in 1954 (employing Vladimir in an advisory capacity) and operated for forty-nine years – releasing records by Harry Partch, Alwin Nikolais, John Cage and Alice Shields. Also included on this edition is an expansion of the rare 10? original artwork by legendary graphic designer Ronald Clyne, an early example of his work made before he became in-house designer for Folkways Records rivaling the likes of Blue Note’s Reid Miles for some of America’s most iconic record sleeves.