Labels

Finders Keepers

  • 01. Ice-Cream
    02. The Clowns
    03. Teosofo
    04. Ibañez Orgasm
    05. Carlito’s Death
    06. The Wave
    07. Shoes Dance
    08. God Doesn’t Exist
    09. Los Mineros
    10. Bucéfalo
    11. Jaime and Bucéfalo 12. Bucéfalo Dies
    13. Bodisua
    14. José
    15. Aquilles
    16. The Midget
    cover

    ADAN JODOROWSKY

    The Dance Of Reality

    [engl] After a twenty-three-year hiatus, The Dance of Reality marks the triumphant return of Alejandro Jodorowsky, the visionary Chilean filmmaker behind cult classics El Topo and The Holy Mountain. In the radiantly visceral autobiographical film, a young Jodorowsky is confronted by a collection of compelling characters that contributed to his burgeoning surreal consciousness. The legendary filmmaker was born in 1929 in Tocopilla, a coastal town on the edge of the Chilean desert, where the film was shot. Blending his personal history with metaphor, mythology, and poetry, The Dance of Reality reflects Jodorowsky’s philosophy that reality is not objective but rather a “dance” created by our own imaginations. Written, performed and recorded by Alejandro’s son, the acclaimed actor, director and musician Adan Jodorowsky, Dance of Reality’s original soundtrack expands from gossamer folk acoustic guitar themes and solo piano compositions to rich cinematic orchestral arrangements echoing the work of John Barry and Ennio Morricone combined with extrovert narrative traditional pieces executed in the vein of Nino Rota. This LP contains the sixteen original compositions that make up the score for Alejandro’s seventh feature film which witness a return to the ABKCO film company who produced his underground classics El Topo and The Holy Mountain both of which Finders Keepers will also release the soundtrack LPs in this series of special vinyl editions.
    Format
    LP
    Release-Datum
    15.06.2015
    EAN
    EAN 5060099505485
     
  • 01. Entierro Del Primer Juguete (Burial of the First Toy)
    02. Bajo Tierra (Under the Earth)
    03. La Catedral De Los Puercos (The Pigs Monastery)
    04. Los Mendigos Sangrados (The Holy Beggars)
    05. La Muerte Es Un Nacimiento (Death Is Birth) 06. Curios Mexicano (Mexican Curios)
    07. El Agua Viva (Living Water)
    08. Vals Fantasma
    09. El Alma Nace en la Sangre (The Soul Born in the Blood)
    10. Topo Triste
    11. Los Dioses De Azucar (The Sugar Gods)
    12. Las Flores Nacen En El Barro (Flowers Born in the Mud)
    13. El Infierno De Los Angeles Prostitutos (The Hell of the Prostituted Angels)
    14. Marcha De Los Ojos En El Triangulos (March of the Eyes in the Triangles)
    15. La Miel Del Dolor (The Pain of the Honey)
    16. 300 Conejos (300 Rabbits)
    17. Conocimiento A Traves De La Musica (Knowledge Through Music)
    18. La Primera Flor Despues Del Diluvio (The First Flower After the Flood)
    cover

    ALEJANDRO JODOROWSKY

    El Topo

    [engl] Presented here as part of a dedicated series of Jodorowsky’s ABKCO film scores (alongside the previously unreleased The Holy Mountain and The Dance Of Reality), Finders Keepers bring you the score to the ultimate midnight movie and spiritual pseudo western an album that marks the exact pinprick where Alejandro Jodorowsky’s legacy first bled into the wider public consciousness. To affirm it’s 70’s rock credentials El Topo was originally imported by record producer Alan Douglas (Jimi Hendrix/The Last Poets/Miles Davis) then bought by American Beatles manager Allen Klein under the recommendation of John Lennon and Yoko Ono who shared enthusiasm with late night creatives like Dennis Hopper, Samuel Fuller and Don Cherry (who would later score The Holy Mountain). The acidic folk soundtrack was originally composed by Jodorowsky himself with his long-term Mexican collaborator Nacho Méndez with whom he had previously worked on the avant theatre production and LP H30. The following year Jodorowsky and Méndez’ short cues from the film’s production tapes were given to Ravi Shankar understudy (and George Harrison’s All Things Must Pass orchestrator) John Barnham to add extra score and post-production features making the lo-fi composed-to-scene themes into a viable commercial LP which would share release schedules with The Elephant’s Memory, Badfinger and Mary Hopkins - standing out like a sore thumb in a sea of well manicured talons. Taken from the original master tapes of engineer Brian Humphries (Black Sabbath/ Pink Floyd) and presented with new artwork based on the rare European and South American poster artwork for the film’s original release with exclusive sleevenotes form Andy Votel and actress/director (and Jodorowsky friend/collaborator) Asia Argento this release is an essential companion piece to Finders Keepers exclusive Jodorowsky series and an enthralling and pop culturally significant release in its own right.
    Format
    LP
    Release-Datum
    15.06.2015
    EAN
    EAN 5060099505478
     
  • 01. Trance Mutation
    02. Pissed and Passed Out
    03. Violence of the Lambs
    04. Drink It
    05. Christs 4 Sale
    06. Cast Out and Pissed
    07. Eye of the Beholder
    08. Communion
    09. Rainbow Room
    10. Alchemical Room
    11. Tarot Will Teach You/Burn Your Money
    12. Mattresses, Masks and Pearls
    13. Isla (The Sapphic Sleep)
    14. Psychedelic Weapons
    15. Rich Man in a Fishbowl
    16. Miniature Plastic Bomb Shop
    17. Fuck Machine
    18. Baby Snakes
    19. A Walk in the Park
    20. Mice and Massacre
    21. City of Freedom
    22. Starfish
    23. The Climb/Reality (Zoom Back Camera)
    24. Pantheon Bar (Bees Make Honey…)
    cover

    ALEJANDRO JODOROWSKY

    The holy mountain

    [engl] Unanimously considered amongst fans of all strains of alternative pop culture the flamboyant cinematic masterpiece known as Alejandro Jodorowsky’s Holy Mountain can proudly claim, amongst all its other accolades, one of fantastique cinema’s greatest red herrings of all time. In the interest of anti spoilerism we are not referring to the film’s reconstituted plot here (recycled from René Daumal’s 1952 fictitious mountaineering journal) but rather the film’s devious inverted end title sequence, a murky pond which harbours the true crimson fish that has quite frankly wasted record collectors time for over four bloody decades. The immortal, fatal, deviously distracting and plain EVIL strap line that reads “Forthcoming soundtrack available of Abkco Records and Tapes” has served a repeat menu of wild goose chase soup followed by red herring salad served in half a camouflaged curveball with a glass of muddied water in your own personal smoked screen booth for most of our adult lives. The gift that keeps on not giving. For those of us addicted to black plastic circles, if there was ever to be a sequel to The Holy Mountain then a two hour title card reading “we decided not to release the soundtrack to the original film” would have saved a lot of time, fingertip skin and want list paper and ink… In fact, in keeping with Jodorowsky’s grand vision for the film, this rug puller was (unbeknown to him) the final illusion. If it wasn’t for Jodorowsky and Allan Klein’s thirty-something-year “temporary stand-off” (leading to release schedule cancellation) we might have already got over how amazing this soundtrack is. In fact, with all its quite unrequired Beatle connection hyperbole it might be in your old dad’s all-time favourite lists as the only token alternative/soundtrack/jazz record he ever bought, and you might have learned to hate it. But that never happened, and as the forbidden fruit idiom commands THIS IS NOW YOUR FAVOURITE LP OF ALL TIME AND YOU CANT LIVE WITHOUT IT. So we need to write a press release. One which will sound like we are talking about seven different albums in one and for those that have seen the film, that will make perfect astrological sense. Where do we start? The unreleased soundtrack to the most fantastic transcendental spiritual cinematic explosion of our time? The lost Don Cherry album? The missing Jazz Composers Orchestra album featuring Charlie Haden, Carla Bley and Frank Lowe? The Elephant’s Memory soundtrack follow-up to Midnight Cowboy? The lost soundtrack album secretly funded and A&R’d by John Lennon and Yoko Ono? The music to the film that George Harrison was sacked from because he didn’t want us to see his butt hole? The orch rock LP made by the arranger of the collectable Mandrake Memorial prog pop LP? Walter Sears’ undiscovered studio experiments? The record that The Beatles’ managers didn’t want you to hear? The true axis between New York psych rock, free jazz and Swedish prog rock? All are relevant, all are true and all clearly outlined in liner notes exclusive to Finders Keepers’ bespoke vinyl pressing of this grail-trail double-slab of psychedelic vinyl film history. Featuring the original cues, composed-to-scene, and mastered from the original studio master tapes via Record Plant, A&R, Sear Sound and Electric Ladyland and housed in exclusive packaging based on one of the rarest European posters for the film’s original release. This first edition also includes exclusive interviews and lost information from Neneh Cherry, Ronald Frangipane and the Swedish members of the original Don Cherry Holy Mountain line-up Bengt Berger and Christer Bothen alongside commendable quotes from Thurston Moore (Sonic Youth) and Kieran Hebden (Four Tet). Alongside this release Finders Keepers, in collaboration with ABKCO will also present special vinyl editions of Jodorowsky’s other two Allen Klein produced films, El Topo and The Dance Of Reality, housed with the same unique design features and liner notes driven by the label’s long-term commitment to a project that has taken over a decade to release. The wait has been too long. Zoom back camera! Break the illusion and enjoy your salad.
    Format
    LP
    Release-Datum
    03.10.2015
     
  • 01. Alpha 1
    02. Alpha 2
    03. Alpha 3
    04. Alpha 4
    05. Alpha 5
    06. Alpha 6
    cover

    AMI SHAVIT

    In Alpha Mood

    [engl] ‘The music of this record was stimulated by the theory and practice of biofeedback. It is aimed to create a calm, relaxed and meditative mood associated with alpha brain waves.’ Part outsider electronic album; part physiological experiment; part work of art; this is not your average new age record. You won’t find any cosmic or spiritual connotations between the unsupposing and briefly annotated gatefold covers. This is an accidental new age record. It wasn’t designed to invoke images of far away landscapes or induce meditative states; rather it is the end result of a personally developed meditative technique called Alpha Mood. The brainchild of a reclusive Israeli multimedia artist with a fascination in philosophy, technology and sound by the name of Ami Shavit, In Alpha Mood is the result of a personal and artistic exploration to both overcome a personal trauma and push the boundaries of a fledgling physiological understanding whilst utilising the burgeoning domestic synthesizer technology of the late 60s and early 70s. With an enviable private collection of synthesisrs first started in 1972 during his travels to the US just as they first arrived in music stores and shipped home to Tel Aviv, the professor of both philosophy and art and established kinetic artist was fascinated with art that involved technology. In particular being able to give something mechanical an emotive angle. His early works primarily involved motorised mobiles (he actually installed one in Tel Aviv’s first discoteuque). Seeking to combine his love of electronic music acts like Tangerine Dream and Philip Glass and this new synthesiser technology with his fascination for the relatively new technique of biofeedback - a process in which technology is used to relay information about the body’s functions enabling a change in physiological activity in order to manipulate them. Combined with his understanding of alpha brainwaves (primarily attributed to a function of the brain that deals with relaxation), Ami embarked on an experiment with what he coined Alpha Mood – a state in which the brain is working in relaxation and in which he used music as a means of helping induce his own meditative state. With practically no formal musical training and working in complete isolation of the Tel Aviv music scene - with the exception of allowing cult prog nearly men Zingale and a handful of close friends to use his private studio - over the next two years he recorded hours and hours of experimental improvised music, or “sounds” as he prefers to call it. Conscripted into the army evacuating battlefield casualties during the Yom Kippur War following the surprise invasion of the Israeli-occupied territories on the West Bank in 1973, Ami struggled to come to terms with his experiences during the short conflict and lost interest in his work until he came across a collection of field recordings made during the war and he had an epiphany. By adding sounds and battlefield sound bites to the recordings he could articulate his experiences in a sort of cathartic process and was able to put them behind him. Harnessing this newfound confidence he continued in his work until a longtime friend, agent and owner of a small local record shop called Mango (a Tel Aviv institution at the time) suggested he press some of his recordings on vinyl so that he could sell them through his store. Rather than cull disparate excepts from his expansive tape archive of home recordings, Ami begin work on what would become the culmination of his years of experimentation and the centerpiece of his work with Alpha Mood. Recorded in Ami’s studio during a handful of sessions and with no post-production, the six-track album was mastered at Triton Studios (who’s previous list of clients included Arik Einstein and Tamouz) and pressed by Hed Arzi (one of Israel’s oldest and largest labels/pressing plants) on his own Amis Records imprint with finished copies delivered to Mango three months later. Only 500 copies of a planned limited edition run of 5000 were initially pressed and with no publicity surrounding the release it was sold to discerning record buyers with little or no understanding of the record or its maker outside of his status as a prominent visual artist. Not long after receiving delivery of these first copies Mango was forced to close its doors permanently and the remaining 4500 copies of the run were never pressed. Apart from a handful of Alpha Mood exhibitions in Israel those 500 copies and six remaining master tapes (including that of In Alpha Mood - the rest having been lost, given to friends or simply thrown away) are the only remaining artefacts of Ami’s Alpha Mood experiments.
    Format
    LP
    Release-Datum
    21.08.2015
    EAN
    EAN 5060099505492
     
  • 01. Man Of Marble (Baby Bump)
    02. The Port
    03. Saved From Oblivion
    04. Figures Of Marble
    05. A Witness
    06. In The Shipyard
    07. The Katowice Ironworks
    08. The Striptease (Kung Fu)
    09. Jane Wisniewski (Man Of Iron)
    10. Poem By Milosz (Man Of Iron)
    11. Truncheon Man (Man Of Iron)
    12. You Are My Hope (Man Of Iron)
    cover

    ANDRZEJ KORZYNSKI

    Man Of Marble

    [engl] Opening further doors in the sprawling labyrinth of unreleased music by Polish composer Andrzej Korzynski, Finders Keepers Records present the soundtrack to the 1977 Polish film Man Of Marble by ‘national filmmaker’ and long-term collaborator Andrzej Wajda. Presented for the first time ever on vinyl (featuring exclusive unreleased bonus tracks) this synthesiser fuelled soundtrack marks a distinct stylistic manoeuvre towards a unique brand of Polish cosmic disco, celebrating the cinematic debut of Korzynski’s Arp-Life project - widely respected as Poland’s first “synthesiser orchestra.” Begging direct comparison to Russia’s Zodiac and sharing an uncanny resemblance to other 1970s European post rock cinematic disco bands like France’s Arpadys (formerly Jean-Claude Vannier’s Insolitudes) or the later projects of Italy’s Goblin (such as Discocross) this soundtrack witnesses Korzynski and Arp-Life at their halcyon; making fantastical and experimental musical approximations of the burgeoning synth funk disco boom which had erupted on the other side of the Iron Curtain. Man Of Marble unearths Korzynski’s first steps into electronic dance music, and with the addition of bonus tracks from the 1981 sequel Man Of Iron, provides the perfect companion piece to his recently liberated score to Possession (directed by Andrzej Zuławski) which blends the same ingredients through another darker corridor of this versatile composer’s creative mind. Accompanying our release of the first anthology of rare Korzynski archive material Secret Enigma (FKR055), the aforementioned Possession (FKR062) and Third Part Of The Night (FKR063) soundtracks, Man Of Marble provides further glimpses into a deeper archive of electronic pop. This release captures prime- era Korzynski as a forward- thinking keyboard artist and experimentalist who managed to move with global musical and technological trends under the stifling communist regime while still displaying compositional versatility polarised by Poland’s most famous and infamous national directors.
    Format
    LP
    Release-Datum
    07.04.2014
    EAN
    EAN 5060099505171
     
  • 01. The Night The Screaming Stops (Opening Titles)
    02. Opetanie 1
    03. Meeting With A Pink Tie
    04. Opetanie 2
    05. Anna Rewards Mark
    06. Possesion - Orchestral Theme 1
    07. Kreuzberg 1
    08. Opetanie 3
    09. Mark Looks In The Fridge
    10. Heinrick's Demise
    11. Opetanie 4
    12. Possession - Orchestral Theme 2
    13. Blue Ford B-AZ6
    14. Helen Has Green Eyes
    15. Opetanie 5
    16. Bloody Embrace
    17. Kreuzberg 2
    18. Detective's Deserts
    19. Kreuzberg 3
    20. Kreuzberg 4
    21. The Night The Screaming Tops (Tempo)
    22. Mark Formulates A Plan
    23. Mark Sees Everything
    24. Closely Observered Anna
    25. Opetanie 6
    26. What Is It?
    27. The Man With The Pink Socks
    cover

    ANDRZEJ KORZYNSKI

    Possession

    [engl] As our maiden voyage into an expansive vat of unreleased music by Polish com- poser Andrzej Korzynski, Finders Keepers Records presents his previously unre- leased electro/orchestral/experimental score for Andrzej Zulawski's surrealist 80s horror classic, Possession. These 25 cues were written and recorded exclusively for the 1981 award-winning film starring Isabelle Adjani and Sam Neil, but due to the progressive, stark and modernist nature of the finished film less than half of them made it on to the actual director’s cut - leaving many of the tracks on this package totally unheard outside of Korzynski’s studio. The intended Possession score in its entirety marks an important axis in Korzynski’s career where his various musical disciplines overlap. In one respect it marks his first forays into to synth driven electronics and disco drum machines, while other tracks epitomise the well honed techniques used in previous Zulawski scores, such as Third Part Of The Night and The Devil, which rely on his inimitable orchestral arrangements and combination of clavinet, Rhodes, piano and electric guitar. This is the first time any of this music has been released outside of the films origi- nal context and is packaged on CD, 12" vinyl and conceptual green compact cas- settes housed in miniature clamshell cases reminiscent of the films original VHS release that briefly adorned UK video shops in the early 1980s (before being banned by over excited censors as one of the unproscecuted ‘video nasties' in the infamous 1983 tape cull). The important restoration of Korzynski's music aims to shed new light on the seldom manufactured productions of the composer whose vast cinematic catalogue warrants overdue global status alongside other golden era Eastern European composers such as Kryzstof Komeda, Jan Hammer and Zdenek Liska - not to mention the best of the French and Italian soundtrackers, such as Roubaix, Vannier and Nicolai. Duplicated and carefully remastered directly from Korzynski's original master tapes this album boasts the uninhibited studio experiments and retains the pre-cut ambi- ence as an exclusive archival forerunner to our expanded selection of Korzynski releases later in 2012.
    Format
    LP
    Release-Datum
    26.07.2012
    EAN
    EAN 5060099503832
     
  • 01. Eco Blue / Toadstrip
    02. Race
    03. Head Off
    04. Pigs
    05. Cosmic Funeral
    06. Amanda
    07. Septic
    08. Smoke
    09. Stone
    10. Undertaker
    11. Gravediggers
    12. Swim
    13. Klaude Kool & The Kats
    14. Toad
    15. The Death Of Dr. Death
    cover

    BILLY GREEN

    Stone

    [engl] Meet Stone. The trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. “Stone Is A Trip… The grave diggers are on the move – a new breed of motorbike gang.” The screen fills with images of slo-mo bike accidents, hallucinogenic trips and a death defying cliff stunt which could easily mistaken for a doppelgänger scene in Psychomania. “Vietnam veterans with their own style of life, their own rules, their own religion.” The scene swathes to a satanic ritualistic burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces. To many global record collectors, DJs, music producers and general retrophiles living outside of Australia “Stone” was primarily known for its electronic sound effects, psychedelic guitars, cosmic sound scapes and funky basslines… In the 80s and 90s, before the global DVD boom, Stone to many people was first and foremost a Soundtrack… The kind of soundtrack that makes you wish you could see the film but it’ll probably never happen. The LP artwork alone was beyond enigmatic with its contradicting embroider logo (designed by sandy) alongside its striking futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realised by airbrush whizz Errol Black). The huge parade of brand new Kawasaki bikes inside the gatefold looked like something from the future compared to the classic full-dresser Harleys from the American Hells Angels movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played by Johnny ‘Didge’ Matthews and synth expert Andy Cohan) blended with unidentified clicks belches and pops fly out the speakers it is literally impossible to put a date, never mind a story line, to this acid fuelled soundscape. The use of confusing and contradicting musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks-in you are left with a 45 minute programme of skewed. Forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.
    Format
    LP
    Release-Datum
    05.03.2011
    EAN
    EAN 5060099506055
     
  • 01. Stone Is A Trip
    02. Hips Rap
    03. Death Trip
    cover

    BILLY GREEN

    Stone

    [engl] Limited soundtrack 45 of music and dialog from the 1974 Ozploitation biker-psych cult classic. Including exclusive unreleased tracks not available on forthcoming LP and CD. Meet Stone. The trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. "Stone Is A Trip... The grave diggers are on the move - a new breed of motorbike gang" The screen fills with images of slo-mo bike accidents, hallucigenic trips and a death defying cliff stunt which could easily mistaken for a doppelganger scene in Psychomania. "Vietnam veterans with their own style of life, their own rules, their own religion." The scene swathes to a satanic ritualistic burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces. To many global record collectors, DJ's, music producers and general retrophiles living outside of Australia "Stone" was primarily known for its electronic sound effects, psychedelic guitars, cosmic sound scapes and funky basslines... In 80's and 90's, before the global DVD boom, Stone to many people was first and foremost a Soundtrack... The kind of soundtrack that makes you wish you could see the film but it’ll probably never happen. Limited edition 45 to accompany the full soundtrack release available now!
    Format
    7''
    Release-Datum
    27.10.2010
    EAN
    EAN 5060099502293
     
  • 01. Allucinazioni Mistiche.
    02. Escape.
    03. Death’s Song.
    04. Facce Violente.
    05. Attesa Insopportabile.
    06. Chaco.
    07. Vai Gorilla.
    08. Night Club Dance.
    09. Sette Note In Nero.
    10. Electronic Sound (Excerpt).
    11. Avangiu.
    12. Godzilla.
    13. The Hunt Down.
    14. Concession Naturali.
    15. Escape.
    cover

    BIXIO, FRIZZI, TEMPERA

    Magnetic Systems

    [engl] From the same vibrant cinematic landscape of 70s studio supergroups as Goblin, The Pawnshop, The Group and The Braen’s Machine comes The Magnetic System – the Italian incognito dream team comprised of Milano prog keyboardist Vince Tempera and Cinevox sibling Franco Bixio and launched the career of Video Nasty maestro Fabio Frizzi. Bridging the void between Giallo jazz bass driven prog and the arrival of home studios and synthesisers, the omnipresent film music of The Magnetic System marked a sea change in Italian genre film music, promoting melodic electronics to the forefront of Italian pop culture and pre-empting the first murmurs of Italo disco and synth-pop. Sharing session musicians, studios and release schedules with many of the aforementioned luminaries, Bixio, Frizzi and Tempera’s magnetic powers continue to attract musicians and aficionados of discerning sight and sound.
    Format
    LP
    Release-Datum
    08.07.2016
    EAN
    EAN 5060099505881
     
  • 01. L’Unita
    02. Aural Suspension
    03. Terminal Velocity
    04. Yellow
    05. Side Looking Radar Image
    06. Aeray Dust
    07. Dr. Mabuse
    cover

    BRUCE DITMAS

    Yellow Dust

    [engl] As an artist whose name has become mutually synonymous with the instrument he plays Bruce Ditmas is a very unique heavy musician from one of those special tightknit communities that tried (and almost succeeded) to change the facade of progressive pop music and jazz via musical technology. Raised in Miami (an unknown incubator for future synthesists) Bruce carved the image of a teen prodigy playing jazz drums at the most exclusive Miami Beach hotels. After being whisked off to New York by none other that July Garland he became immersed in free music, recording compositions by Annette Peacock and Carla Bley before setting up house with vocal artist Joan La Barbara (later Mrs. Morton Subotnick) in 1975, who, via her own label, encouraged Bruce to pursue his very specific experiments in heavy electronic rhythms. This LP is compiled from the solo Moog Drum compositions from his only two albums both released in 1977 using a Mini-Moog (donated by Gil “Hendrix” Evans), an Arp 2600 and a wide range of treated percussive instruments that littered this enfant terrible’s bedroom floor throughout the 1970s. A later pillar of the Enja and ECM community, Bruces later work in TV, film, sound sculpture and free music still renders truly unique recording to this very day. Meet your new favourite drummer, and the best Moog Drum record in your whole collection.
    Format
    LP
    Release-Datum
    27.08.2015
    EAN
    EAN 5060099505515
     
  • 01. Sabba
    02. Magico Incontro
    03. Propiziazione
    04. Evocazione
    05. Magico Incontro
    06. Bambole
    07. Insidia
    08. Oppressione
    09. Insidia
    10. Espiazione
    11. Medium
    12. Sabba
    cover

    BRUNO NICOLAI

    All The Colours Of The Dark

    [engl] As part of a devoted series of releases focusing on Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers proudly unveil what is perhaps the crowning moment for both actress and composer with the film that inaugurated them (alongside director Sergio Martino) into the critical Giallo royal family in the early 1970s. Presented here with previously unpressed tracks as an alternative to the extremely rare 1973 Gemelli library edition, this Finders Keepers special release includes the recently uncovered 1972 hard-hitting left- field psychedelic pop themes that unified yet another unholy trinity comprising of sitar wielding Alessandro Alessandroni (in true Pawnshop Braens Machine mode) and Italian cinematic songbird Edda Dell’Orso to create (under Nicolai’s gaze) what is regarded by many unified euro horror video collectors and vinyl detectives as the cream of this well furrowed crop. Recorded in January 1972 at Morricone’s Ortophonic studio in Rome (home of Goblin’s Roller and Alessandroni’s Sangue di sbirro amongst many others) Bruno Nicolai balances psychotic free jazz, aggressive bass driven beats, schizoid Eastern motifs and childlike lullabies - the latter exacerbating director Martino’s proud Rosemary’s Baby influences in this Giallo tale of a rehabilitated relationship plagued by recurring nightmares and vague memories of a religious cult that teeter on the edge of Fenech’s consciousness. To claim this score as Nicolais’ all time best is perhaps a little ambitious for a versatile composer of such acclaim and widespread appeal, but for fans of that unique window of unhinged musical opportunity which came with the Giallo boom of the early 1970’s you’ll be hard pushed to find a record that covers all bases from an alternative universe where Fabio Frizzi, Goblin and Walter Rizzati were (haunted) household names. ALTERNATE SLEEVE AND DOUBLE SIDED 4-PANEL INSERT FEATURING EXTENSIVE LINER NOTES ONE ONE SIDE AND A RARE REPRODUCTION POSTER ON THE OTHER.
    Format
    DoLP
    Release-Datum
    01.09.2014
    EAN
    EAN 5060099505300
     
  • 01. Dawn At Long Street
    02. Busy & Calm
    03. Calm Places
    04. Strip Bar
    05. Little Italy
    06. Lonely Night
    07. Neon Pink & Blue
    08. Nino Rotunda
    09. Night Life
    10. Sirtaki Nights
    11. Angel In A Silver Wig
    12. Sweetie Night
    13. Goodbye Long Street
    cover

    BRUNO SPOERRI

    Langstrasse zwischen 12 und 12

    [engl] Oft overlooked for over half a century while misfiled amongst exploit bellydance records and holidaymaker souvenirs this one-off twelve track album is the only existing full-length record by the best-kept mutant musical secret of the Armenian American diaspora, oud pop maestro Charles ‘Chick’ Ganimian.One of the earliest examples of any kind of recorded fusion between rhythm heavy pop music and traditional Turkish music, Ganimian’s developments in New York City - with his sadly unrecorded turk jerk combo The Nor-Ikes (New Dawn) combo – ran almost simultaneously alongside the rising Anadolou Pop scene in Turkey, resulting in his short lived powerhouse of Kif proto-rock under the changing names of Ganim’s Asia Minors, Ganimian & His Orientals and Ganimian & His Oriental Music Orchestra. Combining a line-up of mostly unknown musicians from his local community (where he was worked as a butcher), Ganimian, in a short unison with ATCO records, was fortunate enough to accommodate jazz guitarist Al Schactman as part of his studio personnel (launching the career of this Nina Simone regular) as well as French born Armenian folk singer Onnik Dinkjian and reid player Steve Bogoshian (both from the band The House Of The Seven Uncles) as well as the esteemed Turkish raised Kanun player Ahmet Yatman. As one of the very few early American recorded authentic Middle Eastern fusion record Come With Me To The Casbah has piqued a refined interest in a new generation of progressive world music collector resulting in a distinct drought in original Ganimian pressings on the collectors’ market earning Chicks name a rising placeholder on the want lists of DJs, vinyl hounds and ethno psychedelia collectors.This LP includes all of Ganimians recordings including the rare singles for Atco and East West which sit awkwardly next to bizarre and unique takes on popular American standards enhancing the exciting freak factor of this record which simply could not be made by today’s stifling self-aware anti-standards. Aside from rare (poorly recorded) private family tapes this album is the only chance to hear the music of this lost enigma of early world music, Eastern fusion and a missing kink in the fabric of New York pop music history captured before his short stint as an exotic Herbie Mann sideman which proceeded his migration into obscurity and his well-imparted tragic struggle with alcohol dependency depriving pop culture of a forward thinking pioneer who paved the way for the more credible exponents of the cross-continental Indo fusion enigma such as John Berberian and the later well pruned hard rock efforts of The Devils Anvil.
    Format
    LP
    Release-Datum
    27.05.2016
    EAN
    EAN 5060099506215
     
  • 01. Ricerca Della Materia
    02. Pericolo
    03. Dimensione Concreta
    04. Esodo
    05. Grosse Cilindrate
    06. Sport Orientali (Lotta)
    07. Avventura
    08. Visione Surreale
    09. Fabbrica
    10. Occultismo
    11. Vizio
    12. Fantastico
    13. Moto Cross
    14. Dimensione Astratta
    15. Ignoto
    16. Circo Del Bimbi
    17. Sovrapposizione Di Immagini
    cover

    DANIELA CASA

    Sovrapposizione Di Immagini

    [engl] In an alternate universe the Rome born female synthesist Daniela Casa would be a household name. A genuine pioneer of experimental pop music, abstract electronics, Giallo jazz and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia De Mutiis (later Giulia Alessandroni), Doris Norton and Suzanne Ciani while retaining one of the most individualistic and diverse composing styles of an advanced mechanical musician regardless of their nationality or gender. This LP compiles, for the first time, a multifarious selection of previously commercially unavailable instrumental music composed at her home studio in the late 70s before her untimely death at the age of 42. Originally designed for use in radio, film, TV and other industry specific applications, these seldom heard selections combine ingenious homemade and hi-tech disciplines, providing scores for Italian thrillers, nature documentaries, educational projects and commercial sound installations. Mastered from the vaults of the sought-after Deneb/Flirt/ Canopo library labels (home to some of the rarest records by Fabio Frizzi, Giuliano ‘Raskovich’ Sorgini, Gerardo Iacoucci, Alessandro ‘Braen’ Alessandroni amongst others) these rare tracks reveal Daniela Casa in her most fertile environment (composing as a young mother) in both a solo capacity and alongside incredible Italian session musicians, often sharing release schedules and track lists with her maverick maestro husband Remigio Ducross. These multi-layered musical images remain as vibrant and authentic today as they did thirty-five years ago. Close your eyes and unravel the Sovrapposizione Di Immagini...
    Format
    LP
    Release-Datum
    29.09.2014
    EAN
    EAN 5060099505362
     
  • 01. Hedonic Rapture
    02. Balfazzar
    03. Machine Time Ship
    04. Ya Alim-Kader
    05. Celes
    06. Alien Rock
    07. Light As Air
    08. Valhalla
    09. Love In Foam And Surf
    10. Andro
    cover

    DENIS WISE

    Wize Music

    [engl] Perhaps one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age) this English born Jamaican raised sound designer, artist and existentialist furrowed his own ublinkered path through lesser chartered electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods. Creating two impossibly rare self pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise etc, combined a culture of sound system circuitry and radiophonic trickery adding Tea-pot poetry and sci-fidelity future-folk to his magnetic mesh! Presented here as the first ever dedicated ize Music collection this record combines compositions spanning 1979-1984 in both a solo capacity as well as small-group projects featuring members of the Emerald Web band. Imagine a comic book where a Funkenstein monster called “Laraaji-Scratch Perry” invaded your record shelf while Komendarek and Holger Czukay kept lookout… Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anaesthetic.
    Format
    LP
    Release-Datum
    05.03.2019
    EAN
    EAN 5060099507076
     
  • 01. American Lullaby
    02. Live Our Life
    03. Sweet Sugar
    04. Talked About
    05. Keep An Eye
    06. Another Blue
    07. What Do You
    08. Kindly World On You
    09. Tell Me Now
    10. I've Been Wrong
    11. Laying By The Riverside
    cover

    DON & STEVIE

    Don & Stevie

    [engl] Lost love songs and self-pressed pop acetates by this previ- ously unheard Californian folk duo from beneath the shadows of the Hollywood Hills These recordings of unreleased and unknown American acidic folk and acoustic pop were made in the late 60s by husband and wife duo Don & Stevie Gere. For over 40 years they've sat untouched and unplayed in a box of unmarked studio tapes at their family home in Los Angeles. As original pop songs and guitar based arrangements from the man who made the stoner psych soundtrack for cult movie Werewolves On Wheels, these rescued one-off pressings were sung in harmo- ny with his teenage sweetheart and lifelong partner, Stevie Howard, recorded at LA based walk-in studio sessions. Sprouting a missing branch in the family tree of L.A. based artists like Curt Boetcher and Doug Rhodes (The Millennium), Waddy Wachtel (Buckingham Nicks) David Gates (Bread) and members of The Steve Miller Band, this LP includes original versions of tracks written for or featuring all of the above as well as destroyed and unreleased film music. What might have been considered “lost” treasure until now has remained previ- ously unshared outside of the duo's own private relationship, and presents fans of obscure folk and privately produced pop with a unique LP that defies collectability and paints a fuller picture of a lesser-spotted enigma in uninhabited unison with his closest musical confidant.
    Format
    LP
    Release-Datum
    22.07.2012
    EAN
    EAN 5060099503665
     
  • 01. Werewolves on Wheels (Main Theme)
    02. Mount Shasta Home
    03. Ritual
    04. “One”
    05. Ritual 2
    06. The Devil’s Advocates
    07. The Devil’s Advocates (reprise)
    08. One Foot in Heaven
    09. Burning Grass
    10. Tarot
    11. Tarot Trail
    12. Dust Bowl
    13. The Devil’s Advocates 2
    14. Ritual 3
    15. Werewolves On Wheels (End Theme)
    16. Radio record 1 (Bonus Track)
    17. Radio record 2 (Bonus Track)
    cover

    DON GERE

    Werewolves on Wheels

    [engl] B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes and make it dance to the beat of a stoned, motoric, country commune soundtrack. Like an exploito double bill where both films merge into a single feature, this directorial debut by an ex-Roger Corman protege and future Russ Meyer art director (another heady cocktail) is the product of one writing duo’s fleeting time in the driving seat as the moviedrome marathon approached its dwindling finish line. Werewolves On Wheels emerged in 1971 in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties. Entirely out of popular context in 1971, the soundtrack music of Don Gere would perhaps reveal him as the most versatile actor involved in the whole production. Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany’s emerging Krautrock scene or the more localised stoner psych of Skip Spence (whose radically ahead of its time LP OAR was recognised by Columbia Records as their lowest selling record in the company’s history). Imagine guitarist Sandy Bull jamming with Munich’s Amon Duul 1 or some Swedish prog outfits like Trad, Gras och Stenar or a sedated Kebnekaise. In comparison to the Curb/Allan scores, for films like Wild Angels, Devil’s Angels, Thunder Alley, and Born Losers (often released on Curb’s own Sidewalk or Tower records), the new music made by Don Gere, only three years down the line, sounds like it’s from an entirely different generation…
    Format
    LP
    Release-Datum
    05.03.2011
    EAN
    EAN 50600995030361
     
  • 01. Dawn
    02. The Dragons Gate
    03. Ars Nova
    04. Flight Of The Raven
    05. Voices Of The Sage
    06. Photonos
    07. Doppler Bells 1
    08. Rainforest
    09. Valley Of The Birds
    10. Reflecting Pool
    11. Openings
    12. Chasing The Shadowbeast
    13. Nightsong
    cover

    EMERALD WEB

    The Stargate Tapes

    [engl] Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music. At the turn of the 1980s Bob Stohl and Kat Epple embarked on a ten-year spir- itual journey playing at planetariums and laser shows above the same Californian silicon city that devised the early computer music software, unify- ing their state of the art modular synth soundscapes and organic compositions of flutes, bells and field recordings and furnishing a self-pressed cassette tapeography of inimitable Emerald Web music for their self-funded Stargate label. Having first communicated via the medium of music as flute players at a South Florida jam session the future space music luminaries would be instru- mental in assisting synthesiser companies via feedback and consultancy in developing instruments such as the Lyricon wind synth (favoured by Suzanne Ciani and Bruno Spoerri) and various sponsored machines for Arp, Buchla, EML, Computone and Orchestron. Named after a laser show formation and combining influences from science fiction films, fantasy novels and a broad musical spectrum including Tangerine Dream, Vangelis, It's A Beautiful Day and Goro Yamaguchi, Bob and Kat would balance day jobs as synth program- mers as well as TV and film soundtrackers under the moniker BobKat Productions (counting microscope nature documentarian Carl Sagan amongst their clients) with evening synthesiser shows at galleries, spiritual centres and even punk clubs. This compilation album comprises early tracks from Emerald Web’s debut vinyl release and the following four rare cassette only albums on Stargate Records from 1979-1982 before the band recorded their bestselling (and Grammy nominated) albums for labels affiliated with Germany’s Kuckuck and Larry Fast before Bob Stohl’s sad and untimely death in 1989. Taken from original master tapes and recorded using revolutionary and proto- typal music technology many of these tracks have never been on vinyl or CD until now. Finders Keepers are proud to have worked closely alongside Kat Epple as part of an ongoing Emerald Web/BobKat archival project making these important early electronic/organic musical hybrids available for fans of ambient krautrock, electronic soundtracks, musique concrete, electro and PINA enthusiasts alike. Welcome To The Valley Of The Birds.
    Format
    DoLP
    Release-Datum
    18.11.2012
    EAN
    EAN 5060099505058
     
  • 01. Jupiter Stone
    02. Ice Caves
    03. Starsail
    04. Stargate
    05. Mistress Ship
    06. Air Smith (Part One)
    07. Air Smith (Part Two)
    cover

    EMERALD WEB

    Whispered Visions

    [engl] Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post- prog rock met proto-new age and ambient electronic music.Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music. Notes by Kat Epple When originally released, one music reviewer described Whispered Visions as: “A cosmic tapestry of sound, woven with threads of shimmering synthesizer timbres and luminous flute melodies” This album was made using early synthesizers, sequencers, Lyricon and flutes. When it was recorded in 1980 our synths were regarded as “state of the art” technology. Originally released exclusively on compact cassette it was our second of a total of fourteen independent releases. The band Emerald Web consisted of Bob Stohl and myself and our goal was to create innovative synthesizer orchestration and blend electronic music and acoustic instruments. From 1978 to 1990 we recorded, toured and performed in planetariums whilst composing soundtracks for Carl Sagan, amongst others. Bob and I were consultants for (and were lucky enough to be sponsored by) companies and individuals that were creating the latest music technology. At the time Emerald Web was one of the few “Space Music” bands which performed live in concert using synthesizers and sequencers, most of which had volatile memory and no pre-set sound banks. Unfortunately, Bob passed away in 1990. Since then I have continued to compose music for film and perform in concert as a solo artist, as Emerald Web and with various other ensembles.
    Format
    LP
    Release-Datum
    27.10.2014
    EAN
    EAN 5060099505386
     
  • 01. Golden Chimes (Intro)
    02. Sunday Reverie
    03. Coffee Time
    04. November At My Door
    05. All The Pretty Flowers
    06. The Painter
    07. Distant Screen
    08 .Take Me Away
    09. Drunken Conclusions
    10. Golden Chimes (Relic)
    cover

    EMMA TRICCA

    Relic

    [engl] It’s the kind of music that once belonged in Greenwich Village coffee shops – drawing on blues and country as much as folk traditionals – but here distinguished by Tricca’s ability to write simple, emotionally direct songs, combined with her rich, clear voice.... ends up being pretty near perfect.’ Uncut The Giallo princess returns. Raised into a unique pop-cultural landscape surrounded by Giallo comic books, whistling Morricone film scores, vibrant religious imagery and expensive furniture design, Italian born Emma Tricca’s childhood playground formed a very different backdrop to that of the many whispery femme-folk revivalists that have popped up and pooped-out over the last hum- strummed decade. Emma Tricca didn’t fall into a comfy kaftan via her parents bottle fed record collection during her pre-paid college off-years nor was she torn out of a style mag via a few guitar lessons to decorate the post-club chill-out festivals. Emma Tricca is the real deal, unaffected by whimsical press-penchants and influenced by long European road trips, heavy guitar cases and tough love relationships. In danger of spitting paganistic fluff, Emma is simply an ergonomic reaction to her environments and their stories - folk music personified. While splitting her time between Rome and London she awkwardly melts a stiff upper-lip into the hot-blooded passion which has fuelled her finger-picked momentum through all of her adult life. As folk slips from the newspaper colour supplements and becomes a four letter word once again, Emma Tricca basques in its exorcism and stands hand in hand with her peers, counting the likes of John Renbourne, Bonnie Dobson and Judy Collins as friends and stage mates, while eerily drawing comparisons with the lost music of English/Italian 70s acidic folk mystery Mark Fry. Tricca was first recognised by her long black hair, battered guitar case and sturdy Italian heeled boots by Jane Weaver and Andy Votel on stage in 2006. It was ultimately her unique and infectious vocals talents that inspired the Northern non-label bosses to release her unanimously five-star rated debut LP Minor White via the Bird Records imprint, a family of which Emma has been a faithful friend and ambassador ever since. Taking trips across central Europe to the West coast of America and stopping off at too many English, Irish and Welsh Festivals to count in between (Jarvis Cocker’s Meltdown/ Festival No 6/Green Man) the emergence of Emma’s new set of songs-of-experience come from a creative soul that has travelled far, practiced long and shared a heart, through intimate songwriting, with unfaltering abundance. Previously honing her craft with minimum means fuelled by maximum motivation her ability to spontaneously exude yearning melodic handcrafted folk songs to dewy-eyed audiences still renders todays hi-tech back-lines and expensive studios surplus to requirement. 2014 will see Emma undertake more live commitments, as well as her first musical appearance in a film starring Sir Patrick Stuart as she winks back to Cinecittà. On her new LP, Emma, for the first time, embraces the minimal use of mechanical percussion and homemade orchestrations collaborating with Italian and English musicians such as members of Welsh proggists Colorama, Edwyn Collins producer Carwyn Ellis and Sam Mcloughlin (N.Racker) who brings some Northern rural radiophonics to this ROMANtic relic. To subtitle a John Fahey song... behold the Giallo princess.
    Format
    LP
    Release-Datum
    21.07.2014
    EAN
    EAN 5060099505195
     
  • 01. Theme The Antwerp Killer
    02. Beat
    03. Hippy Song
    04. Theme 2
    05. Harbour Fight
    06. Persection
    07. Cathedral Bloody Lady
    08. Theme 3
    cover

    ERIC FEREMANS

    THE ANTWERP KILLER

    [engl] Teenage movie maverick meets synth scientist for bespoke Belgian B-movie. One of the rarest vinyl horror soundtracks of all time, 1983’s The Antwerp Killer is the rest of the remarkable homemade electronic experiments of the wunderkind synth designer and his unison with a smart-talking teenage movie maverick to create something almost unfathomable in the process. Combining self-propelled punk attitude and uninhibited confidence, the hyper pro-active work of these DIY prodigies pinpoints an important era where youthful ambition and creative technology meet. By the age of sixteen Eric Feremans started building modulators and eventually his first proto synthesiser. Teaching musicians how this new technology worked became Eric’s mission. He found that in electronic music composition the understanding of the functioning of the machine is part of the musicianship. Without this they were just fooling around with new technology. By the early 70s Eric’s synths were becoming more and more complex and he even played a concert with Belgian electronica pioneer Karel Goeyvaerts. Eric decided to create his own school where he would teach his pupils to make build synthesisers and how to play them. The EEF (from Eric E. Feremans) was created. The build-your-own packages were created by volunteers and around 20 or 30 are said to have been made. After being a guest in a national television show the demand for courses exploded and Eric was lecturing nationally and internationally. Even attracting the king of the Amsterdam Mafia who would be driven down from Amsterdam with two body guards in his Rolls Royce every week. One day Eric gets a visit from a Luc Veldeman a sixteen-year-old with a manner of speech way beyond his age and larger then life projects. Eric was in the process of making Antwerp’s first crime movie called The Antwerp Killer. He had seen Eric play live and he wanted some of his music to be used as the score and to press as a album to promote the film. Upon their first meeting Veldeman wanted a tape to convince his financial investors. Eric gave him one of the rare recordings he had made with the synthesizer. A session he had just recorded upon installing his new studio; a session, according to Eric, that was the result of the pure joy he experienced of having such a wonderful sounding machine in his studio and the bottle of vodka he downed during the session. That session was cut up by Veldeman and it was turned into the soundtrack of The Antwerp Killer. Eric ended up playing a cop in the film and the film was the opening film of the Knokke Film Festival in 1983. It was honed away by the press and the audience. Bad acting, bad editing, bad script, cool soundtrack though. Veldeman was nowhere to be seen and everybody involved who had quit their jobs or studies to coöperate on this film or put in their money in it saw their hopes disappear. Veldeman had even rented all the film equipment with a false identity and then dumped it all in the canal after the shooting. When the cops eventually found out about his they weren’t even able to arrest him being a minor. A magnum opus of a true criminal and the synthesiser teacher of the Amsterdam Mafia King, The Antwerp Killer remains a prime document of the broody Belgian 80s and a heck of a soundtrack.
    Format
    LP
    Release-Datum
    21.12.2015
     
  • 01. Diálogos
    02. Cyclos
    03. Ya Se Van Los Pastores
    04. Farsa Del Buen Vivir
    05. No Hay Habitacion
    06. Negra Sombra
    07. Tocata y Fug
    08. Contraste
    09. Danza Del Molinero
    10. Rondo y Final
    11. Rapsodia
    12. Tritons Conclusion
    cover

    FUSIOON

    Absolute Fusioon

    [engl] The giant Dayglo green amphibious creature floats above its bright orange backdrop like the last slice of peel on a Melicoccus bijugatus Spanish lime. As your focus blurs, the black letters in the fumetti speech bubble emanating from the acid croc’s gob offer nothing in way of an explanation for his bizarre portrait. You frightfully race to the end of a long line of 12” plinths desperate for images of hammond organs, longhaired hippies, guitar peddles, outsize afros, pastoral landscapes or the comfort of a very normal Roger Dean cosmic battle scene of a solarised Keef Macmillan ghost face. As Cyrillic and Greek typefaces spelling out badly translated Double Dutch flash before your eyes alongside non-stop images of giant eggs, melting skulls and oversize eyeballs you can’t escape the gaze of the big green gator while his wobbling words – “Fusioooooooooon!!!” – echo through the next crate of psychedelic unknowns. You are struggling through a huge European record fair and the enigmatic and unforgettable record sleeve that is embedded in your memory could strike again at any turn. In time you will grow to know it and trust his familiar toothy grin. Recurring copies of this successful unidentified Mediterranean monster will act as a familiar bright orange beacon back to central European shores and one day when you are feeling brave enough you might even step closer to his beady eye, stretch out his gatefold tail and listen as he opens his gaping jaws and sings. Crocodile? Alligator? Lizard? Dinosaur? All four? Fusioon, as the name suggests, are a very unique band. From the foundations of the Calalonian rock Laieta movement, Fusioon are an uber-legendary exponent of Ibiza’s 1970 psychedelic club scene. An essential for fans of freak funk and symphonic jazz rock with no Egg-ception. Imagine a Spanish mutation somewhere between Goblin and The Stake Reality. Featuing tracks from the cosmic studio of Joes Llobell (Enterprise/Oliver’s Planet). Snap it up while you can… An Absolute Belter.
    Format
    LP
    Release-Datum
    20.06.2011
    EAN
    EAN 5060099503016
     
  • 01. Harmonitalk
    02. Mind Script Vacation Permit #35-17
    03. Good Indian
    04. Together Again
    05. Backporch Blues
    06. ARR
    07. Glacier Suite
    08. Blue Ice
    cover

    GARY SLOAN AND CLONE

    Harmonitalk

    [engl] Alaska, 1980. The robotic harmonica and his Clones have landed on glacier planes. Meet mutant commander Gary Sloan - this is the dawn of Harmonitalk! Less than 1000 copies of this privately pressed Alaskan electronic harmonica album by the tight-knit synth trio called Clone actually survived the journey out of their Anchorage base camp, leaving an explosive trail of unidentified synth pop, New Age, low-fi blues, techno, vocoded folk funk and prog rock blazing behind them. See what happens when a homespun innocent blues collective become pos- sessed by the souls of Vangelis, Klaus Schulze and Suzanne Ciani on the frost bit- ten film set of John Carpenter’s The Thing. Over 30 years later Cache Cache and Finders Keepers Records resurrect Harmonitalk's original black box and find more lost transmissions in the process. Originally released as a privately funded 1000 copy vinyl run in 1980 this rare LP by Alaskan electric harmonica player Gary Sloan and his interchangeable synth trio known as Clone is a record that pushes the concept of American outsider music to its furthest geographical limits. With few physical copies travelling beyond their tight Alaskan fan base upon release this mutant album of conflicting mediums and truly forward thinking electronic pop music combines an unlikely mix of synth pop, New Age, low-fi blues, techno, folk funk and prog rock - providing the locale’s sparse vinyl industry with a much needed and veritable document of this collective’s truly unique and open-minded psyche. With its origins lying a decade earlier in the 1971 release of Sloan’s first privately pressed prog rock electric blues combo, Proof, the transmuted music of Clone stands as a triumphant example of how independent and experimental American music can flourish and evolve outside the restraints and fashionable whims of the major music industry. Taking the true essence of rhythm and blues and applying it, without inhibition, to the most profound mediums available, Sloan’s integration with local synth enthusiasts Paul Alexander and Kurt Riemannn (known internally as The Trio) coupled with a wide range of unfiltered influences (comprising everything between New Age to new wave) lead to what is perhaps one of the most unexpect- ed, improbable and underexposed pop fusion triumphs to emerge out of 1980s North America. Throughout the 70s and 80s, as a pillar of the Anchorage live music scene, Gary provided local musicians (including himself) with welcome platforms via his organised events and radio shows, such as The Import Hour which opened two way doors for regional and international artists resulting in various members of the Proof family collaborating with names such as Harvey Mandell and Klauss Schultze. The ongoing Proof records, limited cassette releases, and the Boogie Til Dawn production company have also played host to a wider community of North American both blues, punk and New Age artists with the same integral free-think- ing and progressive policy (some of whom can be heard for the first time guesting on this LP).
    Format
    LP
    Release-Datum
    18.06.2012
    EAN
    EAN 5060099503900
     
  • 01. House Of The Sun
    02. Khan-Khallili Razaar
    03. The Devil May Care
    04. Slave Traders
    05. Land Of Unclean Spirits
    06. Perhaps Reincarnation
    07. House Of The Joker
    08. Take A Look
    09. Temple Of Exotic Delights
    10. Feed You To The Sharks
    11. Lapis-Lazuli
    12. I’ll Be A Sphinx For You
    13. Doubting Thomas
    14. Paid Your Money
    cover

    GEOFF KROZIER & THE GENERATOR

    Tranceformer

    [engl] Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses and Arthur Brownthen combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. BEHOLD Geoff Krozier & The Generator. This faithful reproduction of one of Australias rarest synthy post-prog vinyl artefacts bequeths the only recorded fruits of the precious magick months before Geoff Krozier’s untimely death in 1981. Combining shamanic spoken word with nodding kosmische instrumentation this album is fuelled by ARP/Roland/ETI (Aussie synth) technology and leaves fans of synthetic soundtracks, electronic experimentalism and stubborn synth pop salivating for more (and more there is). Meet this Ex Kongress (NY punk band) collaborator, Sydney’s official 1980 Magician Of The Year and “the high priest of exorcism-rock” and watch him, and his trusty studio wizards, provide fans of Bruce Haack and Doris White with one of the most absurd electronic private press LPs to come from either end of the pointed planet.
    Format
    LP
    Release-Datum
    21.12.2015
     
  • 01. O Willow Waly
    02. La Glace Brisee
    cover

    GEORGE AURIC/JEAN PRODROMIDES

    The Innocents/Blood & Roses

    [engl] Not content with already liberating over twenty dedicated global horror and thriller soundtracks as part of the labels expansive discography, Finders Keepers Records resurrect their ghostly Finders Kreepers imprint, an apparition last spotted back in 2009 with the archival Willow's Songs which exposed the original twisted folk music that inspired the seminal 1972 Wicker Man score. With an unwaning appetite for the rare and obscure side of the genre the labels next short series combines ten vintage recordings from the formative years or International horror introducing a host of bygone soundtrack musicians that combined folklore, musique concrète, early electronics, child- like vocals and flamboyant orchestras to accompany the surreal and hallucinogenic films that inau- gurated and inspired the golden age of macabre fantastique cinema. Sourcing a cross section of obscure global domestic pressings and under the radar vintage vinyl runs this Finders Kreepers reissue series combines a cross section of the rare/unknown and the seminal, bringing unobtainable sonic gems of both classic and uber-classic shock cinema to a dis- cerning new generation of collectors. Starting the series off on a good foot Finders Kreepers bring you a mysterious and beguiling piece of music that has enchanted and eluded fans of vintage horror for decades. A game changer for the new wave of British horror when it was originally released the most unnerving attribute of The Innocents was the recurring childlike song that haunted the corridors and gardens of a haunted house in between bursts of concrète effects and drones (made by an uncreditted Daphne Oram). A forerunner to a generation of lullaby lead horror scenes (such as Rosemary’s Baby and Profondo Rosso) whilst drawing comparison with other macabre music featuring minor maestros such as The Night Of The Hunter and The Wickerman, this song is an oft requested gem of a micro-genre which seldom passes through second hand record stores and bookshops undetect- ed in its original vinyl form. Produced as an ambitious commercial tie-in for the release of the film in 1961 this elongated studio version sung by the lead Scottish born actress Isla Cameron (who many will also recognise as a prolific traditional folk singer on the early 60s) was casually market- ed to a small audience of movie fans who perhaps liked the idea of bringing the ghost into their own house. This rare original studio version is one of the only ways to capture the short leading motif that has echoed, in limbo, through the consciousness of film enthusiasts for over five decades. The alternate side to this debut Finders Kreepers 45 is the theme to another milestone of mono- chromatic European horror which despite its lifespan of re-distribution and edit room butchery has still failed to penetrate the mainstream DVD/Blu-ray market and stand up to be counted as the glaring influential landmark of the modern female vampire cinema genre that would spiral out of control throughout the following decade. Based on Joseph Sheridan Le Fanu's 1872 vampyristic same-sex love story, Carmilla, the film Et mourir de plaisir (aka Blood And Roses) became direc- tor Roger Vadim's fifth feature (directly following another French literary adaptation with Les liaisons dangereuses) and visually draws a line between Powell/Pressburger's The Red Shoes and Jean Rollin's Viol Du Vampire while sonically begging comparison to Francois de Roubaixs inspired Daughters Of Darkness soundtrack. Composed by Jean Prodromidès and abetted by sound designer Robert Biard the score reaches its memorable peak during a dream sequence montage combining graveyards, claustrophobic corridors and a bizarre clinical blood transfusion scene, all of which are enhanced by submerged sound effects and a restrained blood red colour tint (predating the likes of Shock Corridor, Rumble Fish or Schindler’s List) it is clear that fans of Rollin/Franco et al will be able retrace their bloodline with this lesser-spotted picture. Originally squeezed onto an obscure six track 7" at low volume for French only distribution this dream sequence theme has been remastered and presented in good company for a fresh Finders Kreepers audience.
    Format
    7''
    Release-Datum
    28.10.2013
    EAN
    EAN 5060099504846