[engl] In true Disposable Music style we conclude our successful second series by combining two very different global music projects from totally different eras and cultural climates. Andrzej Korzynski’s French funk inspired lost 1974 soundtrack to a Polish crime film directed by a Russian filmmaker shares vinyl sides with a compendium of modern field recording from Thailand and Pakistan assembled by UK born producer and Sound Of Wonder/Paradise Bangkok compiler Chris Menist. Sharing evident stylistic trademarks with other classic 70s crime/thriller soundtracks such as Gainsbourg/Vannier’s Cannabis, Don Ellis’ The French Connection, Alan Tew’s The Hanged Man and Morricone’s Le Serpent, Andrzej Korzynski’s score for this obscure Polish only weekly crime series SOS (directed by Janusz Morgenstern) might well have disappeared into the annals of lost communist pop culture if it wasn’t for Finders Keepers privileged plunders in to the vaults of this very important and previously under exposed soundtrack genius. Drawing further stylistic similarities with Alain Goraguer’s oft-cited La Planete Sauvage soundtrack, the fact that Korzynski had previously worked in the same studios as Ennio Morricone and Jean-Claude Vannier in the late 1960s (before being forbidden to travel under the Soviet regime) becomes evident on these golden era 1974 recordings providing another indispensable inclusion to European soundtrack collectors and fans of the genre in a well ploughed field. The Awkward Corners project was recorded at different locations in Asia, in domestic environments in Islamabad and the Bangkok apartment of producer and regular Finders Keepers co-compiler Chris Menist. These tracks were put together over a three year period and involved different musicians who Chris met in both Pakistan (like the great vocalist Arieb Azhar) and Thailand (jazz legend Ralph Thomas lives permanently in Chiang Mai in the north). Under the name Awkward Corners Menist created textures from recordings wandering round the streets, or he would put together a groove primarily using either drums, percussion or a Dr. Rhythm drum machine, and the musicians would react in an improvisational sense, such as Moez Akbar who plays the Iranian seetara on the albums title track. Most tracks were done in one or two takes and mixed later in Nottingham where Paul Isherwood also added some crucial touches on bass. The Sweet Decay is an audio sketchbook of five years living and working in South Asia, and a nod of thanks to some of the great people Chris was lucky enough to meet whilst living there.

[engl] A true enigma in French exploitation cinema and a key exponent in Jean Rollin’s expansive family of forward thinking French creatives, Pierre Raph delivered four soundtrack commissions to the ABC film company between 1971 and 1974 commencing with Requiem Pour Un Vampire and ending with the bizarre Les Démoniaques. The lost score for the film Le Rose De Fer from 1972 presented a new challenge for both director and composer marking Rollin's departure from his vampire movie comfort zone to this surreal melo- dramatic ghost sex story and resulting in perhaps the duo’s most unique col- laboration. Combining bizarre vocalisations, stripped down minimal piano and subtle Parisian funk themes (echoing the likes of Alain Goraguer's La Planete Sauvage and Karl Heinz Schäfer's Les Gants Blancs Du Diable) Le Rose De Fer arguably hears Raph at his most accomplished, adhering to a solid con- sistent theme tune and using a varied range of disciplines to convey it via the films precarious schizoid screenplay. For fans of Rollin regulars Acanthus, Philippe d'Aram and Francois Tusques this release is essential, but as a stand alone piece Le Rose De Fer is totally unique and, like the film itself, succeeds as the tortoise champion taking first place on many long-term Rollinades lists while his trademark vamps dodge the sunlight. Originally commissioned as incidental cues for a short film by Helsinki based designer Paola Suhonen, Intiaani Kesä (Indian Summer) by multi-instrumen- talist Jane Weaver has since grown into a fully formed project lending itself to a number of further cinematic productions and creative applications. Appearing alongside Demdike Stare and Brigitte Fontaine in the vampire film Kiss Of The Damned by Xan (daughter of John) Cassevetes and recut and performed as an alternative rescore to Eiichi Yamamoto's Belladonna Of Sadness for various live performances, this set of well-crafted themes takes it's brazen influences of Nicolai, Dell'Orso, Alessandroni and Daniella Casa back to their purest analog recording origins with startling effect. Recorded in an old vicarage near the Peak District, housing a unique analogue experimen- tal studio, Intiaani Kesä hears Weaver deploy a wide range of instruments including tubular bells, bowed guitars, vintage Goblinised Roland string synths, detuned pianos, church bells, Roland guitar synths, harpsichords and ex-Radiophonic Workshop custom equipment as accompaniment to wordless and onomatopoeic chorale vocals recorded on valve microphones with space echo, sonic room reverbs and bespoke experimental tape delays. Made in a disciplined and unforgiving environment without modern technological short- cuts these self-initiated creative research prototypes were not initially intend- ed for commercial release but are thankfully gathered here as songs in there own right independent of context.

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