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  • 01. Hou
    02. Ten
    03. Mi
    04. Sou
    05. Ryu No Nukegara
    cover

    7FO

    Ryu no Nukegara

    [engl] 7FO: pronounced “nana f o” in English, “nana” being seven. Ryu no Nukegara: “dragon’ s husk” . These are the only difficulties you’ ll encounter here. This is warm, friendly, very relaxed music, very “understandable” and yet intriguing, sure to appeal to fans of electronic ambient, dub and chill-out music, as well as artists like Haruomi Hosono, Captain Ganja, La Monte Young, Equiknoxx and Tapes. The Osaka-based 7FO combines groovily sparse electronic percussion with similarly sparse dub-feel synth bass, as well as pentatonic synth and steel pan melodies, the latter with an intriguing Okinawa/Sunda/Malay feel. Sparkling dub-influenced processing and thoughtful mixing gives us a music which is trans-oceanic, warm, and enveloping. Following releases on RVNG, Bokeh Versions and Metron, Ryu no Nukegara is available on digital, CD and 12” LP, featuring a suite of four tracks and the 20-minute title track, whose titular dragon is Asian: a potent symbol of water, strength and good luck.
    Format
    LP
    Release-Datum
    01.11.2018
     
  • cover

    ACID ARAB

    Musique De France

    Mit ihrer berauschenden Mischung aus westlicher Elektronik und östlichen Klängen und Gesang hat das französische Kollektiv Acid Arab in den vergangenen Jahren die Clubs dieser Welt erobert. Gegründet im Jahr 2012 von den DJs Guido Minisky und Hervé Carvalho, hat Acid Arab geduldig seinen ganz eigenen Style herausgearbeitet, immer beeinflusst von zahlreichen Kollegen aus ganz Nordafrika und dem Nahen Osten. Hinein geboren in den Melting Pot Paris ist ihr Konzept, einen Raum für die arabische Kultur in der Welt der zeitgenössischen elektronischen Musik zu schaffen, naheliegend. Aus dem DJ-Duo ist eine vollständige Band geworden, als Pierrot Casanova, Nicolas Borne und der sensationelle algerische Keyboarder Kenzi Bourras dazustießen. Ihr erstes Album definiert ihre Vorstellung von interkulturellem Austausch, fernab von allen Klischees. Es ist keine Collage, nicht einmal eine Fusion. Es stammt aus Begegnungen auf Augenhöhe zwischen verschiedenen Welten, zwischen Instrumenten, Rhythmen, melodischen Stillungen, musikalischen Technologien und vor allem: zwischen Menschen.
    Format
    DoLP
    Release-Datum
    04.10.2016
     
  • 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. SOS Generique
    02. SOS Tempo
    03. Save Our Souls
    04. Free Souls
    05. Dark Souls
    06. SOS Lament
    07. Shaam
    08. The Sweet Decay
    09. Pressure Drop
    10. Tigris
    11. Seetara
    12. Forest Song
    cover

    ANDRZEJ KORZYNSKI / AWKWARD CORNERS

    SOS / The Sweet Decay

    [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.
    Format
    LP
    Release-Datum
    07.04.2014
    EAN
    EAN 5060099505003
     
  • 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. The Award
    02. The Silliest Tune
    03. Brief Encounter
    04. Smalltalk
    05. Arrest Of Groucho
    06. Baby Baby
    07. Sweet Smell Of Success 8. Too Much Smell
    09. Silliest Tune (Vocal Version)
    10. Reanimation Of A Filmmaker"
    11. Singing In The Closet
    12. Winding Down
    13. Strange Sounds
    14. The Dance
    15. Prepare For The Show
    16. Seduction
    17. Walking
    18. On The Way
    19. Train
    cover

    BRUNO SPOERRI

    Teddy Bär/Lilith

    [engl]  Comprising two of the most complete bodies of work from innova- tive Swiss electronic jazz pioneer Bruno Spoerri this combined archival release delves into a deep vault of commercial and exper- imental film music revealing the vibrant versatility of the compos- er in collaboration with two important Swiss directors. Mastered from original studio tapes this compendium comprises an expand- ed range of instruments and studio techniques placing the artist on either side of his comfort zone parameters. Utilising vocals in both a treated/experimental form as well as in a formal song based capacity this release instantly reveals two new sides to Spoerri’s personality. The two soundtracks also reveal the natu- ral progression of Bruno's interaction between live bands and jazz musicians working alongside industrial field recordings and con- crète tape experiments (previously exemplified in his work for forklift truck manufacturer Lansing Bagnall). Spoerri's broad palette of electronic instruments is widely utilised within these recordings revealing Bruno's home studio as one of the early exponents of the Lyricon wind synth and various modular synthe- sisers developed and re-customised as part of a wider creative relationship with the creators of Buchla and Arp instruments. Both programmes span a decade of commercial work for Swiss and German advertising companies furnishing a unique Swiss culture of tangible vinyl giveaway records which punctuates the artists varied discography alongside a list that includes collabora- tions with musicians from German Krautrock band Can, legendary progressive jazz/electronic musicians like Klaus Weiss and Joel Vandroogenbroeck, as well as physical visual artists like Betha Sarasin. Presenting the entire previously unreleased score to Kurt Aeschbacher's experimental film Lilith and a remastered ver- sion of the rare vinyl soundtrack to Rolf Lyssy's comedy Teddy Bär (including an newly excavated non-LP track) this release goes beyond the typical realms of commercial film composition includ- ing full-length cues and fully realised electronic tracks which stand up both within and outside of the context of the original, seldom seen celluloid achievements. Enjoy at best with an open mind with eyes open or closed for a wider perspective on this one man music machine.
    Format
    LP
    Release-Datum
    11.02.2013
    EAN
    EAN 5060099503863
     
  • 01. Pop Electronique N° 1
    02. Pop Electronique N° 2
    03. Pop Electronique N° 3
    04. Pop Electronique N° 4
    05. Pop Electronique N° 5
    06. Pop Electronique N° 6
    07. Pop Electronique N° 7
    08. Pop Electronique N° 8
    09. Pop Electronique N° 9
    10. Pop Electronique N° 10
    11. Pop Electronique N° 11
    12. Pop Electronique N° 12
    13. Pop Electronique N° 13
    14. Pop Electronique N° 14
    cover

    CECIL LEUTER

    Pop Electronique

    Roger Roger (1911 – 1995), einer der bekanntesten französischen Komponisten und Bandleader im Bereich der experimentellen Elektronischen Musik und des Filmsoundtracks, lieferte im Jahr 1969 unter dem Pseudonym Cecil Leuter ein Meisterwerk der ‚Library Music’ ab. Minimalistische Melodien, eingebettet in 60’s Elektronik-Sounds. Hier blubbert und zischt es, wird die Musik mit zunehmender Länge des Albums immer verrückter .Ein abgefahrener Trip für alle Freunde der obskuren Klänge und psychedelischen Klangcollagen.
    Format
    CD
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812569
    Format
    LP lim
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812576
     
  • 01. Caravana
    02. Apuna
    03. Venado tuerto
    04. Encuentro cercano
    05. El domo
    06. Gamelan No.2
    07. Gamelan No.3
    08. Gala
    cover

    CLAN CAIMAN

    Clan Caiman

    [engl] The music of Clan Caimán is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolution path for music from the 1950s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection. Formed in 2016 by musician, composer and producer Emilio Haro looking to create music generated by group dynamics, Clan Caimán differs from his past two solo albums (“Panorámico” in 2007 and “Estrambótico” in 2012, both on Radiaciones Armónicas) in that these were studio work and not meant to be played live. The quintet's enigmatic sound is built upon the kalimbafón, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound. This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.
    Format
    LP
    Release-Datum
    01.11.2018
     
  • 01. Caesar In Camerun
    02. High Moon Enters Heaven
    03. Metasamba
    04. Chipmania
    05. O Queen Of Saba
    06. Memorymetropolis
    cover

    CLARA MONDSHINE

    Memorymetropolis

    Walter Bachauer war einer der aktivsten und produktivsten Mitglieder der sogenannten ‚Berliner Schule’ im Bereich der Elektronischen Musik. Neben seinen Veröffentlichungen und seiner arbeit beim RIAS Berlin, war er als Organisator mit für das META MUSIC Festivals 1974,1976 und 1978 verantwortlich. Mitte der 80er Jahre veröffentlichte er unter dem Namen CLARA MONDSHINE, und “Memorymetropolis” von 1983 ist das zweite in einer Reihe von 3 Veröffentlichungen, auf denen er sich der eher ‚progressiven spaced-out’ Seite der ‚Berlin School’ zuwendet. Majestätische Drones, abgefahrene, polyrhythmische Strukturen und Synthesizerflächen, die allen Fans von CLUSTER, TANGERINE DREAM oder KLAUS SCHULZE Freude bereiten dürften.
    Format
    CD
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812507
    Format
    LP lim
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812514
     
  • 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. Adrenalin Lässt Das Blut Kochen
    02. Geri Regi
    03. Persisches Cowboy-Golf
    04. Gefährliche Clowns
    05. Kleine Grabesstille
    06. Der Weltaufstandsplan
    07. Hans Und Gabi
    08. Commerce Extérieur Mondial Sentimentale
    09. Was Ich Von Mir Denke
    10. San José Car Muzak
    11. Erste Begegnung Mit Dem Tod
    12. Ich Bin Schizophren
    13. Nessie
    14. Gefährliche Clowns (Manisch-idiotisch)
    15. Die Welt Ist Schlecht
    16. Es Piept
    17. Fürstenwall
    18. Intermezzo
    19. Dark Porn
    20. Heinz, Komm Zum Feuer
    21. Money Honey
    cover

    DER PLAN

    Geri Reig

    Format
    LP
    Release-Datum
    14.07.2012
    EAN
    EAN 4047179633314
     
  • 01. Ballgeflüster
    02. Leierkasten
    03. Für Dich
    04. E-605
    05. Alleewalzer
    06. Für Euch
    cover

    DINGER, THOMAS

    Für Mich

    Format
    LP
    Release-Datum
    14.07.2013
    EAN
    EAN 4047179766319
     
  • 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
     
  • cover

    GABRIEL, LOGAN

    Spaceplan

    Format
    LP
    Release-Datum
    ---
     
  • 01. Assenza Di Gravità (Part One Edit)
    02. Violenza
    03. Tradimento
    04. Il Cobra
    05. Produzione Industriale
    06. Verso La Frontiera
    07. La Caverna
    08. From Tokyo To Las Vegas
    09. Zombie
    10. Agguato
    11. Città Spiertata
    12. CittàDel Cap
    13. Assenza Di Gravità (Part To Edit)
    cover

    GERARDO IACOUCCI

    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…
    Format
    LP
    Release-Datum
    17.11.2017
     
  • cover

    HENK BADINGS / DICK RAAIJMAKERS

    Evolutions, Contrasts & Electronic Music

    [engl] This is the reissue of a 1958 album by Henk Badings and Dick Raajmakers (aka Kid Baltan) composers, arrangers, conductors and pioneers in the field of electronic music. The 1968 release „Evolution & contrasts“ contains the same recordings as the 1958 „Electronic music“ album. But what exactly do these nowadays scarce as gold dust albums. Bading and Raajmakers create electronic soundscapes with a rather creepy atmosphere. This stuff is different to the 50s avant garde classic as well as to the more pop oriented electronic albums of the same time. Badings „Capriccio for violin and two sound tracks“ can be seen as strange dialogue with sloping melodies between the violin and unidentifiable electronic devices that gives you goosebumps. It has a rather picturesque approach and might be used for early horror flicks as accompanying music for the horrifying scenes. The amazing fact is that this music still sounds fresh and exciting even nearly six decades after its initial release. The lengthy „Genese“ on the other hand is a lengthy composition of chirping, bubbling and droning sounds swelling and ebbing away in regular intervals. Cosmic music of the highest order. Some sections also feel like an intergalactic information transfer signal of unknown origin. All in all a very spooky and haunting affair. Interesting how electronic music already went back in the late 50s while most people consider the late 60s and early 70s as heydays for electronic experiments and cosmic sounds. Well, here we get to listen to the pioneers of this genre and they really do it well. Raajmakers even had a hand in writing groovy dance compositions when collaborating with Tom Dissevelt. He used the pseudonym Kid Baltan at these occasions. Anyway, this is quite a different thing. This is dark and utterly strange. „Contrasts“ by Raajmakers is a mixture between funny swirling sounds that make you think of a quick tempered discussion between little androids and menacing drones in the back that soon gets interrupted by single blows and hisses with frightening howls far in the back. This is definitely an album for true enthusiasts of strange electronic sounds who even consider early TANGERINE DREAM as fluffy pop music. Far out, folks, far out and therefore just great.
    Format
    LP
    Release-Datum
    11.05.2017
    EAN
    EAN 3891121306037
     
  • 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)
    cover

    ILAIYARAAJA

    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.
    Format
    DoLP
    Release-Datum
    25.03.2013
    EAN
    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
    cover

    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.
    Format
    LP
    Release-Datum
    01.12.2019
    EAN
    EAN 5060099507250
     
  • 01. You Never Told Me Parts 1 & 2 (Live at Galerija Cvajner, Pula)
    02. Florette feat. Luka Veselinovi?
    03. Gs Cycle Encore Cut 01
    04. How Quentin Lost His Jazz
    05. Blue Funk (For Kerri)
    06. How Quentin Got His Jazz Back feat. Luka Veslinovi? & Mirsad Dalipi
    cover

    JAN KINCL & REGIS KATTIE

    In Plain Sight

    Format
    LP
    Release-Datum
    29.05.2018
    EAN
    EAN 3858890352412
     
  • 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
    cover

    JEAN-CLAUDE VANNIER

    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.
    Format
    LP
    Release-Datum
    07.04.2005
    EAN
    EAN 5060099500015
     
  • 01. Contemporary Vibes
    02. Grooveyard
    03. Passion for the Highway
    04. Schatten
    05. Tinted Lashes
    06. Blindflug
    07. Wounded Times
    08. Le Club
    09. Ohne Fesseln am Bein
    10. Oriental Blue
    11. In and Out
    12. Geteert und gefedert
    13. Heartbeat
    14. Lass mich nicht im Stich
    15. Resilience
    16. Wenn der Wind weht
    17. Recordemos
    cover

    JOHANNES DEES

    Move On Move On

    Das Projekt „Move On Move On“ ist die Metapher des sich Voranbewegens, Vorwärtsstrebens, der Entwicklung, des sich Herantasten ebenso, wie den Rausch der Geschwindigkeit betreffend! „Move On Move On“ ist Aufforderungscharakter und Feststellung zugleich. Das Unterwegssein und die Zielsetzung des Sich-Fortbewegens verschmelzen zu einer Charakteristik des Nicht-Stehenbleibens. Die Aufmerksamkeit auf die Veränderung ist das große Rahmenthema dieses Projekts sowie ein Charakteristikum der Arbeiten von Johannes Dees überhaupt. Anlass zur Reflexion ist sowohl der Drive als auch das Innehalten. Zustande kam das Projekt „Move On Move On“ durch Freundschaften:
    Format
    DoLP
    Release-Datum
    26.11.2020
    EAN
    EAN 0798190171432
     
  • 01. Five Against Seven-Random Canon
    02. Stochatta
    03. Variation In Timbre And Attack
    04. Molto Amoroso
    05. Beat Canon 6. Melodie
    cover

    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.
    Format
    7''
    Release-Datum
    25.11.2014
    EAN
    EAN 5060099505034