Katalog

Suchergebnisse

  • 01. Bombarde Lamentation
    02. L’Ours Paresseux
    03. La Girafe Au Ballon
    04. Claquez Klaxons
    05. Saturnin Vaca Vaca
    06. L'Automne À Barbès Rochechouart
    07. Crocodiles
    08. La Douleur De L'Orchestre
    09. Theme 504
    10. Le Ballet Des Accoucheuses
    11. Road To Cuba
    12. Je M'Appelle Geraldine
    13. L’Éléphant Équilibriste
    14. Bombarde Lamentation (Reprise)
    cover

    JEAN-CLAUDE VANNIER

    Electro Rapide

    [engl] To mark Finders Keepers Record's 50th release label heads Andy Votel, Dom Thomas and Doug Shipton return to where it all began in 2005 with a long overdue return to Jean-Claude Vannier's vaults! Electro Rapide is a collection of rare and unreleased archive material from the studio archives of legendary French orchestral pop composer Jean-Claude Vannier. Taken from the period before and during his revered creative relationship with Serge Gainsbourg (reaching their halcyon with 1971’s Histoire De Melody Nelson) these tracks reveal a rare glimpse of Vannier’s self-initiated instrumental projects that were crowbarred between an airtight studio diary as one of France’s most in demand arrangers and composers of the post Mai-68 generation... Alongside a handful of his contemporaries and collaborators such as Michel Colombier, Serge Gainsbourg, François de Roubaix, Brigitte Fontaine, Claude Nougaro and Gerard Manset, composer and orchestral arranger Jean-Claude Vannier is globally recognised as one of the key exponents of the Gallic pop cognoscenti to make the significant change from 60s yé-yé to the brooding con- ceptual pop which defined the following decade. His own masterworks, Histoire De Melody Nelson and L’Enfant Assassin Des Mouches (both of which benefited from the poetic prose of Serge Gainsbourg), are two such productions that con- tinue to inspire and challenge popular music as long as five decades since they were first released to moderate audiences in the early 1970s. Electro Rapide is a collection of similarly underexposed instrumental works that combine a mixture of Jean-Claude Vannier’s familiar trademark motifs and stylings from his coveted work for idiosyncratic French pop vocalists (such as Fontaine, Nougaro, Leonie and Anna St. Clair) with the seldom heard experimen- tal music for ballets, fashion shows as well as his infamous film music (such as the soundtracks for Cannabis and La Horse).
    Format
    LP
    Release-Datum
    03.10.2011
    EAN
    EAN 5060099503337
     
  • 01. La bête noire (Intro)
    02. Chasser la bête noire
    03. Histoire de Daniel
    04. The Black Beast (Effets Cords)
    05. Rythme de la bête noire
    06. Danse de la bête noire
    07. Le dealer
    08. Karen/Antonia
    09. The Black Beast 2 (Effets Cords)
    10. The Writer/Yves
    11. Chasser bête noire (Revenir)
    12. The Juvenile Judge
    13. La bête noire (Generique)
    14. Paris n’existe pas (Opening Titles)
    15. Angela en ambré
    16. Télékinésie en turquoise
    17. Simon Slips
    18. La chambre rose
    19. Fantôme félicienne
    20. Le feu
    21. La tête
    22. Les chemins n’existent pas
    23. Fantôme soirée
    24. Le temps passe
    25. Flipbook
    26. Fantôme soiree (Outtake)
    27. Flipbook (Outtake)
    cover

    JEAN-CLAUDE VANNIER

    La Bête Noire / Paris N'Existe Pas

    [engl] From deep in the vaults of the Parisian composer who arguably created the stylistic blueprint for decades of orchestral French funk and symphonic psychedelia, “the arranger’s arranger” Jean-Claude Vannier (Histoire de Melody Nelson/L’enfant assassin des mouches) finally liberates two previously unreleased and fabled film soundtracks that mark significant milestones in the career of this legendary composer and his close connection to the French free jazz scene. Comprised on this one vinyl disc you will find the only existing original historic recordings to his first ever 1968 collaboration with serge Gainsbourg as well as the entire lost musical score for Vannier’s first major star-studded solo film commission which followed the Gainsbourg years and a fruitful decade as one of France’s most in-demand arrangers and songwriters. These two scores, for Vannier’s oft type-cast commissions for “drugsploitation” dramas (Cannabis, La horse), are further united by their inclusion of sax player Philippe Maté and the early formation of Vannier’s own Insolitudes ensemble. As long-time custodians Finders Keepers Records are proud to present both the hallucinogenic orchestral music to Robert Benayoun’s Paris n’existe pas and the rhythmic onslaught and cyclic waltzes from Patrick Chaput’s La bête noire complete with an extensive booklet of essays, interviews, secrets and rare images from both of these mythical cinematic obscurities. LA BÊTE NOIRE From the furious pen of controversial author Jean-Pierre Bastid (Let The Corpses Tan/Massacre Of Pleasure) and directed by one-time realisateur Patrick Chaput the gritty street crime thriller precedes the likes of La haine. Revealing itself to be one of Jean-Claude Vannier’s most unique scores these previously unreleased studio master tapes capture self-styled batucadas and furious rhythm tracks next to frenzied carousel waltzes free from the stylistic time-stamp of their 1983 recording date. Having spent four decades trapped in muddy memories (and condemned to the phantom zone of a run of ultra-rare VHS cassettes) these experimental recordings remain independent from the pop and rock idiom and are both timeless as well as ground-breaking due to the deployment of key players from the French free jazz scene and the reunion of Vannier’s long standing Insolitudes (a unit that to some degree bears comparison to that of Ennio Morricone’s Gruppo D’Improvvisazione Nuova Consonanza). Showcasing a crack team of Palm/Futura/Actuel/Saravah label regulars such as saxophonist Philippe Maté (Acting Trio/Maté-Vallancien/Tacet) alongside drummer Bernard Lubat (Mad Ducks), legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (La Horse/Brutus Drums) and session legend Michel Zanlonghi (Ensemble De Percussion De Paris) this thunderous, tumultuous, four-headed rhythm hydra bridges an authentic gap between The Jef Gilson Group and France’s signature “cosmic” revolution. Naturally these previously unheard compositions, rhythms and sound design experiments are spearheaded by lead pianist and composer Vannier providing devotees of his 1972 concept album L’enfant assassin des mouches with much to admire and cross-reference. PARIS N’EXISTE PAS Previously the subject of biographical rock history, archival documentaries and cruel bootlegging opportunity, the official mastertapes to Jean-Claude Vannier’s first ever studio date with Serge Gainsbourg poetically mirrors the title of the film… They didn’t exist, until now. Culled from reference recordings, rehearsals, playback tapes and work-in-progress TV magazine features, all found in the darkest corners of Vannier’s tightly guarded sound library, Finders Keepers in close collaboration with Jean-Claude finally presents the genuine hallucinogenic orchestral and experimental sound design recordings that appeared on the 1968 film Paris n’existe pas. The darker experimental tones within the film’s (overly) cautionary tale (complete with ghost story eeriness) would require a future-proofed soundtrack to span the plot’s apparitional time-shifts. The brooding orchestrations and experimental music found on this record comes complete with interjections of modern jazz courtesy of French free jazz mainstays Philippe Maté (Jef Gilson/Acting Trio) and Jean-Louis Chautemps (Jef Gilson Group/Janko Nilovic’s Giant). With the help of an esteemed string ensemble Vannier also lays down an early orchestral blueprint for his own “approximately-Orient” signature sound in its earliest naked form just three years before Histoire de Melody Nelson would cause widespread controversy on its release. Complete with well documented forays into sound design as a young Jean Claude and Serge “explore” the carcass of a piano with screwdrivers and cigarette lighters this album captures the exact “eureka” moment that cemented this seminal partnership thus forcing an important kink in the natural course of European music for decades to come.
    Format
    LP
    Release-Datum
    14.09.2022
    EAN
    EAN 5060099507625
     
  • 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. Exotic House Of The Beloved
    02. Sambakontu
    03. Dub de Pablo
    04. Baby It Hearts
    05. Anna Mennä
    06. Heinola
    07. Jameson
    08. Another Space Travel
    09. Salo
    10. Downtown
    11. Bondage
    12. Doin‘ Alright
    13. Walkie Talkie
    14. Espoo
    15. O-Sex
    16. Plan 9
    17. Travellers Cape
    18. Super Beat
    19. My Woman
    cover

    JIMI TENOR

    Deep Sound Learning (1993 - 2000)

    [engl] Jimi Tenor can look back on a career spanning almost 30 years, in which time he has released more than 20 albums on such renowned labels as Warp Records, Sähkö and Kitty-Yo. Pop artist prestige holds no sway over the Finnish composer and multi-instrumentalist. Never resting on his laurels, he continues to hone his unique sound, which draws on elements of jazz, Afrobeats and experimental electronic music.
    Format
    DoLP
    Release-Datum
    09.04.2021
    EAN
    EAN 4015698051445
     
  • 01. Xineotepe Heat
    02. Utopian Dream
    03. Take Me Baby
    04. Fantom (The Wandering Ghost)
    05. Tesla
    06. Year Of The Apocalypse
    07. Spell
    08. Rubberdressing
    09. Teräsmies
    10. Sugardaddy
    11. A Daughter Of The Snow
    12. Shore Hotel
    13. Muchmo
    14. Backbone Of Night (feat. Riga Symphony Orchestra)
    15. My Mind
    16. Natural Cosmic Relief
    17. Voimamies
    18. Unmentionables
    19. Theme Sax
    20. Outta Space
    cover

    JIMI TENOR

    NY, Hel, Barca

    [engl] "NY, Hel, Barca" is a compilation of Jimi Tenor's early works from the legendary Warp and Sähkö days (1994-2001).
    Format
    DoLP
    Release-Datum
    06.03.2020
    EAN
    EAN 4015698637830
     
  • 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
     
  • 01. Besen im Kopf
    02. Okoschadel
    03. Küss mich mein Liebchen
    04. Malcom Makes The World Go Round II
    05. Dritter Komparsengesang
    06. Paradiesvögel
    07. Überdachtes Klavier
    08. Erste Himmelsmelodie
    09. Nikolaus der Erste
    10. Meditation
    cover

    JÖRG THOMASIUS

    Acht Gesänge der schwarzen Hunde

    [engl] Tension. Performance. Resistance - our Zonic Spezial documenting underground cassette culture in the latter years of the GDR caused quite a stir when it first appeared in 2006. A collaborative effort with the legendary ZickZack label and Verbrecher publishing house, “Spannung. Leistung. Widerstand. Magnetbanduntergrund DDR 1979-1990” (to give the work its full title) caused many lis- teners, especially those in the West, to prick up their ears in astonishment when they played the book’s accompanying CDs. This odd potpourri of swirling post-punk manifestations was compiled with solid interpretive authority by Bert Papenfuß, Bo Kondren, Bernd Jestram, and Ronald Lippok. They did, however, erroneously attribute one piece to Jörg Thomasius and Dieter Zobel’s Ostkraut band Das Freie Orchester instead of the “Musik aus dem Regen” tape on their own Kröten Kassetten imprint. Whilst the Zonic Spezial itself has become an eminently collectible rarity, Bureau B succeeded in making at least parts of the musi- cal spectrum available to a wider international audience with their 2014 release “Magnetband”. Serendipitously coinciding with the publication of a second book, “Magnetizdat DDR” (no listening material this time around), Bureau B now revisit the experimental electronic underground of the German Democratic Republic with two releases: “MEZ 31,00” - a solo cassette by Dieter Zobel aka Didier Leboz from the year 1989 - and this collection of Jörg Thomasius productions spanning the years 1980 to 1990. Jörg Thomasius, otherwise known as Tomato, born in East Berlin in 1955, discovered progressive sounds in the early 1970s. He was increasingly drawn towards the electronic signals emanating from West Berlin, so close and yet so far away, carried on radio waves through the Iron Curtain and surfacing sporadically in eager record collector circles on the eastern side of the wall. A Venn diagram of interests brought Tomato into the same space as Andreas Grosser, renowned today for his legendary microphone repair skills. Grosser’s Dutch father had lost no time establishing contact with the West Berlin scene, sourcing equipment for congenial zeitgeist trips in his Berlin-Biesdorf garden arbour. On seeing this wired up chamber of wonders in late 1977, Thomasius was catapulted into the world of electronics. It was here that he would meet Terry Riley, handing out LSD on his eastern expedition. Grosser became a kind of mentor to Thomasius, who had started to explore the tape format. Even after leaving for West Berlin, Grosser would help him out with contacts and contraptions. Thomasius also struck up a rapport with Conrad Schnitzler and the pair spoke regularly on the telephone until they were finally able to meet in person in 1985. Thomasius had been working on a GDR radio show called Trend since 1981, albeit outside of any legal structures, and in 1982 he began writing “Innovation under adverse conditions” copy for the the English Eurock fanzine Neumusik alongside the GDR mainstream producer Wolfgang Fuchs from Pond. He was also a member of Das Freie Orchester (until 1989), an improvised formation of longish-haired freaks who had an idiosyncratic sense of humour. Kröten Kassetten was founded to cater to DFO and any solo or duo jaunts. Thomasius worked as a boilerman and exhibition technician for the Centre for Art Exhibitions of the GDR, compatible with his bohemian lifestyle and affording him access to a typewriter and telephone line. He set about introducing Kröten sounds to the international market via deals with labels in the UK; Italy, Norway and the USA. Ken Montgomery, who ran the American label Generations Unlimited, organized an illegal Schnitzler performance in East Berlin’s Church of the Redeemer in 1986 which was also made available via Kröten channels, whilst the Thomasius LP “Tomato” was released on Generations Unlimited in 1989. The material collected on “Acht Gesänge der schwarzen Hunde” comes from three places: the “Schwarze Hände” cassette with productions from 1980-1985, released on Werner Piepner’s Transmitter label, the 1989 Kröten cassette “Gesänge der Komparsen” and “After Eight” from the year 1990, issued on the Tomato label after Thomasius had left the DFO. Spanning a full decade, the selection presents Thomasius as the multifaceted artist he is, even if he sees himself as more of an experimental DIY sonic creator: spherical, elegaic sounds float around whimsical jewels of extreme playfulness, weaving obscure vocal fragments into strange min- imal constructs. Ten years of creativity under GDR conditions, more of which is recounted in the book “Magnetizdat DDR” were followed by another ten in reunified Berlin. Thomasius teamed up with Conrad Schnitzler and Lars Stroschen to run the Tonart label, but those stories, along with the subsequent Thomasius hiatus, will have to wait for another day. Now is the time to (re)discover him all over again.
    Format
    LP
    Release-Datum
    15.04.2022
    EAN
    EAN 4015698068634
     
  • 01. Krst I
    02. Krst II
    03. Krst III
    04. Krst IV
    cover

    KAJKYT

    Krst

    "Krst" ist ein 75-minütiges Werk, das Drones, minimale Beats und byzantinisch beeinflusste Gesänge als elektronische Oper Noir vor einer bedrohlichen Lärmkulisse inszeniert.
    Format
    LP Box
    Release-Datum
    24.06.2009
    EAN
    EAN 9120047540084
     
  • 01. Lustmord
    02. Plotkin
    03. Null
    04. Opcion
    cover

    KAJKYT

    Krst Remixes

    Der jugoslawische Elektroniker Slobodan Kajkut aka Kajkyt hat 2010 das Stück »KRST« veröffentlicht, eine unheilige Melange aus Klangexperimenten und ritualisierten Gesängen. Diese Remixe sind eine logische Konsequenz daraus.
    Format
    LP Box
    Release-Datum
    24.06.2011
    EAN
    EAN 9120047540121
     
  • 01. I Need A Slow
    02. Bérénice Orion
    03. Aigle Noir
    04. Nadar
    05. Shake Your Check
    06. Poison Machine
    07. Sur Thétrace
    08. Each Tone
    09. Fritz à Paris
    10. Les Vagues De Hertz
    cover

    KRISHNA GOINEAU

    I Need A Slow

    [engl] Krishna Goineau was born in Sri Lanka in 1963. He spent his youth in the 1970s in Barcelona, where he met Javier Hernando in 1978 to found the post-punk group Xeerox. In 1981 Goinau moved to Düsseldorf, where he met Christo Haas and Beate Bartel. He became the singer of the joint project Liaisons Dangereuses and lent his unmistakable voice to the band's big hit ("Los Niños Del Parque"). At the end of the 1980s Krishna Goineau lived in Brussels and became the singer and keyboardist of the groups Metropakt and Veldorome, together with Jodie Guber. Meanwhile Goineau lives very secluded in the south of France and concentrates mainly on his painting. In 2007/2008 he worked at home with analog synthesizers on a series of songs that to this day have never been released. Electronic cut-ups and haunting compositions that sound as contemporary as they are detached from any zeitgeist.
    Format
    LP
    Release-Datum
    16.09.2022
    EAN
    EAN 4015698440201
     
  • 01. Turbarum
    02. Ostraca
    cover

    LBB

    Drippy

    [engl] Turbarum is Latin for turba, meaning stir, disturbance, tumult, uproar or trouble. Ostraca are potsherds (a broken piece of ceramic material) used for writing. Almost all found in Greece are incised; in Athens they were used particularly in voting in ostracism. The sounds carved into the flesh of “Drippy” are about as easy to describe as training a dog to understand the intricacies of quantum physics. They are etherial and violent, welcoming and forbidden, attractive and alienating. “Drippy” is an journey to a new world fraught with unknown dangers and ancient treasures. Dig responsibly. 300 copies of 150 gram black vinyl housed in a hand letterpressed jacket adorned with artwork by M.C. Escher with additional text by Sarah Hanna. Recorded, assembled and reworked by David Bailey and Cort Lippe. Mastered by John Golden.
    Format
    LP lim
    Release-Datum
    15.09.2023
     
  • 01. A Poem In Cycles And Bells For Tape Recorder And Orchestra
    02. Piece For Tape Recorder
    03. Suite From King Lear For Tape Recorder
    04. The Fortunate Islands For String Orchestra
    cover

    LUENING / USSACHEVSKY / BERGSMA

    A Poem In Cycles And Bells & Other Music For Tape Recorder

    [engl] You would never believe this record to be a relic from a past of electronic music that happened before anybody even spoke about rock music. In 1957 this compilation of electronic and orchestral compositions by the three masterminds Otto Luening, Vladimir Ussachevsky and William Bergsma saw the light of the stars for the first time and has become a cult piece among lovers of electronic space music since then, despite the fact that only the first side features the so called tape compositions of Luening and Ussachevsky from the 50s while Bergsma's lengthy piece from the B side gets performed by a regular orchestra consisting of living beings. You certainly have to lay back and let yourself drift away upon this stream of sound but it is still a very human effort all in all. All instruments are for real and even though this piece of music moves within the narrow borderlines of classic orchestral music patterns, there is a warm and gentle flow of energy pouring out of it and reaching out for your mind. Luening and Ussachevsky on the other hand work with sounds of undefined origin recorded on tape reels which are their main instruments for creating something new out of everything. The result is dark and gloomy. It pulls you away from your earthly existence and drags you out into space to the furthest corners of the cosmos. This is the right music for all lovers of spaced out sounds from the days before the synthesizer. If you love all the late 60s and 70s stuff like early TANGERINE DREAM, KRAFTWERK / ORGANISATION and KLUSTER you will be happy to find these compositions 10-20 years prior being on par with all the newer and now legendary cosmic music acts. This long out of print gem is definitely one of the important steps towards every kind of electronic music that was successful ever since.
    Format
    LP
    Release-Datum
    25.07.2016
    EAN
    EAN 3891121305962
     
  • 01. Madfilth
    02. Nuclear In
    03. Gulp It
    04. Se
    05. Inquinamento
    06. Mad Strip
    07. Voglio Un Cugino
    08. Libertà
    09. Io Sono Voi
    cover

    MADFILTH

    s/t

    [engl] From the pumping heart of The Magnetic System comes the “dirtiest” Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra rare and unscrubbed, Finders Keepers finally snip the trip from the cash machine to the trash machine. Pay dirt just got dirtier. Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic this ecological illogical political crab cabaret clearly broke the mould before way before the jelly had set. Fans of “other” obtuse outernational agit-camp might find a fantasy fusion between France’s J. P. Massiera and Sweden’s enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle – but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers at the bottom of the psych rap scrapheap. Originally drip fed out of Cesare Andrea Bixio’s Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label’s commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens’ teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation – combining the skills of overqualified composers with undercooked conceptual mind farts! Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool’s gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don’t bite the spoon. As both doctors and diggers will agree, always read the label. It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of B-musical diamanté discoids. It will also come as little surprise that Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curates egg with the men who many consider to be the group’s greatest assets in bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin’s career, weathering the temporary departure of Claudio Simonetti and maintaining the stylistic heartbeat of the group. Madfilth’s inclusion of Goblin synth Maverick Maurizio Guarini and the band’s mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films Buio Amiga and Squadra Antigagsters. This lesser celebrated late 70’s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farinas Discocross LP, Simonetti’s own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going – all of which, alongside Madfilth, provide a strong mutual stylistic support system for their claim to cosmic discos deep red bloodline.
    Format
    LP
    Release-Datum
    26.06.2018
     
  • 01. Light Flight
    02. Fire Zone
    03. Sight On The Sea
    04. Dreams In The Wind
    05. Spatial Feeling
    06. More And More
    07. No Words
    08. Black Safari
    09. Wakemania
    10. Touch As Much
    cover

    MAGICAL RING

    Light Flight / More And More

    Ein herrliches Kleinod! Ursprünglich 1977 veröffentlicht, vereint dieses Album düsteren Funk mit epischen Klanglandschaften, die an Klaus Schulze oder Edgar Froese erinnern.Pop – und Rockelemente wechseln sich mit Synthesizerflächen ab, machen Platz für softere Passagen, welche unversehens in melancholische Sphären entschwinden.
    Format
    CD
    Release-Datum
    05.12.2015
    EAN
    EAN 5291103811524
    Format
    LP lim
    Release-Datum
    05.12.2015
    EAN
    EAN 5291103811531
     
  • 01. Capricorn
    02. Virgo
    03. Taurus
    04. Pisces
    05. Gemini
    06. Saggitarius
    07. Cancer
    08. Libra
    09. Scorpio
    10. Aries
    11. Leo
    12. Aquarius
    cover

    MARCELLO GIOMBINI

    Astromusic Synthesizer

    Marcello Giombini (1928 – 2003) war einer der großen italienischen Pioniere der Synthesizermusik. Seine Arbeiten reichen bis in die Anfänge der 1960er Jahre zurück und das vorliegende Album – ein Konzeptalbum über die Tierkreis - ist ein Leckerbissen für alle Fans von Filmmusik im Stile von 'The black hole' oder anderen Synthesizer-Größen wie Mort Garson. Absolut SPACED-OUT, komplett synthetisch aber zugleich mit einem herrlich warmen , analogen Sound.
    Format
    CD
    Release-Datum
    05.12.2015
    EAN
    EAN 5291103811500
    Format
    LP lim
    Release-Datum
    05.12.2015
    EAN
    EAN 5291103811517
     
  • 01. The Poor Neighborhood
    02. Supermarket
    03. The Port
    04. Courtyards Citizens
    05. Power Station
    06. Luna Park
    07. Traffic
    08. Between Town And Country
    09. Public Gardens
    10. Modern Residential Complex
    11. Marshalling Yard
    12. International Airport
    13. Sunday In Town
    cover

    MARIA TERESA LUCIANI

    Sounds of the city

    [engl] Welcome to the parallel musical universe of Miss Maria Teresa Luciani, a landscape of sonic architecture and theoretical composition constructed by a family of engineers that reinvented the wheel before the vehicle even began the journey. Imagine, if you will, the musical equivalent of Peter Cook’s Archigram group or the soundtrack to Charles and Ray Eames’ private sketchbooks, hinting at a new municipal, utopian metropolis just hours before the blueprints are suspiciously misplaced by the courier and mainstream pop building regulations piss on our asbestos bonfire. These 1972 constructions of progressive, cyclic, proto-industrial colour music were never intended for public habitation. These are the Sounds Of The City in a galaxy far, far beneath our radar and above your expectations that was never built. Pseudo-futurist pop music? Cubic folk? Tape-op-art? Sì, grazie! Before the needle hits the first groove, the story of Maria Teresa Luciani reads like an Alphaville caper full of foreign intrigue, low intensity identification fraud, secret codes, family bonds, mistrust and wanderlust… Naturally, you are holding a genuine Finders Keepers article. To say this rare Italian concept album is “unbelievable” is justified on multiple levels. This multi-storey storage facility of found sounds, radiophonic samples, tape loops, early electronic music experiments, mechanical folk, cinematic vision, sound design, educated music theory, political pop and high concept art-as-noise successfully layers more musical ideas within its unique structure than one would think possible for a solo artist within any musical genre. This is why Sounds Of The City presents us with a brand new genre defying compositional framework, pre-dating sampling culture, cut ‘n’ paste plunderism and industrial music in the process. Pre-digital, indefinable and genuinely unbelievable. But who is Maria Teresa Luciani? On hearing this record respected collectors and enthusiasts have suggested “the female answer to Basil Kirchin,” or “the Italian Daphne Oram”. Both with justified cause. Mystery, myth, legend, teacher, artist, inventor, author, musician, psychologist, daughter, and (possibly most importantly) sister.
    Format
    LP
    Release-Datum
    17.11.2017
    EAN
    EAN 50600999506628
     
  • 01. Electrodes
    02. Organique
    03. Clair-obscur
    04. Air liquide
    05. Rose des vents
    06. Poignée de soleil
    cover

    MARTIAL SOLAL JOUE MICHEL MAGNE

    Electrode

    [engl] A record of huge significance to the Finders Keepers family, this quintessential Cacophonic release documents the first full-length LP commission for the young Jean-Claude Vannier in collaboration with Musique Tachiste experimental score pioneer Michel Magne (owner of the Château d’Hérouville studio which has hosted Bowie, Pink Floyd, Magma amongst others). The first appearance of Vannier’s signature ethnic strings appear alongside Magne’s oblique co- writes with French jazz piano legend Martial Solal for this early benchmark in conceptual French music. Bringing together two of Finders Keepers leading artists, longtime critical favourites and out-and-out pioneers of the French conceptual rock scene that we at FK HQ often refer to as the No-No years, Cacophonic are proud to present this rare collaboration between Jean-Claude Vannier and Michel Magne along with pianist Martial Solal for the pioneering Electrode album from 1967. As the creators of the albums that launched both our Finders Keepers and Cacophonic labels respectively it is plain to see how this early LP represents a historic keystone in our precious roster. Electrode also documents the first professional job as an album arranger for the young Vannier, working under two of his heroes, at the tender age of twenty four (some five years before he cemented his relationship with Serge Gainsbourg providing the music for the celebrated Histoire De Melody Nelson). Marking the earliest example of Vannier’s evident penchant for ethnic influenced string arrangements (inspired by his early studio work with Algerian musicians) Electrode elaborate introductions drawn comparisons to the orchestral elements in the Don Cherry/Ronald Frangipane score for Jodorowsky’s Holy Mountain - complete with its fervent anti-pop overtones. This one-off patchwork arrangement of brooding cinematic flair, anti-concrete soundscapes and free jazz piano flirtations represents each of these important artists in equal proportions and serves as a direct meeting of Vannier’s L’Enfant Assassin Des Mouches (FKR001) and Magne’s Musique Tachiste (1CACK) with the privileged inclusion of one of France’s most lauded jazz pianists Martial Solal - a mantle shared only, in our opinion, by Francois Tusques. An essential prototypal release for our expanding Cacophonic label Electrode exposes yet another side of off kilter European free music continuing to prove to the die hard skronkophobiacs that jazz is not a four letter word.
    Format
    LP
    Release-Datum
    14.04.2014
    EAN
    EAN 5060099505164
     
  • 01. Dawn Of Awakening
    02. Regeneration
    03. Transformation
    04. Piercing The Psychic Heart
    05. Invoke The Name Of God
    06. Introversion
    07. Realization
    cover

    MASTER WILBURN BURCHETTE

    Opens The Seven Gates Of Transcedental Consciousness

    [engl] Nearly nothing personal on this man can be found on the internet, not even his real age and his whereabouts of today. Well, he’s a mystery of experimental guitar music of the 70s, so much I can tell. I had never heard about this man until I received the request to review this album and now that I repeatedly listened to “Opens the seven gates of transcendental consciousness”, I have to confess that I am really floored by the dark and mysterious atmosphere of the music. Rather than regular songs you have several layers of chord and melody patterns shifted upon each other, performed with a semi distorted electric guitar that lives from a strong echo effect. A few other instruments may have been used as well even though I doubt to hear anything but electric guitars on this album. Even the oscillating buzz of the third track “Transformation” could easily be created with a guitar and a few effect machines. Halfway through the tune the music knocks over into some very bright and jubilant guitar melody structures. This album is entirely instrumental by the way but I thought you already guessed that. It has a krautish vibe due to the repetitive “layer upon layer” structure of the compositions. It has a folkish and ethnical edge due to the use of Spanish or eastern folk harmonies. The intention of Wilburn Burchette has been the creation of spiritual music that expands your mind in a positive way and transforms your soul and with that your body into a state of enlightenment. Folk from several different parts of the world surely has a big stake in the direction of this guitar masterpiece and even though there are many mood changes from the obscure lairs of the ancient druids to the light filled Celtic spring time ceremonies, this record really lifts up your spirit and cleans it from all the stress, anger and pain you experience throughout each day. Despite not being from Germany this album could be a typical experimental and even cosmic release of the krautrock scene from its era. The years 1970 to 1974 saw quite a few similar releases. Especially the last track of side B, “Realization” is a beautiful example of cosmic guitar music as it was produced only in that short period of time. It begins with some whistling fizzling buzz and then changes to a calm and mystical chord structure with strange echoes and spooky howls in the background. “Realization” slowly develops into a maelstrom that drags you into a musical black hole and swallows you directly. Not as wild and heavy as the early ASH RA TEMPEL albums, this piece could easily be a composition of the guitar legend Manuel Göttsching. So all in all, this is music for fans of blues and folk based, yet utterly freaked out and dirty echo guitar music and cosmic sounds such as A.R. & MACHINES, early TANGERINE DREAM, early KRAFTWERK, the above mentioned ASH RA TEMPEL, Walter Wegmüller or GULAAB.
    Format
    LP lim
    Release-Datum
    10.04.2015
    EAN
    EAN 5291103811241
    Format
    CD
    Release-Datum
    10.04.2015
    EAN
    EAN 5291103811234
     
  • 01. Three Against Four
    02. Numerology
    03. Bicycle Built For Two
    04. The Second Law
    05. May Carol
    06. Joy To The World
    cover

    MAX MATHEWS

    Music From Mathematics

    [engl] Originally released in 1960 and 1962 on two unique formats with over- lapping tracklists, the seminal Music From Mathematics Showcase Project marked the phonographic introduction of computer generated music for the first time in the public arena. Almost exclusively created at Bell Laboratories using an electronic to sound transducer and a state of the art IBM 7090 (complete with a gargantuan 32KB of disposable memory!) Music From Mathematics featured multiple random-not-ran- dom sound assaults preconceived by a host of technicians-cum-musi- cians eager to challenge the way humans would make and create music at the turn of the New Millennium. Amongst a list of pioneering composers, the two original limited releases pressed by Decca and Bell Telephone Laboratories feature a majority cross section of recordings by two leading composers - project instigator Max Mathews and Bell Laboratories’ stalwart vacuum tube scientist John Robinson Pierce. As a tutor to many experimental electronic composers who studied at Stanford Artificial Intelligence Laboratory (including Suzanne Ciani) and as an inspiration to the subsequent generations that followed the origi- nal electronic music boom, Professor Max Mathews’ legacy began with the birth of computer programming technology for music composition (his method known as MUSIC-N) in the 1950s which was showcased amongst other performers on these seminal recordings from 1960. For a man with as many protégés as personal electronic music achieve- ments Mathews maintained a strict behind the scenes role despite per- haps his most notable public endorsement when referenced in Stanley Kubrick's 2001 which paid homage to his haunting robotic version of Daisy Bell/Bicycle Made For Two (which appears here) sung by the Hal anti-character. As the man who taught the robot to sing it is fair to state that a vast portion of the electro or techno made by today’s musicians can be technically (undeniably) attributed to Mathews’ early achieve- ments exemplified here, and not least substantiated by the fact that the leading visual programming language found in music production soft- ware known as Max MSP remains a testimony to his legacy. It’s time for microchip pop fans to visit your grandparents.
    Format
    7''
    Release-Datum
    25.11.2013
    EAN
    EAN 5060099505027
     
  • cover

    MAXIMUM ERNST

    Bring Your Own Pencap

    [engl] None or all of the following is true about Maximum Ernst: Maximum Ernst is an art band. Maximum Ernst is a rock group. Maximum Ernst is a jazz combo. Maximum Ernst is fusion. Maximum Ernst is a duo. Maximum Ernst has performed naked. Maximum Ernst is magick. Maximum Ernst is a joke. Bring Your Own Pencap is the eventual beginning, the final phase, the plastic molding wrapped in paper towel.
    Format
    TAPE
    Release-Datum
    18.08.2017
     
  • cover

    MAXIMUM ERNST

    Hallmark Of A Crisis Period

    [engl] Five years into their long strange drip, the duo of Maximum Ernst continues to confound, perplex, confuse and refract. Foetal returns yielded guitar/drum scramble in service of improvisational incongruity and radical reimaginings of alt-world smash hits by Faust, Snatch and Easy Cure. A link with Old Master horn maestro and official NYC gem Daniel Carter emerged and soon thereafter a CD and live cassette popped a few eardrums just right, so tight. Further uncharted territories were conquered and liberated as Maximum Ernst furiously and fitfully would-shedded. Woodn’t you? Quit playing. That was the advice of one medical doctor and also a licensed quantum mathematician; but still the daft, disappearing duo of Maximum Ernst gestured, rudely, NAY and thus, this newest release finds itself in your hands, begging for a vigorous clean. Please, indulge. “Un Menace Natural” welds together extra-dimensional birdsong, soothing bursts of noise, the timbre of waves on a nonexistent beach and uncanny, unnerving shrieks smeared into beguiling patterns. It builds, it ebbs, it flows, it knows. It knows everything. It’s like if Jon fucking Hassell and Black fucking Dice had a fucking Baby. “Hallmark Of A Crisis Period” is a cut-up tour de force that shivers with unhinged delirium and barely-concealed malice. Imagine William S. Burroughs interpreting a Whitehouse “banger” as being live-mixed by Nurse With Wound. Imagine it, you fool! Despair not, heathen, as Maximum Ernst has imagined it for you. And it is as glorious as a sunset must be to a hanged man. Rejoice, for you have entered the Crisis Period, and nothing will ever be the same.
    Format
    12''
    Release-Datum
    04.09.2020
     
  • cover

    MAXIMUM ERNST

    Live at Legion Hall

    [engl] Following a successful collaboration released on CD and cassette by New York City’s Ever/Never Records, legendary reeds-master Daniel Carter and the duo known as Maximum Ernst converge once again. Retaining a sense of continuity within the narrative jolt, Carter is unflappable and steadfast amidst the storm-drone conjured by Maximum Ernst. On each untitled cut, Daniel Carter switches horns effortlessly as Ernst churns, hums and slums via guitar, tapes and drums.
    Format
    TAPE
    Release-Datum
    22.07.2019
     
  • cover

    MAXIMUM ERNST

    Perfect Mixer / Matchless Pair

    [engl] The worm never stops turning at MaxE HQ, so as we make another trip thru the solar system on Spacefish Mirth, Ever/Never presents Perfect Mixer/Matchless Pair. Before you ask—Yes, it’s good. Yes, you will enjoy this ravishing ear-tickle of a release. Past meets future. Beats in space. Time falls fast and twists into a funnel cloud of distortion. Perfect Mixer/Matchless Pair is a funhouse reflection in an abandoned amusement park. Perfect Mixer/Matchless Pair is a suicide ride into the vanity mirror universe.
    Format
    TAPE
    Release-Datum
    02.04.2021
     
  • cover

    MAXIMUM ERNST

    s/t

    [engl] On one side, we have upstart NYC free-rock duo Maximum Ernst and on the other, masterful journeyman horn specialist Daniel Carter. Daniel has been blowing through his array of horns for over fifty years now. The list of people and ensembles that he has played in over the decades is staggering. Carter was part of the legendary lower Manhattan free jazz scene as epitomized by the classic Wildflowers compilations. An essential component of a group of musicians that includes such luminaries such as David S. Ware and William Parker, Carter has maintained his connection to the foundation of revolutionary “fire music.” But this is only a fraction of what Carter does day in and day out. Daniel Carter plays; anywhere and everywhere, any time and all the time. As part of ‘90s free jazz fire-breathers Test, Carter and compatriots made a name for themselves playing in subway stations around the city. And Carter can still be found playing in stations to this day. His is true underground music. But Carter never limited himself to just “jazz,” even of the outre’ variety. In the 1980s, Carter could be found on stage with bands such as hardcore demi-gods Bad Brains and primal industrial insurrectionists Missing Foundation. In the present, you can find Carter throughout the city, playing with young masters such as Chris Corsano and old sages such as Loren Mazzacane Connors. Which brings us to this wild n’ woolly CD/cassette release on New York City’s Ever/Never Records. Joining forces with the guitar and drum-based Maximum Ernst, Carter gets to let his freak-flag fly high. Here we have five distinct pieces chronicling their collaboration. “Iceflower Shawl and Gulf Stream” opens things up with a deceptively jazz-like intro before eventually melting down like a three mile island. “Whip Lashes or Lava Threads” begins in the eye of the hurricane but pretty soon, the gale winds are whipping your face and the trio have stumbled upon a sound beyond rock and jazz. “Scarcecrows” is a brief respite featuring sharply plucked guitar, lyrical sax work by Carter and a spectral radio signal from another dimension. “Fields Of Honor Flood Seismic Plants” is both the longest title and the longest track on the album. It begins with each musician patiently probing the boundaries until building to its natural conclusion. “The Habits of Leaves”ends the proceedings with a perfect mix of improv clatter and old-fashioned rock power. Maximum Ernst with Daniel Carter is a testament to the rush of creative friction between colliding talents. Open your ears wide. -e/n
    Format
    TAPE
    Release-Datum
    11.09.2017