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  • 01. Space Bass Blues
    02. Star Flight
    03. Walking in Space
    04. Space Shuttle
    05. Journey Into the Unknown
    06. I've Got My Helmet On [Bonus]
    07. Terrestrial Beings
    08. Docking in Space
    09. Creations Beginning
    10. Dance of the Droids
    11. Deltoids in Space
    12. Bottomless Pit of Space
    13. Living in This Station
    cover

    ROCKET ROBERT

    Rocket Robert

    [engl] Those who've dirtied their fingers searching high and low for analog synth nuggets can rejoice at the arrival of under- the- radar synthesizer maverick ''Rocket'' Robert Moore. Less a reissue than an exhumation- what with a scant, hand- screened 142 copies produced in 1982 that circulated little outside the confines of Oregon state- Rocket Robert drifts in the backward- looking sounds of early synth innovators, while equally mining the kraut- tinged moments of punk- era instro synth explorers and the first breaths of synth- pop, rather than carrying similarities to the ''New Wave'' that was then talking hold of the masses. Issued by Moore's own Salem, Oregon- based Future Records in 1982, his eponymous debut is simultaneously light- hearted and shot- though with ominous oscillations and offers up a darkly- throbbing, other- worldly vibe that is sure to ensnare synth- heads, beat- diggers and those searching the margins of the private- press alike.
    Format
    LP
    Release-Datum
    ---
    EAN
    EAN 4040824085537
    Format
    CD
    Release-Datum
    ---
    EAN
    EAN 4040824085544
     
  • 01. Spiel im Wind
    02. Wahre Liebe
    03. Geruhsam
    04. Mitgewalzert
    05. Winterlicht
    06. Im Kreisel
    07. Nahwärme
    08. Ebenfalls
    09. Gerne
    10. Vormals
    11. Gleichklang
    12. Aus weiter Ferne
    cover

    ROEDELIUS

    Selbstporträt Wahre Liebe

    [engl] The first part of Hans-Joachim Roedelius' Selbstportrait (Self-Portrait) series was originally released under the title 'Sanfte Musik' on Sky Records in 1979. Now, some forty years later, a new instalment has arrived in the form of an album entitled 'Wahre Liebe'
    Format
    LP
    Release-Datum
    10.04.2020
    EAN
    EAN 4015698765687
     
  • 01. Band 030 1 Nächtens in Forst (Bordun mit Tongeneratoren)
    02. Band 051 1 Springende Inspiration (harmonische Skizze)
    03. Band 068 1 Lied am Morgen (nicht verwendetes Stück)
    04. Band 073 4 Am Röckchen (nicht verwendetes Stück)
    05. Band 049 1 Unterwegs (nicht verwendetes Stück)
    06. Band 073 3 Skizze 4 von ‚By This River’
    07. Band 009 1 Rokkokko (nicht verwendetes Stück)
    08. Band 041 1 Langmarschieren (Skizze mit Echo)
    09. Band 068 3 Bock auf Rock (nicht verwendetes Stück
    10. Band 073 1 Skizze 3 von ‚By This River’
    cover

    ROEDELIUS

    Tape Archive Essence 1973 - 1978

    [engl] During the legendary Forst years Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door now and again. Here he experimented, practised, allowed his imagination to flow, at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening. The recordings offer us a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, studies in rhythm are also preserved on these magnetic tapes.
    Format
    LP
    Release-Datum
    10.04.2020
    EAN
    EAN 4015698246247
     
  • 01. Fête
    02. Paradia
    03. Djerba
    04. La Suite D'Elsa
    05. La Marche Des Canards
    06. L'Abeille
    07. Exotique
    08. Bee Flat
    09. L'Allumette
    10. T'Aime Libanais
    cover

    ROLAND BOCQUET

    Paradia

    Roland Bocquet war von den späten 60ern bis 1977 bei der französischen Rockband CATHARSIS an den Keyboards. "Paradia" war sein erstes Soloalbum, hauptsächlich bestehend aus Instrumentalstücken ,die leicht-fluffige Electronics mit Latin-Grooves und Percussion verbinden.
    Format
    CD
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812583
    Format
    LP lim
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812590
     
  • 01. Confusion And Friction
    02. Vitamin D
    03. Belgium
    04. Mars Rocks
    05. Lullaby For Nightmare
    06. Strawberry Flips
    07. Alt!
    08. Sun Shower
    09. Red Moon
    10. Intimate Flame
    11. Insecure Drive
    cover

    SAEKO KILLY

    Morphing Polaroids

    [engl] 'Morphing Polaroids' is the debut album by Japanese born Saeko Okuchi alias Saeko Killy for Hamburg- based Bureau B. After moving to Berlin in 2018 Saeko Killy found herself in the orb of Club Sameheads, where she made herself known as a DJ and live performer. After releasing her first EP " ???????? ?? – Dancing Pikapika" with the label Chill Mountain from Osaka in 2021, followed a fruitful Jam session during the pandemic lockdown, resulting in the eleven titles collected together here for the album 'Morphing Polaroids' produced by Brussels DJ and selector soFa elsewhere. The LP is a contemporary Leftfield Clubsound, effortlessly combining elements of Dub, Post-Punk and Kraut with electronic Beats.
    Format
    LP
    Release-Datum
    24.03.2023
    EAN
    EAN 4015698047332
     
  • 01. Echtzeit
    02. Where The Rabbit Sleeps
    03. Aeroplane City
    04. Zone 30
    05. Star Escalator
    06. New Aged
    07. Exil
    08. Rusty Pins
    09. Unbekannt Verzogen
    10. Helgoland
    11. Sunday Morning Superstar
    12. Porzellangarten
    13. Nachtportrait
    cover

    SENSORAMA

    Where The Rabbit Sleeps (Compiled by Ralf Köster)

    [engl] Compiled by Ralf Köster, DJ and curator of Hamburg’s Golden Pudel Club, "Where The Rabbit Sleeps" is an extensive collection of tracks by Sensorama, a project comprising Jörn Elling Wuttke and Roman Flügel. Working as a production team since the late 1980s in various guises such as Acid Jesus, Alter Ego and Primitive Painter, the pair also founded several labels with DJ Ata and Heiko MSO (Ongaku, Klang Elektronik, Playhouse). They released their debut album as Sensorama in 1995. The Darmstadt duo blazed completely new trails in those days, as Andreas Dorau noted: «Sensorama is artful techno, what one used to call intelligent techno. All in the best of taste, not so far removed from the realms of fine art.» Their music draws on a wide range of influences which reach far beyond the generic borders of techno. «Inspired by the the Krautrock of the 1970s, they were less interested in making Frankfurt Techno than they were in the electronic music of NEU!, Cluster and Kraftwerk. A Darmstadt-Düsseldorf axis, so to speak,» Christoph Dallach explains. «They kept records in the studio by the likes of La Düsseldorf or Pyrolator, playing them from time to time to refresh their auditory nerves, to clean out their ears.». Sensorama released the last of their three albums in 2001, leaving us with an extraordinary body of work which still resonates today. Charlotte Goltermann, founder of the Ladomat 2000 label and A&R manager for the third LP, recalls: «I’ve rarely come across artists who had such a clear idea of what they wanted – or did not want and consequently would not do. They were artists without fear, who would not shut out anyone who loved music, yet remained strictly underground themselves.» The new compilation "Where The Rabbit Sleeps" offers a deep insight into the musical world of Sensorama. It is available on CD or as a double LP with a gatefold cover, remastered by Andreas [Lupo] Lubich, with new artwork by Rike Weigert and liner notes by Charlotte Goltermann, Christoph Dallach and Andreas Dorau.
    Format
    DoLP
    Release-Datum
    29.09.2023
    EAN
    EAN 4015698300901
     
  • 01. Humdinger
    02. Synthesize Me
    03. Major Tom
    04. Ghost Riders In The Sky
    05. Domine, Libra Nos / Showdown
    06. Fly Like An Eagle
    07. Born To Be Wild
    08. I Had Too Much Dream (Last Night)
    09. From The Womb To The Tomb
    10. Ballroom Blitz
    cover

    SPACE LADY

    Greatest Hits

    [engl] a classic album by one of our favorite artists and dear friends, The Space Lady. Warm and heart-rending Casio ballads from the far reaches of the solar system. The Space Lady began her odyssey on the streets of San Francisco in the late 70s, playing versions of contemporary pop music on accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imagination of the world. Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. 'The Space Lady’s Greatest Hits' features the best of these recordings - mostly covers but with some originals and features archival photographs and liner notes from The Space Lady herself. “Greatest Hits” contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also 4 originals. Old School 'tip on' cover and fold out liners with poster for framing on one side and notes on the other.
    Format
    LP
    Release-Datum
    17.02.2013
     
  • 01. Concert At WBAI Free Music Store
    02. Concert At Phil Niblock’s Loft
    cover

    SUZANNE CIANI

    Buchla concerts 1975

    [engl] Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking. This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance. In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith. These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then. The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne’s gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne’s work, a vast vault of previously unpublished “non-records”, will already know how the creative politics in her art of “being” simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last “first” with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines. You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani’s initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these “non-records” that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again. You, are invited!
    Format
    LP
    Release-Datum
    08.07.2016
     
  • 01. Flowers Of Evil - Based On The Poem Élévation by Charles Baudelaire
    02. Glass Houses
    03. Token Spokes Part One
    04. Token Spokes Part Two
    cover

    SUZANNE CIANI

    Flowers Of Evil

    [engl] As a genuine vanguard of electronic music composition at the forefront of the modular synthesiser revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesiser designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in his symbolic, erotic and macabre ode to Parisian industrialisation, Les Fleurs du mal (Flowers Of Evil). In her varied career that would combine art gallery installations, major film soundtrackings and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling and timeless… Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/ electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous Huxley) some might instantly recognise an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records, home to the likes of Fifty Foot Hose and Paul Bley) is that its dark tone generation and vocal manipulation was created with a Moog synthesiser, the commercially triumphant rival to Suzanne and Don’s Buchla Systems (Buchla and Moog’s historic, simultaneous, neck-and-neck synth developments are well documented.) The fact that Ciani’s version was never intended for commercial release (not unlike her 1975 Buchla concerts, which could easily have taken Morton Subotnick’s Bull by the horns!) is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalise the section of Baudelaire’s collection entitled Élévation.
    Format
    LP
    Release-Datum
    01.06.2019
     
  • cover

    SUZANNE CIANI

    Help, Help, the Globolinks!

    [engl] As faithful guardians of the Ciani Musica Inc. studio vault Finders Keepers Records twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in the history of multi-disciplinary electronic music. Open-minded, unpretentious, enigmatic and consistently inspiring, Suzanne Elizabeth Ciani would shatter the mould and invert the stereotype of electronic composers in the early 1970s with a bona fide education in classical music, a clear understanding of technology and a genuine will to communicate and naturalise electronic music. All of these unique attributes, coupled with her natural charm and generosity, would win her success and notoriety in the colliding worlds of art, film, advertising, theatre, dance and eventually popular recorded music in the latter part of the 21st century – a multifarious achievement which remained unrivalled by any of her contemporaries, regardless of gender, conquering many male-dominated platforms and breaking creative ground in the process. It is exactly these key factors that would form the basis for this multifaceted musical project that is stored within the grooves of the record you are now holding. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theatre production for children of all ages not only further reveals Suzanne’s vibrant and versatile skills as an experimental musician and narrative sound designer but also highlights her European heritage – working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department). Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the 80s which called for a new approach to the music and sound effects – all of which would make their world premier in New York high school theatres in April of 1980. “I was honoured to have been selected to create a new electronic score for Gian Carlo Menotti’s opera for children,” Suzanne told Finders Keepers. “The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production.” For this task Suzanne would approach the brief with the same zeal and tenacity that she continues to apply to all her work by reinventing the process, challenging convention and supplying the audience with something they have never experienced before. For Help, Help The Globolinks Ciani would give Menotti’s well-travelled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality quite potentially overshadowing the “human” casts exceptional abilities and challenging the director’s and writer’s authority in true Ciani style: “I recall meeting with Maestro Menotti at his home in New York City,” recalls Suzanne. “Later I was told that he was upset by the size of my credit on the poster.” Unlike many successful electronic composers, Suzanne, as a serious and genuinely revolutionary artist, managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema (Swiss composer Bruno Spoerri readily observes that all the best space film scores veered from this pairing) but within the realms of opera and education Suzanne found her perfect channel (scratching her other cosmic cinematic itches with android music in The Stepford Wives and as “the first female composer to score a major Hollywood movie” with The Incredible Shrinking Woman release one year after The Globolinks redux debut). Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl’s Aniara or Remi Gassman’s Electronics for family consumption, this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Having honed her craft in the close company of late synthesiser designer Don Buchla (a company of whose development she played a key role) it is plain to see how the young Suzanne Ciani combined roles as an abstract artist and an astute technician in equal measures, a rare duplicity which would be essential The Globolinks and all our musical quests for a brighter future.
    Format
    LP
    Release-Datum
    17.11.2017
     
  • 01. Liberator
    02. Summer
    cover

    SUZANNE CIANI

    Liberator

    [engl] For all your discotheque, roller rink and amusement arcade needs Finders Keepers Records in collaboration with synth pioneer Suzanne Ciani bring you the full version edit of her intergalactic vocoder driven TV jingle for Atari’s classic Liberator arcade game. Originally proposed for a possible promotional flexi-disc release this remastered feature length version includes a lost second verse and extra custom-made space age sound designs that hark back to her earlier work on Meco’s Star Wars Galactic Funk cash-in. Housed here in Atari style packaging and pressed on diamond white wax this 45 single comes complete with another Atari jingle Summer taken from her groundbreaking original company portfolio cassettes which were recently, errr, liberated from her original studio archives. This limited release also marks a brand new campaign of further unearthed computer music/synth funk artefacts from Finders Keepers latest trip into the Ciani Musica archive which will coincide with her first-ever Buchla fuelled tour of Europe penned for Autumn 2014.
    Format
    7''
    Release-Datum
    30.07.2014
    EAN
    EAN 5060099505218
     
  • 01. Lixiviation
    02. Atari Video Games Logo
    03. ‘Clean Room’ ITT TV Spot
    04. Almay ‘Eclipse’ TV Spot
    05. Paris 1971
    06. Sound Of A Dream Kissing
    07. Atari Corporate Tag
    08. Princess With Orange Feet
    09. ‘Pop & Pour’ Coca-Cola Logo
    10. ‘Discover Magazine’ TV Spot
    11. Live Buchla Concert 1975
    12. ‘Inside Story’ PBS TV Spot
    13. ‘Liberator’ Atari TV SPot
    14. Eighth Wave
    15. Sound Of Wetness
    16. Second Breath
    cover

    SUZANNE CIANI

    Lixiviation

    [engl] The American Delia Derbyshire Of The Atari Generation With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, the sounds for the Meco Star Wars theme, the Atari TV commercials and the elec- tronic sound effects in the original Stepford Wives film (amongst many others) the mutant electronic music CV of Suzanne Ciani is proof that in a 1970s commercial world of boys toys, monopolised by a male dominated media industry, a woman’s touch was the essential secret ingredient to successful sonic seduction. A classically trained musician with an MA in music composition this American Italian pianist was first introduced to the synthesizer via her connections in the art world when abstract Sculptor and collaborator Harold Paris introduced Suzanne to synthesizer designer Don Buchla who created the instrument that would come to define Ciani's synthetic sound (The Buchla Synthesiser). Cutting her teeth providing self-initiated electronic music projects for art galleries, experimental film directors, pop record producers and proto-video nasties Suzanne soon located to New York where she quickly became the first point of call for electronic music services in both the underground experimental fields and the commercial advertising worlds alike. Counting names like Vangelis and Harald Bode amongst her close friends Suzanne and her Ciani Musica companybecame the test- ing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experi- ments which have remained untouched for over 30 years... until now. Finders Keepers Records are happy to announce a new creative archive based rela- tionship with Suzanne Ciani, a very unique and celebrated experimental composer in her own right, who, as one of the very few female composers in the field (Save Chicago's Laurie Spiegel, Italy's Doris Norton, and a post-op Walter Wendy Carlos) turned a hugely significant wheel behind-the-screens of many early computerised music modules throughout the 1980s dating back to her formative years studying at Stanford's Artificial Intelligence Labs in the early 70s. Suzanne Ciani's detailed and academic approach to music and electronics coupled with an impeccable sense of timing and melody (and a good sense of humour) shines throughout this new collec- tion of previously unreleased recordings. Lixiviation complies and recontextualises both secret music and commercial experiments of Suzanne Ciani made for micro- cosmic time slots and never previously documented on vinyl or CD. This is the first sneak peek of the early Ciani metal music and non-pop that later went on see her nominated for multiple Grammy awards for her later achievements which brought synthesiser music to the new age movement.
    Format
    LP
    Release-Datum
    13.02.2012
    EAN
    EAN 5060099503665
     
  • 01. Denali
    02. Fresh Snow
    03. Windy Corner
    04. Slow Climbing
    05. The Last Rest
    06. Getting To The Top
    07. Downhill At Last
    cover

    SUZANNE CIANI

    Music for Denali

    [engl] Finders Keepers Records’ continued and unwaning commitment to preserving the archives of composer Suzanne Ciani pays off in an avalanche of dividends with this latest master tape discovery, placing further markers in the historical development of electronic music and cinematic composition. Developed at a lesser-documented axis combining Ciani’s key disciplines as a revolutionary synthesist and an accomplished pianist, these early works from 1973 capture a rare glimpse of one of the world’s most important electronic music figures embarking on the early throes of a fruitful career as a film composer and sound designer with this rare and previously unheard documentary music illustrating the first-ever skiers’ decent from the peak of the tallest mountain in Alaska. Capturing innocence and optimism in its composition, but never less than masterful in its realisation, Denali takes what would later become the yin and yang in Ciani’s versatile musical personality and provides unrivalled vistas from both side of the mountain, scaling a treacherous and fine creative line. Within the context of Suzanne Ciani’s achievements the words “maverick” and “pioneer” have regularly shared sentences amongst a list of “firsts” when documenting her expansive CV as a Grammy nominated, million-selling recording artist, and genuine revolutionary in the progression of future music in all its early capacities. But it is with this important release of uncovered recordings from early 1973 that Ciani’s “exploratory” compositions from her formative years find kinship alongside the exploits of other radical and historic trailblazers, as the music for the film known only as Denali finally achieves a wider vantage point. Commissioned in the early years of Suzanne’s “professional” life, in a period that bridged her activities with art installations, experimental theatre and her rising reputation as a film composer and sound designer, the Denali tape reels preceed Suzanne’s film work such as Lloyd Michael Williams Rainbow’s Children (1975) and Bryan Forbe’s The Stepford Wives (1975) by just 18 months, and capture Suzanne at her wide-eyed best two years after scoring her first-ever paid work providing synthesiser loops for aquariums in Middle America shopping malls (Fish Music, FKSP011). It was in 1972, whilst occupying a studio space in San Francisco, as one of a small group of prophets then celebrating the interpolation of Don Buchla’s electronic instruments, that Suzanne was approached by a French speaking ski enthusiast and short film producer called Patrick Derouin to create “forward-thinking” and “otherworldly” themes and sound design for some amazing unseen footage of the first-ever people to ski down the death-defying face of Mount Mckinley in Alaska. Recognised as one of the tallest mountains in the world, this footage would mark a significant historic feat previously inconceivable outside the hat stand notions of a small group of French speaking European explorers and would also coincide with cultural pressure within the Alaska state legislature to lobby for the United States Board On Geographic Names to reinstate the mountain’s traditional name Denali (a decision widely supported by The Koyukon Athabaskans who inhabit the area around the mountain for centuries). Given what is now widely recognised about Suzanne Ciani as a composer, it is plain to see that Derouin came to the correct place and as you will hear, for the first time, within the grooves of this record the collective aura of challenge and enlightenment is almost breathtaking in its precise narrative ability; striking similarities with Eno, Kraftwerk and Neu! at their melodic best but from a very different vantage point, with polar opposite means of execution, whilst operating on Ciani’s unique and all-important feminine “wave” length. The music on this record was also commissioned two years before Suzanne’s first Buchla concerts in 1974 and 1975, which were accompanied by her seminal National Endowment Paper, and would reveal Suzanne’s proud commitment to the developed Buchla instrument and her confidence in its place in modern music, thus proving the likes of Denali to be an earlier showcase of the instrument in it’s advanced infancy although still robust enough to carry the emotive and ambitious songwriting skills of the classically trained Ciani. After hearing this record it will come as little surprise that the track known as Ski Song would later be reappropriated (and rerecorded) on Ciani’s globally critically acclaimed debut album Seven Waves (as the Fourth Wave), which was initially released exclusively in Japan before Turkish-born electronic music pioneer _lhan Mimaro_lu signed the record to his Finnidar imprint at Atlantic records, thus making musical history for Suzanne as a widely celebrated American-Italian female composer. It stands as testimony to the composer’s determination and inventive nature that this single track, which would later make its way on to every future music best-seller list in the country, was originally composed on just piano and the modular synth model which she had helped to assemble on Buchla’s production line ten years before her Tokyo debut. “Denali was composed using just Buchla and piano,” explains Suzanne in 2020. “It was recorded at Rainbow Recording, which is the studio I found and shared with recording engineer Richard Beggs, who then sold it to Francis Ford Coppola after I fell in love and quickly moved to LA,” she laments. “If I had stuck around I would have probably ended up doing sound for Coppola,” she jokes. Instead, Suzanne would in a short time find her filmic feet in Hollywood (providing sound design for Michael Small’s aforementioned The Stepford Wives soundtrack) which would later lead to her winning the accolade of first female film composer to single-handedly record a major motion picture with The Incredible Shrinking Woman in 1982. But it was ten years earlier with Denali that the ball had started rolling alongside the film reel sprockets at Rainbow Recordings. “I have very fond memories of first meeting Patrick and his thick French accent,” Suzanne explained. “He was a rugged looking young man who literally looked like he had just stepped down from the mountain himself.” The basic brief around Suzanne’s musical journey was to be “The story of the arduous ascent and joyous descent of the mountain,” which, with one of her most melodic and dynamic projects from her early years, she successfully illustrated with utmost aplomb. Although Suzanne would only see the short film a handful of times, mostly during intense late night recording sessions (“I used to dress like a sailor so I wouldn’t get street hassle on the way home”), and never meet to actual cast of the film, she can still remember mind-blowing shots of the skier cascading down the mountains, images that have remained with her throughout the subsequent five decades as a composer. As mountaineering history denotes the first-ever skier to descend from the tip of Denali was indeed in 1972, in dates that correlate directly to Suzanne’s meticulously kept tape library and studio diaries. The explorer’s name was French speaking Swiss skier Sylvain Saudan, a celebrated household name amongst enthusiasts to this day. Like Suzanne, like Saudan, neither artist have diverted from their path, turned their back on a challenge, nor lost their footing in the face of adversity.
    Format
    LP
    Release-Datum
    14.08.2020
    EAN
    EAN 5060099507427
     
  • 01. Albatros
    02. How To Beat The Sea
    03. Gates
    04. Impure Nature
    05. I Would Prefer Not To
    06. My
    07. Non Giudicare
    08. Yellows
    09. A Great, Strange And Moving Work
    10. Ossia
    11. White Flicker
    12. Muddy Floors
    13. Bianca From Rome
    cover

    TOLOUSE LOW TRAX

    Leave Me Alone

    [engl] With "Leave Me Alone", Detlef Weinrich presents his fifth album under the moniker Tolouse Low Trax. Weinrich, who has meanwhile turned his back on Düsseldorf and lives in Paris, has long since ceased to be an insider tip and is a guest in renowned clubs and festivals all over Europe. With his new album, he succeeds in an exciting, unforeseen new direction. The velvety heaviness and rawness of earlier records seems to have given way to a new playfulness. A playfulness perhaps in the sense of an electronica reminiscent of the late 1990s, which in its idea of deconstruction and reduction is currently enjoying a new appreciation in the clubs. But also in the sense of an urban vibe of hip hop and dub references, which are woven into a very unique mix in Weinrich's tracks.
    Format
    LP
    Release-Datum
    27.01.2023
    EAN
    EAN 4015698329261
     
  • 01. Kid Baltan - Song Of The Second Moon
    02. Tom Dissevelt - Moon Maid
    03. Kid Baltan - The Ray Makers
    04. Tom Dissevelt - The Visitor From Inner Space
    05. Tom Dissevelt - Sonik Re-Entry
    06. Tom Dissevelt - Orbit Aurora
    07. Tom Dissevelt - Twilight Ozone
    08. Kid Baltan - Pianoforte
    cover

    TOM DISSEVELT & KID BALTAN

    Song Of The Second Moon

    Seine Erstveröffentlichung erlebte dieses Album im Jahr 1962, und es scheint eine Art 'Best-Of-Compilation' der beiden Elektronikpioniere Tom Dissevelt (1921 – 1989) und Kid Baltan (aka Dick Raaijmakers, 1930 – 2013) zu sein, bestehend aus den besten Tracks beider Künstler aus den späten fünfziger und frühen sechziger Jahren. Es wurde jedoch bereits 1962 unter dem Namen THE ELECTROSONICS - “Electronic music” veröffentlicht. Für alle Fans von Pierre Henry, Musique concrète oder Stpckhausen sollte dieses Album ein Leckerbissen sein.Melodiefragmente werden mit Percussion gemischt, angereichert mit Fetzen irgendwelcher Jazzklänge und zusammengebastelt mit wirren Geräuschen, deren Herkunft sich nicht mehr festellen läßt.
    Format
    LP lim
    Release-Datum
    05.12.2015
    EAN
    EAN 5291103811555
    Format
    CD
    Release-Datum
    05.12.2015
    EAN
    EAN 5291103811548
     
  • 01. Latin Leitmotiv
    02. Red Medium
    03. Dead Slow
    04. Royal Shuffle N°1
    05. Royal Shuffle N°2
    06. Rock 73
    07. Bass In Action N°1
    08. Bass In Action N°2
    09. Pepper Rock
    cover

    TONIO RUBIO

    Rhythms

    Antoine oder Tonio Rubio war seit den frühen 1960er Jahren ein vielbeschäftigter Komponist und Performer. In den 60s nahm er mit LES GOLDEN STARS auf, war jedoch 1973 bereits als Solokünstler unterwegs, als er das vorliegende Album aufnahm. Hier mixt der Franzose düsteren Funk aus den Hinterhöfen amerikanischer Großstädte mit Fusion Rock und Free-Jazz-Elementen , und nimmt uns auf ‚RHYTHMS’ zu einem großteils instrumentalen Trip durch die Nacht mit.
    Format
    CD
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812606
    Format
    LP lim
    Release-Datum
    15.01.2016
    EAN
    EAN 5291103812613
     
  • 01. I
    02. II
    03. III
    04. IV
    05. V
    06. VI
    cover

    UNITED COLOR OF BLACK METAL

    Synchronicités

    [engl] Member of the rhythm section of La Colonie de Vacances, Jean-Baptiste Geoffroy — the singularly sharp drummer of Pneu, Papaye or Binidu, and sound sculptor in Tachycardie (a shamanic project of polymorphic drones) — joins forces with Guillaume Brot, guitarist of Llamame La Muerte and Tu Brüles Mon Esprit for a project that’s light years from a guitar / drums two piece planet. United Color of Black Metal shows us “all the color” in abstract and experimental forms and offers to hear an intriguing “Petite Musique of Noises” which evokes the work of the heroes of the electroacoustic / noise of the dawn of the 90s as well as the sabotages of the electronic twists of the turn of the century. Both UCBM machinists set in motion a noisy menagerie — frequencies and trajectories voluntarily escape their intervention. It gives to their fragile constructions an additional freedom and some dynamics. Heterogeneous sound objects confront each other in a minimalism that tames the unpredictable; these moving sounds seem to be left to their own devices, intersect, flee, and sometimes confuse their courses in precious moments — it’s sensitivity and narrative power generate a real poetic dimension. This cerebral music refuses to start a beef. It draws using a palette of imperfect and damaged concrete sounds: magnetic pulsations, eroded tones, dirty oscillations, tinkling of wood and metal, residual breath and rustling of all kinds. Articulated in six parts, from I to III and from V to VII, Synchronicités connects arrhythmia distillations, busted gamelan and concrete epiphanies in pieces rarely exceeding five minutes. You’ll hear the first crackling of the transistor — and when the slightest caress will rumble, your ear will be trapped, captivated and attracted into a new sequence of an “ear cinema” knocked up under the lean-to of your backyard. If there is anything black about United Color of Black Metal — apart from the shadow in which Brot and Geoffroy indulge — it is undoubtedly the humor. Neither multicolored, nor really black and even less metal, at most furtively metallic, this project is above all resolutely elusive. Synchronicités offers in a polished sobriety a serious, loose and challenging music displaying a persistent smirk. These pieces recall the compositions like Illusion of Safety of Dan Burke as much as the sound trademarks of the German labels AMusik and Sonig. Allow me introduce the second LP of United Color of Black Metal — an easy-listening record for deaf & tough guys.
    Format
    LP
    Release-Datum
    17.09.2021
    EAN
    EAN 3521381565614
     
  • 01. A. F. Moebius – Erika
    02. Kriminelle Tanzkapelle –Klatschmohn
    03. Heinz & Franz – Immer
    04. Magdalene Keibel Combo – Er hat’s geschafft
    05. Choo Choo Flame – Nein
    06. Stoffwechsel – Fly, Fliege, Fly
    07. Corp Cruid – 37°C
    08. Taymur Streng/Ornament & Verbrechen – Das sentimentale Ufo
    09. Der Demokratische Konsum – Die Kuh
    10. A. F. Moebius – Böser Traum
    11. Gesichter – SK 8 Gesichter
    12. Ihr Arschlöcher – Urtramp
    13. Aponeuron – Jab Gab Hej
    14. Robert Linke – Musik zum Weltuntergang
    cover

    V/A

    Magnetband - Experimenteller Elektronik-Underground DDR 1984-1989

    [engl] Inspired by Punk and Post Punk, vibrant scenes dedicated to independent self-actualisation by means of sound circulated on self-distributed cassettes, in the 80s the cheapest and fastest medium, were developing not only in the FRG but also in the GDR (=DDR). The artefacts from that era tell of a stance of refusal in practice, and of the possibility to charge up on a high level, in spite of everything. "Magnetband" features 14 exciting experimental-electronic pieces from the GDR that originally have been released between 1984 and 1989 on cassettes only.
    Format
    LP
    Release-Datum
    10.02.2017
    EAN
    EAN 4015698008685
     
  • 01. 1-speed Bike: Hosni Mubarak Does a Back Flip over the Gaza Wall without the CIA Safety Net
    02. Jason Forrest/ Donna Summer: Malorix Case Study
    03. Zea: Stretch Out Your Frown
    04. Filastine: Belselama Said Qutbs Lawn Mower
    05. Malorix: Aur Tum Kya Ho, Dancer?
    06. FFF: Kabaddi Schwalbe (FFF RMX)
    cover

    V/A

    Recyclist (Malorix Remixed)

    [engl] A black vinyl 33 1/3 RPM 12? that contains five totally adventurous remixes of bass culture clasher Malorix and one original new track by Malorix himself. In 2009 Malorix’ debut album Sound System Culture Clash appeared on Redrum Recordz. Over the following three years DJs like Filastine, Maga-Bo and JF/DS put tracks of Malorix in their sets. Here are five brand new tracks – versions and remixes of Malorix material by lovers of this album that stayed underground but is unique in style. Malorix himself delivers a shiny new track on top.
    Format
    LP
    Release-Datum
    06.03.2012
     
  • 01. The Blue Rondos - Little Baby
    02. The Cryin' Shames - Please Stay
    03. John Leyton - Johnny Remember Me
    04. The Outlaws - Crazy Drums
    05. Chick Lewis - North Wind
    06. The Blue Men - Valley Of The Saroos
    07. Jason Eddie And The Centremen - Singing The Blues
    08. The Moontrekkers - Night Of The Vampire
    09. Mike Berry & The Outlaws - Tribute To Buddy Holly
    10. The Sound Offs - The Angry Desert
    11. Glenda Collins - It's Hard To Believe It
    12. The Blue Men - The Bublight
    cover

    V/A

    The Emotional, Cosmic & Occult World of Joe Meek

    [engl] A trip through the productions of pioneering genius Joe Meek. Here we have a mix of hits and real out there obscurities. Designed to be highly listenable. Never a dull moment amongst these songs that cover subjects close to Joe's heart such as Vampires, Love (and the lack of it), Death, Outer space, the Human soul, Buddy Holly, and more. Artists featured are The Blue Rondos, The Blue Men, Jason Eddie and the Centremen, The Sound Offs, The Moontrekkers, Johnny Leyton, The Cryin’ Shames, Mike Berry, The Outlaws, Chick Lewis, Glenda Collins and even Joe himself warbling out a tune.
    Format
    LP
    Release-Datum
    01.11.2020
     
  • 01. Vox Low - It's Rejuvenation (Tolouse Low Trax Version)
    02. Vox Low - Rides Alone (Abschaum Reprise)
    03. Vox Low - What If The Symbols Fall Down (Pilooski Floating Dub)
    04. Vox Low - Trapped On The Moon (Orestt Version)
    cover

    VOX LOW

    Relectures (Remixes)

    [engl] PILOOSKI Cédric Marszewski aka Pilooski started as a sound designer for Radio France. Later, he joined the journalists Guillaume Sorge & Clovis Goux of the D*I*R*T*Y collective. Together, they released the compilations Dirty edits and Dirty space Disco for the Tigersushi label and “Beggin”, a remix that has been used in many commercials around the world. Cédric produces Tristesse Contemporaine, Hypnolove, Perez, Discodeine, he has worked with Jarvis Cocker (Pulp), Baxter Dury, Matias Aguayo and Kevin Parker (Tame Impala). He has published numerous remixes under the name Pilooski for Bryan Ferry, LCD Soundsystem, Tame Impala, Jarvis Cocker, Nina Simone, Alain Chamfort, Mark E. Smith Von Sudenfed, also Metronomy, Yelle or Joakim, Who Made Who (with Discodeine). Cédric is Musical Artistic Director for brands such as Hermès , Christophe Lemaire, Lanvin, Bonpoint. He collaborates with advertising agencies: Saatchi & Saatchi, Publicis, BETC, Young & Rubicam, Sid Lee for worldwide advertising campaigns (Lipton, Mastercard, Clarins, Adidas, Orange, Hermès parfum, Lacoste, Balenciaga). He composed the music for Joyce A’s feature film. Nawashati’s feature film “Blind Sun”; collaborated with Les Films du trésor (“Populaire”, Régis Roinsard), Europa Corp (“Arthur et les minimoys”, Luc Besson). He is currently working on an art installation with Jarvis Cocker & Sophie Calle. A sensory tale in which music, a story, images and olfactory impressions are mixed together and disappear. Tolouse Low Trax: The ethics of Tolouse Low Trax alias Detlef Weinrich stands out in his multiple releases on labels such as Idle Press, Infiné, Karaoke Kalk, Kunstkopf, Neubau, Themes For Great Cities, Antinote or Cómeme. The German producer is no newcomer to the scene: still an active member of Kreidler and Toresch, he is the man behind the famous Düsseldorf Salon des Amateurs. His productions as Tolouse Low Trax explore Afro-baroque elegance through dark arpeggios leading to a slow and hypnotic liberation. Abschaum: Since 2010, the French trio of Abschaum, led by Chris Poincelot, has been navigating wilderness terrain. As if to better release the subtle tension of their music: a definitely krautrock heritage mixed, intrigued, blended with the influences of a raging Alan Vega. Because this heritage, its context, its aesthetics are not insignificant. Hypnotic, synthetic loops, saturated riffs and black voice, Abschaum, “vermin” in German, has cradled his ears to the sounds of Spacemen 3, Ash Ra Tempel and Can. Orestt : Boss of the label Evrlst.inc and of the famous record store of the same name in Nice, Orestt is also a rare and emeritus producer. A handful of EPs have been released under his name, notably on I’m A Cliché, Cosmo Vitelli’s label. We find him here for his first “remix” in the same vein as his productions: synthetic, dark and hypnotic.
    Format
    12''
    Release-Datum
    21.02.2020
    EAN
    EAN 3521381559200
     
  • 01. Big Bell Boy
    02. Cold Shower
    03. Getting High
    04. So What ?
    05. Funny Kid
    06. Brutus Drums
    07. Woodpecker Waltz
    08. K.O.
    09. Shut Up
    10. Xylo Spleen
    11. Impatience
    12. Latin Pop
    13. Beach Beat
    14. Why ?
    15. Drug
    16. Telex
    cover

    WARNER, EDDIE

    Progressive Percussions

    [engl] Eddie Warner, born in Magdeburg, Germany in 1917, has been one of the leading figures in European Exotica in the 1950s operating from France where he ended up at after the war. His repertoire of styles included several kinds of jazz and Latin based dance music such as Mambo, Baião, Chachachá but with a stateless hunger to explore new terrain he built himself another refuge in the library music and electronic sounds department. A cornerstone of his work in that field has now been reissued by Fifth Dimension, a young and uprising label with a special attention to electronic and library music. 1968 was the year that “Progressive Percussion Vol. 1” has been unleashed upon mankind for the first time and since library music was always meant to be used for the soundtracks of movie and TV productions or commercials, not many people outside that genre may have taken notice of this colorful masterpiece. It was not uncommon that such soundscapes back then consisted of powerful funky and jazzy rhythms, fuzzed out guitars and steaming keyboard work. Eddie Warner and his compatriots spice up these already standardized elements with freaky electronic chimes, morse code sounds and even outbursts of free format psychedelic eruptions that will blow your mind. The title already suggests that Eddie Warner and his musicians often put an emphasize on the groove and not only the regular drummer conjures a tight netting of polyrhythmical patterns but also receives assistance from a very skillfully executed xylophone and some handy percussions that rattle and ping somewhere within this jungle of grooves. Rock and heavy funk are the predominant styles from which this studio band starts its musical expedition. Despite being European, Eddie Warner and his mates hit the frequency of pure hot blooded powerfunk and heavier west coast rock played mostly by American bands from California to Detroit and NYC back in the late 60s. When this group calms down a bit and gets in the mood for a Latin and jazz influenced jam, you as the listener find yourself in a smokey psychedelic club somewhere in San Francisco until the song and your trippy dream end. While most of the time you could imagine an rampant jam session of SLY & THE FAMILY STONE, QUICKSILVER MESSENGER SERVICE and JEFFERSON AIRPLANE, especially the pure electronic moments here are years ahead of their time and should have been a massive influence on later German pioneers such as KRAFTWERK, NEU or CLUSTER. So this is an adventurous piece of music for the fans of groovy, sexy and mind expanding music based on what the pop scene in 1968 had to offer. Close your eyes and join the space dance.
    Format
    CD
    Release-Datum
    10.04.2015
    EAN
    EAN 5291103811265
     
  • cover

    WEBER, REINHOLD

    Elektronische Musik

    Eine der größten Neuentdeckungen der letzen Jahre aus dem totalen Krautrock Elektronik Untergrund ... aus KARLSRUHE!!!!!! Julian Cope’s „Crack in the Cosmic Egg“ fragt: „Existiert diese Platte wirklich?“ Ja, das tut sie! Reinhold Weber nahm 2 LPs im „Studio für Elektronische Musik“ der Universität Karlsruhe zwischen 1969 und 1974 auf. Sonderbare und wilde Elektronik, Musique Concrète, handgemacht und gestöpselt, pre-Synthesizer. Zwei sehr lange Kompositionen sind auf dem Album zu finden. Das 26.40 Min lange Stück „Schöpfung“ wird gesprochen von dem berühmten Karlsruher Schauspieler Kurt Müller-Graf, untermalt mit der Musik Reinhold Webers. Für Fans von Eimert, Stockhausen, Cluster, Kraftwerk und anderen germanischen Elektronikern. Die zweite LP wird demnächst ebenfalls auf Red Lounge Records erscheinen.
    Format
    CD
    Release-Datum
    06.06.2009
     
  • 01. GoldFingerz
    02. Youngguns
    03. KennyBlings
    04. LilTack
    05. EasternRiser
    06. NightCalla
    07. Snoopy
    08. Lucierrr
    09. Thésée
    10. KaleidoscopeRed / KaleidoscopeBlue
    11. CareerMoves
    12. ShortFuze
    cover

    WILL GUTHRIE

    People Pleaser Pt. II

    [engl] Nantais by adoption, the Australian Will Guthrie is a discreet star of the international scene of free, experimental and improvised music; over the past fifteen years, he has developed an open and personal approach to drums and percussion, skillfully blurring the lines between his brilliant jazz upbringing, his passion for traditional musics, and his inexhaustible interest in experimental and noise creation, with a pronounced taste for a physical and raw approach to sound. With thousands of performances and some fifty albums to his credit, the Australian regularly dispenses his vibratory art solo or alongside the best of improvisation; From Oren Ambarchi to Roscoe Mitchell via Jérôme Noetinger, Anthony Pateras, David Maranha, Ava Mendoza, Jean-Luc Guionnet, Keith Rowe or even Mark Fell. In recent months Guthrie has performed with Tunisian singer Ghassen Chiba, toured as part of “All Around”, a performance with Danish dancer choreographer Mette Ingvarsten and founded the Ensemble Nist-Nah, a gamelan orchestra, in the company of eight other percussionists, out of which Black Truffle published an album, with a second on the way. He also found the time to put in shape a second volume of “People Pleaser”, a discographic act between an autographical assessment, the parenthesis and the musical UFO. A singular exercise in Guthrie's discography, “People Pleaser”, a series initiated in 2017, sees the Australian partially put down his drumsticks and wear a producer cap for a result offering a resolutely singular perspective of / on his work with a very personal dimension. On the first volume, with a cover signed Stephen O'Malley sets the tone by diverting the chamaré Warhol influenced visual of the album “Unit Structures” by Cecil Taylor. The portrait of the free jazz pianist has been replaced by passport photos of Guthrie. The result is a diversion into a fairly “Pop” aesthetic whose musical content works in a fairly similar way. Four years later, the cover art's undertones are slightly darker and Guthrie hasn't aged a bit on his new passport photo. The twelve tracks of this second “People Pleaser” combine and arrange field recordings, heady loops, twists, musical quotes stuck on bedside records, recorded moments captured during travels, ghosty voices from low-fi lands, a police interview tape and imagined exotic sounds ... Guthrie could walk us for hours on his hard drive like looking at a photo album but he chose to build pieces based on this very personal sound material, much like a mixtape, with special care given to how sounds articulate, overlap and collide. He thus invites his heroes and his friends to join him in skilfully chiseled and finely edited imaginary jams. The first to take pleasure in this “People Pleaser” is undoubtedly its author as some of his finds are enjoyably playful; we are there embarked in an addictive sound patchwork at high speed where a Balinese Squarepusher is propelled via a defective cathode ray tube in a temple where the happy marriage of the saxophone and the gong is celebrated before this too short respite is interrupted by a sustained hip hop rhythm. The multiplicity and variety of sources give the whole a very pop format and the way in which Guthrie combines sounds, textures, rhythms and vocal elements quickly takes on a narrative dimension and poses this exercise between hip hop and a very personal plunderphonic, evoking as much J Dilla or RZA as the irreverent inventiveness of People Like Us or Wobbly. Will Guthrie has never been in as good company as on a solo album, he also lists on the cover the list of friends, heroes, members of his family and countries who inspired him and to whom he pays homage / collage on this new disc; An aesthetic exercise apart in his discography, both infinitely personal and self-centered and resolutely turned towards what animates him, the aptly named “People Pleaser” reveals the music DNA of the Australian and can be listened to on repeat.
    Format
    LP
    Release-Datum
    17.09.2021
    EAN
    EAN 3521381565614