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FINDERS KEEPERS

Various Artists

Musique Expérimentale

    Further concrète explorations from the second generation of forward-thinking sonic auteurs that would push the boundaries of experimental music known collectively as the Groupe de Recherches Musicales - founded by the father of musique concrète, Pierre Schaeffer - which has influenced generations of artists across the world.

    Undoubtedly one of the most influential experimental and electroacoustic musicians, Pierre Schaeffer is also credited as being the father of the theory of musique concrete as well as later coining the term itself. Having found a job in 1936 at Radiodiffusion Française (later Radiodiffusion-Télévision Française or RTF) as an engineer, Schaeffer developed a newly found interest in music and with the blessing of his superiors made the most of his access to the Radiodiffusion Française studios, utilising his abilities as an engineer to experiment with sound whilst collaborating with musicians and composers that passed through the station’s hallowed doors. In 1942 Schaeffer and influential theatre director, producer and actor Jacques Copeau founded the Studio d’Essai (renamed Club d’Essai in 1946) as part of RTF in order to experiment with radiophonic techniques.

    With word of his theories and experiments spreading, Schaeffer was able to press the RTF management to further finance and in doing so expand his research. Having previously collaborated as part of his early research with a young classically trained composer by the name of Pierre Henry, Schaeffer had no problem convincing the RTF executives he was the right man of the job. By adding a third prong to this sonic fork in the shape of sound engineer Jacques Poullin, Schaeffer was able to complete a powerhouse, which he renamed the Groupe de Musique Concrète, that would push his experiments further than he could have imagined. In 1951 RTF handed the trio the keys to one of the earliest purpose-build electroacoustic studios (the other being the WDR Studio in Germany), furnishing it with state of the art bespoke equipment such as a Morphophone (designed by Poullin himself and capable of tape loop-delay) and a Phonogène (a multi-headed tape instrument also designed by Poullin). The studio went from strength to strength, attracting composers such as Karlheinz Stockhausen and Edgard Varèse to collaborate and in that same year Schaeffer and Henry produced and premiered what is considered to be the first opera concrète, ‘Orphèe 51’.

    As Schaeffer’s notoriety grew as did demand for his time and he found himself increasingly called away from the studio during which time he would hand the keys to over to his colleagues. Pierre Henry wasted no time in pursuing projects closer to his own heart, working with experimental filmmakers and choreographers like Maurice Béjart (the two would later collaborate with Michel Colombier on the cult classic ‘Les Jerks Électroniques De La Messe Pour Le Temps Présent Et Musiques Concrètes Pour Maurice Béjart’). In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalise both their approach as well as personnel. As a result, Henry and several other key members left the group the following year, leaving Schaeffer to lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales - one of a number of theoretical and experimental groups overseen by Schaeffer’s Service de la Reserche at RTF - and set about recruiting new members including Iannis Xenakis, Henri Sauguet, Luc Ferrari and Michel Philippot as well as usher in a new steady stream of eager musicians eager to study within what had rapidly become (and still is) a national institution - including a young Jean Michel Jarre.

    This record represents an important milestone in the development and progression of musique concrète.

    Featuring early works from some of the most important and respected experimental composers of the 20th Century, including Luc Ferrari, Michel Philippot and François-Bernard Mâche, overseen by Pierre Schaeffer.

    Beautifully remastered with the original liner notes translated here for the first time.

    From the pumping heart of The Magnetic System comes the ‘dirtiest’ Da-Dadancefloor 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.

    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 poplitical 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 JP 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 belches. 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. 


    Lasry-Baschet

    Les Nouvelles Structures Sonores Lasry-Baschet

      As a truly indispensable bookend to any listeners with the slightest interest in experimental music, French culture or the foundations of mechanical songwriting, this inaugural release by these Parisian musical revolutionaries not only predicts the future sound of modern composition by almost 60 years but detangles the deepest roots of European popular culture celebrating an important historical family unison in the process. Combining the infant steps of Magma, the sonic blueprint of 1970’s TV theme ‘Picture Box’ and the sculptural creations of Polly Maggoo, this important and groundbreaking EP takes us back to the very first aural glimpse of the future of pregressive Europe at the hands of physical sound sculptures glaring in the face of premature technology.

      This EP and its varied three-pronged assault is the first step in the legacy of the Lasry Baschet unison uniting the husband and wife team of Jacques and Yvonne Lasry plus their son Teddy (who would later create Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (who would later work with William Klein). It was this creative unison between visual art and experimental music - witnessing the Lasry family exchange their orthodox music skills in favour of crystal rods, balloons, wet bows and metal sheets - that would potentially change the course of European music which was already on the extreme verge of electrocution with the rise of tape music and embryonic synthesised instrumentation.

      Rising out of the smoky Parisian Mai 68 shrapnel and claiming his stake as the first French vampire movie director, the inimitable father of European horrortica Jean Rollin (1938-2010) has smudged the painted face of surrealist cinema for over five decades. Dragging his roots from beneath the Letterist / Situationist movements, avant-garde theatre and Belgian fine art groups and entwining them around the minds of sexual revolutionaries, the European comic book cognoscenti and the Parisian free jazz and rock scenes, Rollin stopped at nothing to bring his macabre phantasies of zygotic vampyrism and backwoods blood cults to Gallic cinematheques and beyond.

      Celebrating the immortal legacy of the late director, Finders Keepers Records compile a detailed and comprehensive music cabinet of some of the finest musical moments from his initial directorial decade between 1968-1979, which provided a much-needed platform for the freak rock and free jazz that mirrored the distorted erotic visions in his own mind’s eye. Imagine Gong-gone-wrong meeting the Art Ensembles Of Châteauroux.
      Featuring tracks from Francois Tusques, Pierre Raph, Acanthus and Yvon Gerault. As the constant reappraisal of Jean Rollin’s body of work continues to pick up speed this important sonic snapshot of European horror scores brings together some of the most desirable and hard to find recordings from these important films.

      Alan Parker

      One Summer

        Previously unreleased schizo post-punk/Moogy folk score to 1983 British TV Scouse-ploitation drama ‘One Summer’ (remember Billy and Icky?) from the vault of Kate Bush, Serge Gainsbourg and David Bowie’s best-kept secret session man Alan Parker.

        From the one-man studio vault of the guitarist who adorned ‘Histoire De Melody Nelson’, ‘The Kick Inside’ and ‘Diamond Dogs’ comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.

        Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series ‘One Summer’ made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.

        Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.

        Scored by legendary KPM/De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren ‘Rumble Fish’ funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica.

        Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of selfpropelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.

        Limited to 500 copies.

        A first-ever collection of the highly sought after and largely previously unheard recordings of the one of Turkish Pop and Rock’s best kept secrets.

        Features the two rare-as-hen’s-teeth 1 Numara 7” singles (which fetch in excessive of £200 on certain internet auction sites) - including a previously unreleased extended version of ‘Evren’.

        Compiled with unparalleled access to Gökçen Kaynatan’s private studio vault and mastered from the original quarter inch studio tapes with full cooperation from the man himself, this important compilation also includes extensive liner notes written by Doug Shipton as well as a host of rare personal photographs and memorabila.

        Featuring a selection of his experimental pop and rock recordings dating from as early as the 1968 it features both of the highly sought after 1 Numara singles – including a never before heard extended version of ‘Evren’ – as well as previously unheard archive material and songs recorded for and broadcast exclusively on TRT 1 – most of them never to be repeated.

        The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside Ilhan Mimaroglu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s – sending teenagers wild with his custom built guitars and back lines – helping charge the climate for the birth of Anatolian rock.

        Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey’s first national television channel TRT 1.

        Despite having a modest discography of only four 7” singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture.

        Serge Gainsbourg & Jean-Claude Vannier

        Les Chemins De Katmandou

        After decades in the making Finders Keepers Records proudly present us with the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings - co-written, arranged and orchestrated by the genius Jean-Claude Vannier (‘Histoire De Melody Nelson’) during what many consider to be the dynamic duo’s most definitive creative period.
        Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost ‘Danger Diabolik’ soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie ‘Les Chemins De Katmandou’ have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
        Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like ‘La Horse’, ‘Cannabis’ and ‘Sex Shop’. Laying the stylistic, futureproof foundations for subsequent decades of forward-thinking Gallic funk mastery.
        Comprising Vannier’s signature recipe of thick plucked bass lines, close-mic’d drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to ‘Les Chemins De Katmandou’ (aka ‘The Road To Katmandu’ or ‘The Pleasure Pit’) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.
        This previously lost full soundtrack score now exists on vinyl for the first time ever as an infinitely important milestone in the early development of the duo who would shape the sound of French pop music for years to come.

        Suzanne Ciani

        Help, Help, The Globolinks!

          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. 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 premiere 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 Gassmann’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.

          Luboš Fišer

          Valerie And Her Week Of Wonders

            THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

            As part of one of our most fruitful and gregarious adventures Finders Keepers Records now celebrate 10 years since the first-ever releases of the Czechoslovakian soundtrack to the surrealist new wave masterpieces Valerie And Her Week Of Wonders (Valerie a týden divu) with a very special additional 7” EP of further unreleased variations, vocal tracks and newly resurrected themes from the original master tapes of composer Luboš Fišer.

            Possibly the most treasured modern surrealist artefacts from the vibrant and indelible Czech New Wave “film miracle” (alongside Vera Chytilová’’s ‘Daisies’ and ‘Fruits Of Paradise’) ‘Valerie And Her Week Of Wonders’ was directed by the controversial Jaromil Jireš (a member of the original 60’s FAMU film school community) and featured young freak fairytale regular Jaroslava Schallerová (Malá morská víla) and Helena Anýzová (Daisies/The Cremator) but aside from it’s stunning cast and breathtaking design and costumes (by Esther Krumbachova) it was in fact the delicate European cinematic small orchestra music score that went to future-proof this film for decades after it was first released in the eye of a 1970 communist censorship cull.

            As a direct inspiration for bands like Broadcast and Espers, this 7 track single also macabre sound design, effects and dark atmospherics which are not available on the Finders Keepers LP version and is housed in unique packaging based on a rare variation of the original Czech film poster.Record Store Day 2017 exclusive.

            This very special 7” EP features unreleased variations, vocal tracks and newly resurrected themes taken from the original master tapes that did not feature on the original Finders Keepers Records longplayer (FKR009).

            Limited to 700 copies for the UK and Eire.

            Suzanne Ciani

            Fish Music

              THIS IS A RECORD STORE DAY 2017 EXCLUSIVE, LIMITED TO ONE PER PERSON.

              As the first and only dedicated label to liberate the private, noncommercial artefacts from Suzanne Ciani’s groundbreaking Ciani Musica studio vault, Finders Keepers Records presents an incredible cryogenically suspended slice of precious precocious immersive fledgling synthesis for this ultra limited RSD 2107 title.

              Ironically well removed from the intension of phonographic application in its original inception, this anti-pop wash of marine biology modular synth sound design was originally proposed by a very young Ciani for exclusive infinite loop airings in a giant mid-American shopping mall aquarium in 1977.

              Potentially conjuring ambient scenes from the consumerist satirical Dawn Of The Dead while sonically ushering a genuine desire for total musical science reevaluation/revolution via a decidedly mainstream portal, the Fish Music project is a striking eerie example of how Ciani’s “Subversion With A Smile” approach led to a long career breaking boundaries in formal music technology, film scoring, the advertising industry and gender equality - all of which has continued to fuel her passion and channel her life lust and artistic appetite much to the benefit of future ambitious trajectories of music.

              Owing much to the memory of genuine synthesiser maverick Don Buchla this conceptual release is very much the product of artistic America at its progressive halcyon but, with its illustrious and idiosyncratic composition, communicates subtle undertones of Suzanne’s feminine Italian origins which seldom reside outside of the efforts of Roman library composers like Casa, Tomassi, Raskovich and siblings Antonioni and Maria Teresa Luciani.

              Sourced from Suzanne’s private archive and available here for the first time ever. Presented here as an isolated one-sided pressing on aquatic clear vinyl and including the original press release and a press cutting this limited release proceeds a wider series of unreleased Ciani work for 2017. File under… water.

              Limited to 500 copies for the UK and Eire.

              Stefano Marcucci

              Tempo Di Demoni, Papi, Angioli, Incensi E Cilici

                The mythical, mysterious and misfiled transcription disc of a lost Italian demonic religious rock opera recorded at Pierre Umiliani’s Sound Workshop by Stefano Marcucci - beat group veteran, Fernando Arrabal collaborator and Libra affiliate.

                Featuring members of the wider Casa / Ducros family and future Federico Fellini collaborators, this previously commercially unavailable mini album features embryonic Minimoog, ecclesiastical organs and chorus alongside a tight psych funk rhythm section from Italian library music’s golden era.

                Imagine Jean Pierre Massiera’s Visitors rescoring a scene from ‘Juliette Of The Spirits’, backed by a skeleton staff from Jean-Claude Vannier’s ‘Chorale des Jeunesses Musicales de France’ on a foreign exchange program, on Halloween, in the Vatican.

                Continuing their mission to shine light on the genuine anomalies of 70s Italian production music, Finders Keepers Records resurrect another unlikely transcription disc from the vaults of one of Rome’s most esoteric library music archives. This bizarre one-off theatrical project, composed and recorded at Umiliani’s studio, was commissioned for a short-run demonic religious performance entitled ‘Tempo Di Demoni, Papi, Angioli, Incensi E Cilici’ under the musical direction of former Italian psychedelic beat-group member Stefano Marcucci.

                Instantly recognised by Flower Records founder Romano Di Bari as having commercial potential beyond its handful of church and small theatre performances in the early months of 1975, Marcucci agreed that they should commit these bizarre recordings to vinyl as a form of preservation with hope of attracting a wider commercial audience through Di Bari’s Television and Films synchronisation contacts. Sitting slightly ajar to the custom-made projects of its label bedfellows (swapping schedules with experimental theme-music by Alessandro Alessandroni, Gerardo Iacoucci and Anthonio Ricardo Luciani), this album has slipped under the radar of many Library label completists over the years attracting confusion, scepticism, polarised opinion but nothing short of astonishment at the bizarre hidden synth-ridden psychedelic concept pop found behind some of the most striking duo-tone artwork to come out of Italy’s most experimental era.

                Original copies of this highly sought after library disc fetch in excess of £300 on certain internet auction sites.

                Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth driven, proto-techno, imaginary world music Portastudio soundtrack for a Polish-made animated fantasy based on a modern Finnish folk tale, created for German and Austrian TV, composed in 1982 by two politically driven post-punk theatre performers from a shared house in Leeds!

                STAFF COMMENTS

                Barry says: This one will obviously resonate with a lot of you. the Moomins is inseparable from the quirky library synth vibes and twanging cosmic blips and twee folky bloops. It's eminently nostalgic and essential.

                Jean Claude Vannier

                L'Enfant Assassin Des Mouches Alternate Takes

                  THIS IS A RECORD STORE DAY 2016 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                  Amazing master tape discovery of an original 1973 misplaced Jean Claude Vannier single including alternate arrangements / instrumentation from the first days of the ‘L’Enfant Assassin Des Mouches’ sessions.

                  Late in 2015, exactly ten years since Finders Keepers Records first liberated Jean Claude Vannier’s 1973 French Holy Grail concept LP ‘L’Enfant Assassin Des Mouches’, the label was handed a very unexpected anniversary gift in the form of a small clutch of lost Vannier studio master tapes.

                  Having worked closely with Jean Claude to leave no stone unturned both label and artist were shocked and delighted to be given what turned out to be further insights in to the musical ideas and ambitions of the 29-year-old composer during those mythical studio sessions which occurred a few months after the release of his seminal work on ‘Histoire De Melody Nelson’.

                  The original ‘L’Enfant Assassin Des Mouches’ LP has been the source of inspiration and awe for artists of all disciplines, critics and connoisseurs alike while retaining a firm fixture in many a tome and top ten, accounting for indispensable moments in avant-garde pop and experimental rock music and (with FKs repressing schedule as testimony) continues to gain momentum. The fact that these masters were dubbed to a separate master tape as a proposed aborted major label single indicates that they were the first (and most exciting) tracks to emerge from the flamboyant visionary sessions which eventually trickled out on small independent French label stimulating record collector nirvana in the process.

                  Including new unheard instrumentation, alternative arrangements and mix board levels, this special limited release comes packaged in authentic 1970’s promo bag artwork and marks the first in a series of new vintage Vannier projects extracted from a new vault of genuinely, previously “lost” materials.

                  Limited to 1000 copies.

                  A genuine lost and unreleased full-length LP from one of the most mysterious figures of early Italian electronic sound and library music. A missing puzzle piece in the small discography of experimental tape and synthesiser music by the composer known only as Lamartine recorded (but never pressed) in 1974 by the archive that bought you the work of Daniela Casa and the wildest electronic experiments of Alessandroni, Giuliano Sorgini and Fabio Frizzi. Having sat in the can for over 40 years the similarities to the likes of Cluster, Tom Dissevelt and the Radiophonic workshop have yet to be recognised and celebrated.

                  The name Lamartine was a true mystery of library history.

                  In keeping with the habitual culture of library music the name Lamartine was very likely to be one of many creative nom de plumes designed to disguise the true identities of the artists – even the likes of Morricone and Bruno Nicolai had their own shrouded monikers (Leo Nichols and Leo Flag respectively). Having faded from the memories of the ex-employees of the defunct production music departments at CAM and RCA, the truth behind this uncelebrated electronic pioneer remained a mystery for over 30 years. As enthusiasts began to unravel the pseudonyms of other composers such as Tomassi and Alessandroni via cue sheets, invoices and interviews, suspicions around Lamartine being of non-Italian origin rose to the surface with rumours that he or she was most probably of German, Dutch or English decent due to his distinct similarities to artists like Kid Baltan from Holland, various electronic artists from the outskirts of the krautrock scene or British tape music composers such as Basil Kirchin or David Cain. All of whom had firm relationships with the international library music scene.

                  Although most of the records made for the RCA 1000 series were also repackaged for syndication in France via the April Orchestra series, it was unusual that Cronache Dal Mondo didn’t benefit the same service, bringing into question the fact that Lamartine may have secretly been a big name artist legally contracted to exclusive territories or simply the author of music that was too challenging for wider consumption. Even searching for other unconfirmed aliases within the huge independent Italian library network, based of musical similarities or pure speculation, rendered little answers convincing unsatisfied fans that Lamartine had carefully covered his tracks or let the birds eat the breadcrumbs.

                  It wasn’t until 30 years later that the Italian independent production music label Flipper - the parent company responsible for the imprints Union, Octopus, Flirt and Deneb amongst others - decided to digitise its catalogue that a gleam of hope via a sealed, misfiled master tape shone through the trees. While putting a small archive of back-up recordings through the baking (emulsifying) process the archiving team at Flipper found the name “Lamartine” written on a single tape box with the name 'Reportage' and corresponding legal papers pertaining to a little known Italian conductor and composer for stage and popular song named Mr. Radicchi. Fabio Di Barri at Flipper accounts that throughout the extensive paperwork at Flipper the music of Radicchi or Lamartine was never licensed out for synchronisation and doesn’t appear on any of the associated labels discographies. After cross-referencing track times and titles Fabio could also reveal the full name of the artist to be that of Odoardo (aka Eduardo) Radicchi – a senior member of the Italian music scene from the same generation as Nino Rota, Giorgio Gaslini and Gian Piero Reverberi. 

                  The late discovery of 'Reportage' by Lamartine provides vintage electronic music enthusiasts with a wider vista of the development of the genre in Italy. The aforementioned names make up a small but closely associated and like-minded family of pioneers exploring a new direction with solo recordings in a very unique industrial capacity. Rendered in the hinterland between Italian cinema’s penchant for psychedelic rock and the onset of the synthesiser music and Italo disco movements later in the decade, these artists and their records represent the laboratory projects that researched the capacity of electronic music before it swept the nation’s media quite unlike anywhere else in the world. Lamartine - once an anonymous, dubious, genius in the library micro-genre - can now be named and recognised as a unique artist with a distinctive sound, adding new colours to the vibrant palette of Italian studio artists and painting a wider sonic picture of the evolution of Italian pop and film music and we believe to understand it.

                  The Italian library liberation front keeps growing - the genre that keeps on giving. It’s time for artists like Lamartine to name and claim their places in electronic music history.

                  Alejandro Jodorowsky

                  The Holy Mountain

                    Unanimously considered amongst fans of all strains of alternative pop culture the flamboyant cinematic masterpiece known as Alejandro Jodorowsky’s Holy Mountain can proudly claim, amongst all its other accolades, one of fantastique cinema’s greatest red herrings of all time. In the interest of anti spoilerism we are not referring to the film’s reconstituted plot here (recycled from René Daumal’s 1952 fictitious mountaineering journal) but rather the film’s devious inverted end title sequence, a murky pond which harbours the true crimson fish that has quite frankly wasted record collectors time for over four bloody decades. The immortal, fatal, deviously distracting and plain EVIL strap line that reads “Forthcoming soundtrack available of Abkco Records and Tapes” has served a repeat menu of wild goose chase soup followed by red herring salad served in half a camouflaged curveball with a glass of muddied water in your own personal smoked screen booth for most of our adult lives. The gift that keeps on not giving. For those of us addicted to black plastic circles, if there was ever to be a sequel to The Holy Mountain then a two hour title card reading “we decided not to release the soundtrack to the original film” would have saved a lot of time, fingertip skin and want list paper and ink… In fact, in keeping with Jodorowsky’s grand vision for the film, this rug puller was (unbeknown to him) the final illusion.

                    If it wasn’t for Jodorowsky and Allan Klein’s thirty-something-year “temporary stand-off” (leading to release schedule cancellation) we might have already got over how amazing this soundtrack is. In fact, with all its quite unrequired Beatle connection hyperbole it might be in your old dad’s all-time favourite lists as the only token alternative/soundtrack/jazz record he ever bought, and you might have learned to hate it. But that never happened, and as the forbidden fruit idiom commands THIS IS NOW YOUR FAVOURITE LP OF ALL TIME AND YOU CANT LIVE WITHOUT IT.

                    So we need to write a press release. One which will sound like we are talking about seven different albums in one and for those that have seen the film, that will make perfect astrological sense. Where do we start? The unreleased soundtrack to the most fantastic transcendental spiritual cinematic explosion of our time? The lost Don Cherry album? The missing Jazz Composers Orchestra album featuring Charlie Haden, Carla Bley and Frank Lowe? The Elephant’s Memory soundtrack follow-up to Midnight Cowboy? The lost soundtrack album secretly funded and A&R’d by John Lennon and Yoko Ono? The music to the film that George Harrison was sacked from because he didn’t want us to see his butt hole? The orch rock LP made by the arranger of the collectable Mandrake Memorial prog pop LP? Walter Sears undiscovered studio experiments? The record that The Beatles’ managers didn’t want you to hear? The true axis between New York psych rock, free jazz and Swedish prog rock? All are relevant, all are true and all clearly outlined in liner notes exclusive to Finders Keepers’ bespoke vinyl pressing of this grail-trail double-slab of psychedelic vinyl film history. Featuring the original cues, composed-to-scene, and mastered from the original studio master tapes via Record Plant, A&R, Sear Sound and Electric Ladyland and housed in exclusive packaging based on one of the rarest European posters for the film’s original release.

                    This first edition also includes exclusive interviews and lost information from Neneh Cherry, Ronald Frangipane and the Swedish members of the original Don Cherry Holy Mountain line-up Bengt Berger and Christer Bothen alongside commendable quotes from Thurston Moore (Sonic Youth) and Kieran Hebden (Four Tet). Alongside this release Finders Keepers, in collaboration with ABKCO will also present special vinyl editions of Jodorowsky’s other two Allen Klein produced films, El Topo and The Dance Of Reality, housed with the same unique design features and liner notes driven by the label’s long-term commitment to a project that has taken over a decade to release. The wait has been too long. Zoom back camera! Break the illusion and enjoy your salad.



                    Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, whilst splitting label release schedules with Laraaji, Laurie Spiegel and Wendy Carlos, the unique Florida raised soul mate duo known as Emerald Web released their privately pressed debut LP at an axis where post-prog rock met proto-new age and ambient electronic music.

                    At the turn of the 1980s Bob Stohl and Kat Epple embarked on a ten-year spiritual journey playing at planetariums and laser shows above the same Californian silicon city that devised the early computer music software, unifying their state of the art modular synth soundscapes and organic compositions of flutes, bells and field recordings and furnishing a self-pressed cassette tapeography of inimitable Emerald Web music for their self-funded Stargate label. Having first communicated via the medium of music as flute players at a South Florida jam session the future space music luminaries would be instrumental in assisting synthesiser companies via feedback and consultancy in developing instruments such as the Lyricon wind synth (favoured by Suzanne Ciani and Bruno Spoerri) and various sponsored machines for Arp, Buchla, EML, Computone and Orchestron. Named after a laser show formation and combining influences from science fiction films, fantasy novels and a broad musical spectrum including Tangerine Dream, Vangelis, It’s A Beautiful Day and Goro Yamaguchi, Bob and Kat would balance day jobs as synth programmers as well as TV and film soundtrackers under the moniker BobKat Productions (counting microscope nature documentarian Carl Sagan amongst their clients) with evening synthesiser shows at galleries, spiritual centres and even punk clubs. This compilation album comprises early tracks from Emerald Web’s debut vinyl release and the following four rare cassette only albums on Stargate Records from 1979-1982 before the band recorded their bestselling (and Grammy nominated) albums for labels affiliated with Germany’s Kuckuck and Larry Fast before Bob Stohl’s sad and untimely death in 1989.

                    Taken from original master tapes and recorded using revolutionary and prototypal music technology many of these tracks have never been on vinyl or CD until now. Finders Keepers are proud to have worked closely alongside Kat Epple as part of an ongoing Emerald Web / BobKat archival project making these important early electronic / organic musical hybrids available for fans of ambient krautrock, electronic soundtracks, musique concrete, electro and PINA enthusiasts alike. Welcome To The Valley Of The Birds.

                    Lost love songs and self-pressed pop acetates by this previously unheard Californian folk duo from beneath the shadows of the Hollywood Hills.

                    These recordings of unreleased and unknown American acidic folk and acoustic pop were made in the late 60s by husband and wife duo Don and Stevie Gere. For over 40 years they’ve sat untouched and unplayed in a box of unmarked studio tapes at their family home in Los Angeles.

                    As original pop songs and guitar based arrangements from the man who made the stoner psych soundtrack for cult movie ‘Werewolves On Wheels’, these rescued one-off pressings were sung in harmony with his teenage sweetheart and lifelong partner, Stevie Howard, and recorded at LA based walk-in studio sessions.

                    Sprouting a missing branch in the family tree of LA based artists like Curt Boetcher and Doug Rhodes (The Millennium), Waddy Wachtel (Buckingham Nicks) David Gates (Bread) and members of The Steve Miller Band, this LP includes original versions of tracks written for or featuring all of the above, as well as destroyed and unreleased film music.

                    What might have been considered lost treasure has until now remained previously unshared outside of the duo’s own private relationship, presenting fans of obscure folk and privately produced pop with a unique album that defies collectability and paints a fuller picture of a lesserspotted enigma in uninhabited unison with his closest musical confidant.

                    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 electronic 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 first came across a 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 company became the testing ground for virtually any type of new developments in electronic and computerized music amassing an expansive vault of commercially unexposed electronic experiments which have remained untouched for over 30 years... until now.

                    Finders Keepers Records are happy to announce a new creative archive based relationship 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 collection 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.


                    Commonly, ignorantly but understandably lumped in with its wealthy not-too distant cousin, Bollywood, Lollywood was inspired by, but often overshadowed by its posh and well-travelled relative. Lollywood's Lahore based film industry was a profitable and vibrant one that found great success in the modest boundaries of its own country but was seldom savoured outside Pakistan. However, the hugely important musical business spawned a bi-product that was viewed as a potential earner for international entertainment industry, EMI, which allowed talented musicians to create ambitious music with world class mediums at there disposal, which throughout the 60s and 70s ranged from fuzz-guitars, space-echo machines and American and European synthesizers, but, due to the composers indigenous roots, rarely a drum-kit. Here you'll find fuzzy, scuzzy, twang-happy, spaced-out and funked-up Urdu-grooves complete with harmonium melodies and driven by some of the most random factor, freakish, finger-numbing, percussion that the South East Asian mainstream has ever had to offer. Above all, Lollywood soundtracks sound raw. Re-imagine some of the most action packed Bollywood productions, then fire the make-up department, take away the special effects budget and then improvise. The lack of gloss on a dusty Pakistani mini-LP makes for truly experimental Eastern pop music.

                    Tracklisting
                    1. M. Ashraf & Ahmed Rushdi - Dama Dam Mast Qalander (The Sound Of Wonder)
                    2. M. Ashraf & Nahid Akhtar - Good News For You
                    3. Tafo & Nahid Akhtar - Karye Pyar
                    4. Kamal Ahmed & Noor Jehan - Yeh Raat Jane Keya Keya
                    5. M. Ashraf & Nahid Akhtar - Dilbar Dilbara
                    6. Kamal Ahmed & Noor Jehan - I Am Very Sorry
                    7. M. Ashraf & A. Nayyar - Main Hoon Play Boy
                    8. Tafo & Nahid Akhtar - Kad Ley Way
                    9. Tafo & Nahid Akhtar - Na Main Chini Na Japani
                    10. Nazir Ali & Nahid Akhtar - Society Girl
                    11. M. Ashraf & Nahid Akhtar - Ho Jeth Ji Aaj Main
                    12. M. Ashraf & Nahid Akhtar - Mera Mehbob Hai
                    13. Misar Bazmi & Runa Laila - Meri Marzi Main Gaoon Gi
                    14. M. Ashraf & Nahid Akhtar - Life Hai Kuch Dinon Ki (Nevermind)
                    15. M. Ashraf & Nahid Akhtar - Pyar Ka Koee Shola


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