Search Results for:

FINDERS KEEPERS

Graeme Miller & Steve Shill

The Carrier Frequency

    Frozen in time over four decades, this 1984 ‘cyclic incantation’ combines electroacoustics, grazed euphoria, industrial aesthetics, sampled salvage and recycled mechanic folk to score a widely revered dystopian physical theatre performance from the UK’s hugely influential Impact Theatre Co-Operative. From a seminal post-punk art-action faction (formed in a Leeds warehouse space alongside Gang Of Four and The Mekons), this apocalyptic prophecy not only cracked avant garde stage boundaries but provided a captive audience with stunning set design and an incredible broken-music soundtrack before its swan song amidst Poland’s 1986 power plant panic. From the sonic workbench of the very same bedsitsituationists that created the haunting 1983 music to ‘The Moomins’ TV animation comes the eventual isolated music release to this pioneering theatrical spectacle of truly mythical status.

    ‘The Carrier Frequency’ (1984) was a legendary stage work that emerged from the collaboration between the influential performance company Impact Theatre Co-operative and cult novelist Russel Hoban. The incantation of Hoban’s text voiced in the broken verbiage of a post-apocalyptic broken language and the entranced physicality of Impact’s ritualistic performance in a pool of cold dark water printed deeply on those who witnessed it. It reached an impassioned crescendo on the rising score by Graeme Miller and Steve Shill who also performed in the work. The music exploited samples from Hoban’s own recordings of the shortwave radio broadcasts which he tuned in as he wrote, helping him order the green phosphorescent letters on the screen of his Apple computer. Shill and Miller mirrored Hoban’s channelling in their approach to making the score, following the notion that this was the broadcast of some Central Eurasian radio station doomed forever to circulate fragments of static interlaced with desultory public information broadcasts and ‘The Record’, its only surviving fragment of a lost culture.

    The score was forged on an 8-track tape recorder sandwiching harmonium and accordion with the output of a digital delay machine that could trap and fragments of audio to be triggered and manually pitched. It is a knowingly crude montage where samples denote fragmentation itself and their reassembly, like Frankenstein’s monster, shows the stitches that join the stolen body parts.

    Available for the first-time ever on deluxe vinyl with the full cooperation of the composers and Impact Theatre Co-Operative lynchpins Graeme Miller and Steve Shill.

    François Tusques

    La Chasse Au Snark

      Liberated from the personal vaults of François Tusques himself, the previously unreleased recordings from the ‘La Chasse Au Snark’ (The Hunting Of The Snark) sessions.

      Featuring a stellar all-star cast of the crème de la crème for French avant-garde and free jazz musicians, including Bernard Vitet, Beb Guérin, Daniel Laloux, Jean Frenay, Jean Vern, Michel Kurylo, Annick Astier, Lambert Terbrack, Jacques Thollot, Aldo Romano and Noel Mcghie.

      “I know for sure side A is a studio recording carried out in august 1968 by the comité action musique, an activist group of artists and engineers aiming to reclaim the means of production from the ‘record industry’. The lineup is me, Vitet, Guérin, Laloux, Frenay, Vern, Astier, Françoise Tusques, no drums (everyone doubling on percussion), and Michel Portal on bass clarinet and saxophone as guest. Side C is a montage of the surviving bits of the happenings that took place at La Vieille Grille between August 1967 - March 1968 (sometimes on a daily basis in ‘68!), the museum of modern art during the May ‘68 demonstrations, and the Biennale Of Paris in February 1969. Sides B and D are less theatre oriented and may have been recorded either at the American center in October 1968, the international students center in November 1968 (Barre Phillips on bass and Barney Wilen on sax guested on these dates but I’m not able to confirm they are on the tapes), or in the winter and spring of 1969. However, the cassette for side B only read ‘Snark 1969’.” - François Tusques

      To complete the package Finders Keepers have officially licenced a number of illustrations by none other than Tove Jansson, the creator of Moomin Valley and its magical inhabitants, who was commissioned in 1959 to illustrate a Swedish edition of Lewis Carroll’s miniature masterpiece.

      Suzanne Ciani

      Music For Denali

        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.

        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.

        Masahiko Sato

        Belladonna

          “There was a time when the strength of a musician’s vision transcended all labels; here is a chance to dip into that pool again, and emerge not just refreshed, but alive again with the sense that we all can live in that world again, but most importantly raise the flag for excellence. Fantastic.” - Jim O’Rourke

          An unholy grail of near mythical status finally joins the Finders Keepers Records discography in the form of this first-ever reissue of Masahiko Sato’s elusive sensual psychedelic free jazz score to the stunning Japanese witchcraft animation Belladonna Of Sadness (Kanashimi no Belladonna) directed by anime screenwriter Eiichi Yamamoto in 1973. An early feature-length example of a micro-genre in which Japanese anime producers collaborated with the “pink” film genre, Belladonna’s challenging occult, sexual and political subject matter was the cause of the film’s notoriety for many years, earning Yamamoto’s work a critical platform amongst some of the best counterculture animation films of the era such as La Planète Sauvage ( René Laloux / Roland T poor, France 1973), Marie Mathématique (Jean-Claude Forest, France 1967), Wizards (Ralph Bakshi, US 1977), Heavy Metal (Gerald Potterton, Canada 1980) and Time Masters (René Laloux / Moebius, France 1982). Drawing further stylistic similarities with Shuji Terayama / Tenjo Sajiki associated poster artist Aquirax Uno and the Hara-Kiri magazine cartoon strips Pravda / Jodelle by French artist Guy Peellaert, as well as the early flamboyant Klimtesque imagery of Jean Rollin collaborators Philippe Druillet and Nicolas Devil, Belladonna Of Sadness brought a strong European flavour to its sophisticated and stylish Japanese application which accentuated the French origins of the plot loosely based on accounts taken from the 1862 book La Sorcière (The Witch) by French historian Jules Michelet.

          Over the last decade Belladonna Of Sadness has risen from the ashes and now shines brighter than ever. Now on the eve of its third or fourth global DVD release, fans no longer have to wait four months for third generation VHS telecine rubs from “that guy” in the States, or stuff their ambitious wish lists into the hands of any lucky friends visiting Tokyo in the summer. Belladonna has been used as nightclub projections by clued-up VJs and been restored by discerning feminist folk singers and improv bands while influencing illustrators, fashion designers and other creative types along the way.

          Original copies of the soundtrack, however, are much less likely to rear their heads on a weekly basis, with prices literally doubling each time the original stock copies swap hands amongst the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, as I’m sure you’ll agree, has got extra credentials. Finders Keepers Records, in direct collaboration with Sato himself, agree that this record should finally be liberated amongst those who know the magic words. With our decision to keep this album “strictly Sato” we removed a track – the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana, which in all honesty is very much detached from Sato’s psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Sato’s then wife Chinatsu Nakayama, including the track entitled 'TBFS' that only appears on the master tapes and never actually made it to the theatrical cut of the film.

          This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in both film music, jazz and avant garde composition.

          FORMAT INFORMATION

          Coloured LP Info: Limited edition pink and blue splatter vinyl.

          Pierre Raph

          Jeunes Filles Impudiques

            Five track EP of previously unreleased drum heavy Gallic hard-bop and risqué acidic folk.

            The long-lost Parisian skin flick ‘Jeunes Filles Impudiques’ (AKA ‘Schoolgirl Hitchhikers’) marks a particularly vulnerable period in the career of one of the most underrated and misunderstood directors to emerge from the rising smoke of the 1968 Parisian social explosion.

            From a director with early links with the Paris underground, the letterists, the surrealists, improv theatre and the free-press comes the reclaimed audio tracks from one of his rarest celluloid moments - but let’s not confuse this for high-art. Finders Keepers make no bones, this is Jean Rollin’s maiden voyage into adult entertainment, directed under the pseudonym of Miche Gentil with a flimsy plot, questionable acting skills and an awesome little schizophrenic soundtrack.

            This long-lost movie has been buried for some 40 odd years, with a musical score bursting to jump out of the can and down your tone arm, now made possible by a recently renovated negative print and new source material. These original Pierre Raph (of ‘Requiem For A Vampire’ infamy) compositions from the publishing Library Of Paris’ Musicale Editions Dellamarre (of Acanthus / Unity fame) come straight from Rollin himself as an introduction to Finders Keepers’ new Rollinade series documenting some of the finest musical moments of the director’s career as an avant-gardener, counter-culture vulture and Gallic vamptramp, all housed in their original hand-painted promotional artwork.

            J. M. Pagán

            Kiu I Els Seus Amics: Banda Original De La Serie De TV

            From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, video nasty film composer, occasional Jaume Sisa (Música Dispersa) collaborator and future electronic music therapy pioneer J. M. Pagán comes the synth-ridden, vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alienígena amic and the unidentified flying object of thousands of Catalonian kids’ affections through the 1980s as Finders Keepers present Pagán’s lost lunar modular synth score to ‘Kiu I Els Seus Amics’ (Kiu And Friends aka Kiu Is Your Friend).

            From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in ‘Badi’ or South Africa’s lo-rent homage ‘Nukie’ to our unregulated small screens and the same craze which filled international airwaves with the likes of Extra T’S electro smash single ‘E.T. Boogie’ or the million selling Columbian ‘Cumbia De E.T. El Extraterrestre’ smash hit... not to mention a wide range of unofficial theme-tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album).

            In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle-scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21st Century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before.

            When Spielberg regrettably told interviewers that he had no intention of making a sequel to ‘E.T. The Extra Terrestria’ it instantly became open-season for the imitators... but way before somebody squeezed-out ‘Mac & Me’, ‘ALF’ and ‘The Purple People Eater’, a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisió de Catalunya (TV3) and screened exclusively in Catalunya, ‘Kiu I Els Seus Amics’ was one of the first E.T. ‘tributes’ to make it out of the gate and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, Kiu has since remained a short but sweet micromemory in the hearts of an entire generation of Catalonian cosmonauts.

            This special Finders Keepers edition comes complete with all of Pagán’s cosmic synthesiser soundscapes fully intact (barring striking comparisons with the likes of Tangerine Dream, John Carpenter, Vangelis and the soundtrack music of Suzanne Ciani), as well as some rare, unreleased, incidental TV edits. The bulk of this LP is made up of tracks taken from the rare full-length album, which was released after the TV programme had already been aired and coincided with sales of jigsaws and rubberised play figures in an attempt to catch-up with the unexpected mega-success of the show, needless to say, with a short promotional window, the LP (and cassette edition) did not benefit a re-press and with most copies sold to children, few vinyl pressings have escaped repeat needle scratches and decorated sleeves.

            Graeme Miller & Steve Shill

            The Moomins: Woodland Band (Parade)

              Consisting of homemade electronic and mechanical music heard exclusively via British TV speakers as an eerie backdrop for the Polish made stop- motion adaptation of the Finnish comic strip classic The Moomins. Custom-composed for radically reedited daily five-minute episodes (alongside reconstituted storylines and the narrations/impersonations of comedy actor Richard Murdoch), the short cues written and played by two Leeds based post punk avant-theatre composers helped exacerbate the programme’s bizarre spectral storylines and characters earning a firm fixture of fear, intrigue and infatuation in the hearts and memories of a slightly confused electro fed generation.

              Ticking all the boxes that attract freak folk enthusiasts and synthusiasts alike, the combined efforts of Steve Shill and Graeme Miller deployed thumb pianos, backwards tape effects, wooden pipes and a Wasp synthesiser (the almost affordable post punk synth of choice) to replace the original 70s German jazz soundtrack, thus dramatically mutating the tonality of the one- hundred-episode-long saga. Miller and Shill’s unique DIY approach follows characters like Moomintroll, Sniff, Snuffkin and the Snork Maiden as they encounter hobgoblins, sand lions and the mysterious Groke complete with their individual detuned electronic voices and thereminesque whimpers.

              Based on the original sprites invented by Tove Jansson, the modified fuzzy felt figurines were designed by animator Lucjan Debinski at the legendary Se Ma For studios in Poland for German syndication resulting in what many regard as the definitive and most enigmatic version of the story succeeding further animated adaptations from Japan and Russia. Sharing the same nostalgia and oblique exoticism as The Singing Ringing Tree, The Little Mole, The Magic Roundabout and other reconstituted imports seen on programmes like Granada TV’s Picturebox, The Moomins and its synonymous theme tune and sound effects render this limited 7” vinyl release an essential addition to the record shelves of soundtrack collectors, domestic electronic fans and absent bygone tele-addicts as well as animation and design enthusiasts on account of its unique imagery and packaging. The single comprises an extended take of ‘Woodland Band’ and a never before heard cue from the forthcoming ‘Lost Tapes’ album.

              FORMAT INFORMATION

              Ltd 7" Info: Housed in a custom-made felt backed sleeve.

              François Tusques

              Alors Nosferatu Combina Un Plan Ingénieux

                “After ‘Le Nouveau Jazz’ was released in early 1967, I worked for two years with Bernard Vitet, Beb Guérin and a few other friends on a happening loosely based on Lewis Carroll’s ‘The Hunting Of The Snark’. There was a strong element of theater to it and we presented it in playhouses, museums, public places, institutions... It never made it to wax and I gave up on the idea soon after when Sunny Murray and Alan Silva showed up in Paris in late 1968. I had meant to upend the conventions of performance with this happening: now I was fully part of a similar revolution, the ‘New Music’, with its very originators.

                “Nevertheless, the ‘Snark’ adventure was never over, and the bands I co-directed still used the musical themes (and methods) we had developed for the project. The headlines for the performances and the name of the band itself were still lifted from ‘fantastique fiction’ works: for instance we performed as the ‘Boojum Consort’ and used the title of the present LP was used several times at festivals. The music enclosed here is heavily indebted to Free Jazz but also retains various elements of the former happening (for instance I also play saw, marimba and organ and stray away from jazz references). My famous Shandar and ‘Dazibao’ albums are partially made up of the same material and were recorded at the same period/momentum which lasted roughly from the Spring of 1969 to late 1971 when I started to distance myself from free music. The final macabre incarnation of this work was the show ‘Who Killed Albert Ayler?’ whose political content stirred controversy. Gérard Terronès considered recording it, he even advertized it, but again nothing materialized.

                “We found these recordings in my basement. The old reels and cassettes were unmarked or the cases (and sadly some of the music) damaged by time, water and rats! To the best of my recollections, and from posters and advertising of the events, the artists who took part in the 1969-1971 concerts who make up this record are Ronnie Beer, Joseph Déjean, Claude Delcloo, Earl Freeman, Beckie Friend, Eddy Gaumont, Beb Guérin, Noel McGhie, Jouck Minor, Barre Phillips, Aldo Romano, Alan Silva, Kenneth Terroade, Jacques Thollot and Bernard Vitet. Who, when, where (American Center quite often), exactly, I can’t say. Some of them are probably not even featured here. But maybe that’s for the best, as we can now focus on the spirit of the times.” - François Tusques

                Various Artists

                Strain Crack & Break: Music From The Nurse With Wound List Volume One (France)

                Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick)

                Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punkprog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list.

                Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles. Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, its time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and break.

                STAFF COMMENTS

                says: Saving the younger generation (I think I still count) a lot of hard work and even more pennies, Finders Keepers begin the mammoth task of distilling the famed NWW list into a series of compilations. Volume 1 focuses on all things français, be it musique concrète, space rock, prog or free jazz.

                Guy Skornik

                Tusk

                  From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels, comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (‘The Holy Mountain’) with the soundtrack music to what is now considered his rarest and most overlooked feature film, ‘Tusk’.

                  As part of Finders Keepers’ ongoing dedicated Jodorowsky soundtrack series the label presents the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz.

                  Following his mind melting masterpieces ‘Fando & Lis’, ‘El Topo’ and ‘The Holy Mountain’, Jodorowsky’s ‘disowned’ attempt at a family film retains the director’s ongoing demand for intense, experimental film music, resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography.

                  Cherrypicked from pre-recorded synthesiser-fuelled cosmic pop sessions by Skornik, these compositions provided ‘Tusk’ with arabesque new age synthesis alongside fullblown ambitious electro rock, as well as classic French Fender Rhodes-driven romanticism during some of this lesser-spotted movie’s most memorable moments.

                  Presented here in isolation, Guy Skornik’s multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno’s Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don’t ignore Jodorowsky’s ‘elephant in the room’ - you never know what’s hidden in the trunk.

                  Luboš Fišer

                  Valerie And Her Week Of Wonders (Sleeve B)

                  It has been exactly ten years since Finders Keepers Records first liberated Luboš Fišer’s immaculate soundtrack music for 'Valerie And Her Week Of Wonders' ("Valerie A Týden Divu") from the vaults of the Barrandov Studio in Prague. As the inaugural release of an ongoing discography of previously unreleased scores from the hugely creative ‘Film Miracle’ that occurred during and after the Czech New Wave (CNW), this score will always retain a special place in the heart of the label as well as listeners who consistently request an updated repress of this significant vinyl milestone.

                  Having grown in status from an obscure and misunderstood socialist-era art house oddity, via the hands of risqué foreign fluff merchants, to finally find its rightful audience as a bona fide surrealist cinematic masterpiece of world class standards, this 1970 film adaptation of Vítezslav Nezval’s 1935 avant-garde novella (a film that literally cross-pollinated Max Ernst’s ‘A Week Of Kindness’ and Lewis Caroll’s ‘Alice In Wonderland’) has garnered widespread critical acclaim. Inspiring ongoing generations of visual artists, musicians, writers and filmmakers - all of whom regard this truly individualistic and inimitable surrealist film poem to be an indelible influence - Valerie continues to impregnate their daily artistic referential fabric.

                  Commonly considered to be the swansong of the CNW, following a huge paranoia fuelled government film cull in 1969, owing to the fact it is the last government approved feature film of the post-Prague Spring era to combine the efforts of controversial filmmakers from the FAMU (Filmová A Televizní Fakulta Akademie Múzických Umení) film school, ‘Valerie And Her Week Of Wonders’ would also be the first of an exciting and essential new fertile strain of Czech made cinema fantastique. Successfully condensing the final drops of CNW lifeblood through a series of presumed apolitical scary/fairy tales, directors like Jaromil Jireš and Juraj Herz used surrealism, traditionalism and fantasy to rejuvenate the creative energy of apathetic filmmakers evading government scrutiny via creatively coded artistic allegories.

                  By strategically choosing to adapt a pre-war surrealist melodrama written by a communist convert author called Vítezslav Nezval and based in a non-specific traditional era, the previously censored filmmaker Jaromil Jireš was able to craft what many consider his finest filmic hour and what would later become his most universally received achievement. Enlisting the individual talent of some of the CNW’s most formidable stalwarts, in what might have been their most creatively challenging roles, Jireš managed to unintentionally establish a new genre format that was both stylistically and sonically tuned to the trends of the impending decade thus future-proofing his career and providing a woozy gateway drug to an otherwise time-locked lost movement.

                  Beautifully remastered from the original studio tapes with updated liner notes. Housed in two sleeve designs (Sleeve A / Sleeve B) based on the original theatrical posters.


                  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.

                    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.

                    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.



                    Latest Pre-Sales

                    198 NEW ITEMS

                    The @acrmcr street poster celebrating their new album ‘Loco’ which is out today isn’t far from the shop. Go and che… https://t.co/FtjJNE9yV5
                    Fri 25th - 4:05
                    Yes, we all wish she was here too. The vinyl has sold out and we’re expecting it to be delivered next week. The CD… https://t.co/vXTxBycQHn
                    Fri 25th - 1:49
                    Last copies of this monstrous new dub LP, a genre-spanning masterpiece encompassing traditional and modern producti… https://t.co/2ovhNUn0pD
                    Fri 25th - 10:29
                    E-newsletter —
                    Sign up
                    Back to top