Expanded reissue of mega rare 1979 unknown vanity pressing LP that blends ethnological field recordings, musique concrète principles and introspective synthesiser music from this cult European studio maverick and historic collaborator of COS, Philippe Druilet, Marc Moulin and John Surman.

Alain Pierre’s Mondo movie soundtrack to the controversial ‘Des Morts’ shares very few stylistic rivals, but fans of Jodorowsky’s ‘The Holy Mountain’ soundtrack and some of the more eldritch early sampling experiments of Jean-Pierre Massiera will certainly draw fragmented comparisons herein. Other listeners might file this album at the weirder end of your Smithsonian Folkways shelf, just before the Video Nasty soundtracks.

Presented in remastered form comprising extra vintage studio outtakes (in accordance with the film’s morbid narrative), ‘Des Morts’ serves as a would-be sequel to Finders Keepers’ previous Ô Sidarta release witnessing Pierre balance his allegiance to the Belgian bandes dessinée scene and Thierry Zéno’s shock cinema oeuvre from the heart of his uber-legendary Brussels based experimental recording studio through the 1970s.

TRACK LISTING

1.  Des Morts (Theme)
2.  Funérailles Chez Les
3.  Hmongs (Thaïlande)
4.  Clown
5.  Fête Des Morts Chez
6.  Des Morts (Alternative Theme)
7.  Chant D’un Mariachi (Mexique)
8.  Cryogene
9.  Funérailles Bouddhistes (Thaïlande)
10.  Des Morts (Final Theme)

Eighteen sacred psychedelic suppositories from the laboratory of mad scientist and scalpel-happy pop mutilator Jean-Pierre Massiera. Includes the rarest and most sought after fuzz funk, spooked surf and interplanetary prog from ‘The French Joe Meek’ and all his schizoid splitpersonalities and freakish friends - The Maledictus Sound, Chico Magnetic Band, Visitors, Human Egg, The Pirhana Sound and Jesus himself.

Let Finders Keepers introduce you to some old friends of theirs - Charlie Mike Sierra, Jean-Pierre Areisam, JPM and Co. Erik, The Horrific Child, Jesus, Les Maledictus Sound, Human Egg... This might sound like they’re flicking through the imaginary LP racks in the record shop from ‘A Clockwork Orange’ or perhaps congratulating the runners up in a Halloween fancy dress competition but for the previously uninitiated you have just been ordained into the congregation of the many split personalities of one Mr. Jean-Pierre Bernard Massiera. Bow down to the nine-headed monster as he mutates and shape-shifts back through time to his humble beginnings in a Buenos Aires province ravaging and pillaging the music of the European people for his own twisted benediction along the way.

This might, as intended, sound a little bit dramatic but if there is one single ingredient that gives the eccentric Jean-Pierre Massiera his distinct flavour it’s a large dollop of drama. Add sprinklings of schizophrenia, shock, myth and macabre and you are on the way to a Bmovie broth with an acquired taste that has, like all the best cheese, taken over thirty years to mature to perfection. Like all the best monsters, his split personality is the key to his infamy and the secret of his blood sucking success.

This is why Jean-Pierre Massiera is (un)commonly known for two key periods in his career which, like a worm, can be split down the middle to thrive and flourish independently. To cut a long story short, Massiera is, above all, a lover and purveyor of musique fantastique, and is willing and able to hijack whichever stylistic vehicle that passes him buy in order to do feed his lust. In the earlier part of his career he honed his sordid craft amongst psychedelic circles in Nice and Quebec. From late 1972 onwards he moved to Antibes and started a disco revolution and became an in demand cosmic record producer. For years, prog rock obsessives and disco aficionados have wondered if there was two unrelated freak merchants called Jean-Pierre Massiera but, in this rare instance, exploito-maniacs from both sides of the cosmic coin are united by the work of this singular, single-handed monstrous music manufactory.

Remastered and available once again on deluxe black vinyl since the initial Finders Keepers limited edition 2009 pressing.

TRACK LISTING

Visitors - Visitors
S.E.M. Studios - Ivresse Des Profondeurs
Jesus - L’Electrocute
Les Chats - Bizarre
The Starlights - Mao Mao
Basile - Itubo Del Anno
Chico Magnetic Band - Pop Or Not
Les Maledictus Sound - Kriminal Theme
Jesus - Songe Mortuaire
Basile - Engins Bizarres
Human Egg - Onomatopaeia
Les Monegasques - Psychose
Chris Gallbert - Sing Sing
Hermans Rockets - Space Woman
Piranhas - La Turbie Pirhanienne
Human Egg - Egg
Les Maledictus Sound - Inside My Brain
After Life - (Le Secret De) La Vieille Dame

2019 marks thirty-five years that DJ PIERRE has been DJing and creating acid house music.This seven-part series of 35 remixes of acid track by Phuture is a celebration of the first monumental record for DJ Pierre and the spark for a new genre and movement in dance music history. “35 - 004” will be the fourth volume in this series and will feature 5 remixes from Paul Johnson, Marko Nastic, Zombie Nation, Shinedoe, and N.U.D.E.

In 1987 the first acid house record, “Acid Track”, was released by the Chicago group Phuture—DJ Pierre, DJ Spank-Spank and Herb J. It was DJ Pierre who thought to play and twist the knobs on the Roland TB-303 in such a way that it created an entirely new (and at that time, totally bizarre) instrumental sound often described as “squelchy”, trippy, psychedelic, futuristic, and out of this world. Spanky laid the beats and together “Acid Track” was born.

The legendary Ron Hardy, a resident DJ at the Music Box in Chicago, gave this strange track a listen and played it not once but four times on the dance floor until it created a frenzy.

News of the Acid “squelches” quickly spread around Chicago and then across the Atlantic, inspiring the next wave of pioneering acid artists in the UK to create their own. From here the Acid House movement began, known as the Second Summer of Love (1988). It was this movement that spread across Europe and the world, becoming the rave and festival scene we know today. Thank you DJ Pierre for your legendary contribution and innovative spark to dance music. This world would not be the same without “Acid Track” and acid house. Here’s looking forward to another thirty-five years.

TRACK LISTING

A1. Acid Track (Paul Johnson's Jack Nation Remix)
A2. Acid Track (Marko Nastic Remix )
B1. Acid Track (Shinedoe Remix)
B2. Acid Track (Zombie Nation Remix)
B3. Acid Track (N.U.D.E Remix)

A surprise cassette released April 2020, Songs for Pierre Chuvin is the Mountain Goats’ first all-boombox album since 2002’s All Hail West Texas. After selling over 4000 cassettes in a matter of minutes, the avid Mountain Goats fanbase has demanded more and we are happy to acquiesce! Songs for Pierre Chuvin will be available on CD and LP on March 26, 2021.

Praise for Songs for Pierre Chuvin:
“Recording on the same boombox that launched his career, John Darnielle returns to his lo-fi roots for an album of alienation, ancient pagans, and making it through the year together.” Pitchfork

“Full of images fit for these dismal times and slogans suited to surviving them, Pierre Chuvin is an inspiring reminder of how much each of us has left to learn.” NPR

“[Songs for Pierre Chuvin] can be used to escape the present emergency—or, if the listener so chooses, to better understand it.” The Atlantic

“Songs for Pierre Chuvin is exactly what we’ve come to expect: big-hearted songs full of warmth and smarts,

TRACK LISTING

SIDE A

1 Aulon Raid
2 Until Olympius Returns
3 Last Gasp At Calama
4 For The Snakes
5 The Wooded Hills Along The Black Sea
6 January 31, 438

SIDE B

7 Hopeful Assassins Of Zeno
8 Their Gods Do Not Have
9 Surgeons
10 Going To Lebanon 2
11 Exegetic Chains

Within the elusive confines of this film awaits an album that defies categorisation by a musician who in a different time and space would be revered amongst some of the most important exponents of progressive rock, dark ambient, Krautrock and pioneering synthesiser composition - not to mention sound design and art-house film scores. As a protégé of François Bayle and Luc Ferrari who had studied classical music before immersing himself in found-sound manipulation and oscillators, Alain Pierre quickly became an enthusiastic go-to man for sound sculpture and technical studio proficiency in Belgium’s small film industry.

To the many generations of dedicated fans of the visual work of Philippe Druillet it might seem virtually impossible to adequately score the alien, futurist landscapes of the man who many called the ‘space architect’ (on account of his space age reductions of Gothic cathedrals, Art Nouveau and Indian temples) but once you have heard the sonic reactions of Alain Pierre on this first-ever dedicated Druillet documentary, ‘Ô Sidarta’, complete with his own equivalent sound palette, it will be difficult to ‘hear’ Druillet’s world via any other composer.

Despite Druillet’s truly incredible record sleeve designs for projects like cosmic disco ensemble Black Sun, concept albums such as ‘Attention’ by Jean-Pierre Mirouze (composer of ‘Le Mariage Collectif’), Parisian metal bands like Sortilège, gatefold portraits of Jimi Hendrix, later period albums by William Sheller and most relevantly on albums by Igor Wakhévitch (‘Docteur Faust’, 1971) as well as separate releases by both Richard Pinhas and Georges Grünblatt (both from the cosmic prog outfit Heldon), it is fair to say that this criminally unreleased album by Alain Pierre would conjure up the closest synergy between sound and vision that either artist would come close to. Backed with a rare recording of a one-off concert at the Université libre de Bruxelles in October 1976 - under its original title ‘Notions de physique intérieure’ (Notions Of Interior Physics) - revealing a very similar set of movements and soundscapes found on ‘Ô Sidarta’.

TRACK LISTING

Ô Sidarta
Notions De Physique Intérieure

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.

TRACK LISTING

Gilda & Gunshots
Jeunes Filles Impudiques
An Intimate Relationship
Jewel Thieves
Schoolgirl Hitchhikers

“Dick E Mozart” is 1:16 of grunge fuelled hardcore brilliance backed with the equally brilliant “Appendages”

The St Pierre Snake Invasion are a 5-piece rock band based in Bristol, England. They consist of Damien Sayell (Vocals), Sam James (Drums), Szack Notaro (Guitar), Dave Larkin (Bass guitar) and Patrick Daly (Guitar). The band took their name from an historical event from 1902 when the eruption of a volcano on the island of St Pierre, Martinique, sent an army of 6 ft. long snakes to the mulatto quarter of St Pierre in a mad dash to avoid the flowing lava. They killed over 50 people before the town’s street cats fought them off. A tsunami soon followed, killing all in its path, leaving only two survivors.

Electronic / avant-garde music pioneer and founder of the French musique concrète movement, Pierre Schaeffer, a radio engineer, believed that any sound could be music, and was one of the first to experiment with tape looping, splicing and sampling. He was also one of the first to record music on magnetic tape. Drawing inspiration from the Italian Futurists, he emphasized the double meaning of the word 'play'; to play an instrument, and also to have fun and enjoy oneself. Pierre Henry, a classically trained musician, was one of Schaeffer's disciples and together they co-wrote the revolutionary "Symphonie Pour Un Homme Seul", recorded in 1950. Despite its title, it is not a symphony in the classical sense, but a kind of suite divided into 12 movements. It is a musical collage featuring vocal fragments, that are at times recorded backwards, accelerated or repeated, and other sounds like whistles, footsteps, doors slamming, metallic sounds, and a prepared piano. However, what is important about this piece is not merely its intrinsic musical value, but its influence on so many future generations of musicians in so many genres. "Symphonie Pour Un Homme Seul", over half a century later, remains a pioneering experiment in the search for new aural horizons.

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 for the first time ever on vinyl.