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Artist: CASA, DANIELA
Title: Sovrapposizione Di Immagini
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"In an alternate universe, the Rome-born female synthesist Daniela Casa would be a household name. A genuine pioneer of experimental pop music, abstract electronics, giallo jazz, and even heavy drone rock jams, her elusive and infectious music joins the dots and loops between other Italian female electronic composers such as Giulia De Mutiis (later Giulia Alessandroni), Doris Norton and Suzanne Ciani, while retaining one of the most individualistic and diverse composing styles of an advanced mechanical musician regardless of their nationality or gender. This LP compiles, for the first time, a multifarious selection of previously commercially unavailable instrumental music composed at her home studio in the late 70s before her untimely death at the age of 42. Originally designed for use in radio, film, TV and other industry-specific applications, these seldom-heard selections combine ingenious homemade and hi-tech disciplines, providing scores for Italian thrillers, nature documentaries, educational projects, and commercial sound installations. Mastered from the vaults of the sought-after Deneb/Flirt/Canopo library labels (home to some of the rarest records by Fabio Frizzi, Giuliano "Raskovich" Sorgini, Gerardo Iacoucci, Alessandro "Braen" Alessandroni, amongst others) these rare tracks reveal Daniela Casa in her most fertile environment (composing as a young mother) in both a solo capacity and alongside incredible Italian session musicians, often sharing release schedules and track lists with her maverick maestro husband Remigio Ducross. These multi-layered musical images remain as vibrant and authentic today as they did 35 years ago. Close your eyes and unravel the Sovrapposizione Di Immagini. " - Finders Keepers.
SOLD OUT

Artist: CHITHRA, K.S.
Title: s/t
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
2012 release. "The electrification of K.S. Chithra and Kollywood pop! Known by adoring fans and devotees, throughout South India, as Chinna Kuyil (trans. "Little Nightingale") on account of her expansive vocal range and crystalline, sweet voice, the uplifting and surprising sound of K.S. Chithra is, for many, best exemplified by the early plugged-in-pop she made in the 1980s with the man/machine who first introduced her to the Tamil film industry, Maestro Ilaiyaraaja. There are few records you will hear that combine the sounds of a childs choir, a DX7 bass line, three types of drum machines, a mariachi trumpet cry, a re-sampled 40-piece orchestra and an electronic bass line that takes the Moog Taurus by the horns and rides into the Indian summer. There is probably less chance of hearing a vocal performance so confusingly dazzling that it instantly detracts from the previously aforementioned wish-list combination of bizarre instruments, but for those intrepid enough to dig a little deeper and take a detour due East, pick-axing right where Lollywood meets Bollywood -- then prepare to be rewarded with a double, triple and quadruple whammy! This compilation focuses on a small and select handful of Chithra and Ilaiyaraajas developing collaborations from the formative years of their relationship between -- 1986 and 1991 -- a vibrant time where analog recording techniques and digital technology first overlapped and Chithra, as a developing vocalist, adapted to the sounds and arrangements of a classic maverick composer pushing the boundaries." - Finders Keepers.

Artist: CIANI, SUZANNE
Title: Buchla Concerts 1975
Format: LP
Label: Finders Keepers
Country: UK
Price: $28.00
Repressed. "The lost synth manifesto that could have changed the course of electronic music history by the first lady of modular synth history, Suzanne Ciani. Buchla Concerts 1975 is an archival project that not only redefines musical history but boasts genuine claim to such overused buzzwords as pioneering, maverick, experimental, groundbreaking, and esoteric, while questioning social politics and the evolution of music technology as weve come to understand it. To describe this record as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark, and a trophy in the cabinet of counterculture creativity. This record is a triumphant yardstick in the synthesizer space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record its daunting to learn that this record was in fact not a record at all . . . it was a manifesto and a gateway to a new world that somehow never quite opened. In 1975, Suzanne Ciani was a 29-year-old employee of the Buchla modular synthesizer company, San Franciscos neck-and-neck contender with New Yorks Moog. If the unfamiliar, modernistic, melodic pulses, tones, and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context, they would have provided nothing short of an entirely different, feminine take on the experimental records of Morton Subotnick and proved to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. In denouncing her own precocious, polymathematic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a byproduct of never-before-heard music that would render the pigeonholes "ambient" and "futuristic" utterly inadequate. These recordings have not been heard since then. Needless to say, this record, finally commanding the archival format of choice, was not the last "first" that this hugely important composer would gift to society and the future, in a wide range of exciting, evolving creative disciplines in the worlds of synth design, advertising, and film composition. You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. You cant write history when you are too busy making it. With fresh ink in the bottomless well, lets start at the beginning. Again. You are invited." - Finders Keepers.

Artist: DITMAS, BRUCE
Title: Yellow Dust
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
“Bruce Ditmas is a unique, heavy musician from one of those special tightknit communities that tried (and almost succeeded) to change the face of progressive pop music and jazz via musical technology. Raised in Miami (an unknown incubator for future synthesists), Ditmas carved the image of a teen prodigy playing jazz drums at the most exclusive Miami Beach hotels. After being whisked off to New York by none other thanJuly Garland he became immersed in free music, recording compositions by Annette Peacock and Carla Bley before setting up house with vocal artist Joan La Barbara (later Mrs. Morton Subotnick) in 1975, who, via her own label, encouraged Ditmas to pursue his very specific experiments in heavy electronic rhythms. Yellow Dust is compiled from the solo Moog drum compositions from his only two albums (Aeray Dustand Yellow, both released in 1977) created using a Mininoog (donated by Gil "Hendrix" Evans), an ARP 2600, and a wide range of treated percussive instruments that littered this enfant terribles bedroom floor throughout the 1970s. Meet your new favorite drummer, and the best Moog drum record in your whole collection.” - Finders Keepers.

Artist: EMERALD WEB
Title: Whispered Visions
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"Sharing social circles and spiritual ideologies with artists such as Iasos, Connie Demby and Deuter, while splitting label release schedules with Laraaji, Laurie Spiegel, and Wendy Carlos, the unique Florida-raised soulmate 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. From the notes by Kat Epple: "When originally released, one music reviewer described Whispered Visions as: A cosmic tapestry of sound, woven with threads of shimmering synthesizer timbres and luminous flute melodies. This album was made using early synthesizers, sequencers, Lyricon and flutes. When it was recorded in 1980 our synths were regarded as state of the art technology. Originally released exclusively on compact cassette it was our second of a total of 14 independent releases. The band Emerald Web consisted of Bob Stohl and myself and our goal was to create innovative synthesizer orchestration and blend electronic music and acoustic instruments. From 1978 to 1990 we recorded, toured, and performed in planetariums while composing soundtracks for Carl Sagan, amongst others. Bob and I were consultants for (and were lucky enough to be sponsored by) companies and individuals that were creating the latest music technology. At the time Emerald Web was one of the few Space Music bands which performed live in concert using synthesizers and sequencers, most of which had volatile memory and no pre-set sound banks. Unfortunately, Bob passed away in 1990. Since then I have continued to compose music for film and perform in concert as a solo artist, as Emerald Web and with various other ensembles." - Finders Keepers.

Artist: FEREMANS, ERIC
Title: The Antwerp Killer
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"One of the rarest vinyl horror soundtracks of all time, 1983s The Antwerp Killer consists of remarkable homemade electronic experiments created by a wunderkind synth designer for a smart-talking teenage movie maverick. Combining self-propelled punk attitude and uninhibited confidence, the hyper-proactive work of these DIY prodigies pinpoints an important era when youthful ambition and creative technology met. By the age of 16 Eric Feremans had started building modulators and eventually his first proto synthesizer; he later played a concert with Belgian electronica pioneer Karel Goeyvaerts. Feremans founded a school for building and playing synthesizers, the EEF, where volunteers ended up producing about 20 or 30 build-your-own packages. After appearing as a guest on a national television show, the demand for his courses exploded, and Feremans began lecturing internationally, even attracting the king of the Amsterdam mafia, who was driven down from Amsterdam with two body guards in his Rolls-Royce every week. One day Feremans got a visit from a Luc Veldeman, a 16-year-old with a manner of speech way beyond his age and larger-than-life projects. Veldeman was making Antwerps first crime movie, The Antwerp Killer. He had seen Feremans play live and he wanted some of his music to be used as the score, and to press as an album to promote the film. Feremans gave him one of the rare recordings he had made with the synthesizer, a session he had just recorded upon installing his new studio; a session, according to Feremans, that was the result of the pure joy he experienced at having such a wonderful machine in his studio and the bottle of vodka he downed during the session. Veldeman cut up that session and it turned it into the soundtrack of The Antwerp Killer. The press and the audience shared a general reaction to the film: bad acting, bad editing, bad script -- cool soundtrack, though. Veldeman, who had rented the film equipment under a false identity and dumped it in a canal after shooting, was nowhere to be found, and his investors lost their money. A magnum opus by a true criminal and the synthesizer teacher of the Amsterdam mafia king, The Antwerp Killer remains a prime document of the broody Belgian 80s and a heck of a soundtrack. This first-ever reissue was beautifully remastered with the full cooperation of Eric Feremans himself. Includes liner notes by Belgian archivist Gerd de Wilde." - Finders Keepers.

Artist: GREEN, BILLY
Title: Stone (FKR 10th Anniversary Edition)
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
“To mark its 2015 ten-year anniversary, the Finders Keepers label presents a remastered, repackaged repress of its 2010 reissue of Billy Greens soundtrack to the 1974 Australian biker film Stone. Features updated liner notes and an alternative sleeve design based on the original Japanese theatrical poster. Stones trailer says it all. A deep Australian drawl narrates the scene over a psychedelic swamp-funk rhythm section doused in electronic percussion and treated keyboards. The screen fills with images of slo-mo bike accidents, hallucinatory trips, and a death-defying cliff stunt that could easily be mistaken for a doppelgänger scene in Psychomania (1971). Cut to a satanic ritual burial at the hands of a denim-clad crew of outlaw bikers with strangely familiar faces. To many global record collectors, DJs, music producers, and general retrophiles living outside of Australia,Stone was primarily known for its electronic sound effects, psychedelic guitars, cosmic soundscapes, and funky basslines. In the 80s and 90s, before the global DVD boom, Stone was primarily a soundtrack for most people -- the kind of soundtrack that makes the listener wish the film were available. The original LP artwork alone is beyond enigmatic, with its embroidered logo (designed by writer, director, producer, and star Sandy Harbutt) alongside its strikingly futuristic airbrushed chrome insignia (designed by comic artist Peter Ledger and realized by airbrush whiz Errol Black). The huge parade of Kawasaki bikes inside the gatefold sleeve looks like something from the future compared to the classic full-dresser Harleys from American biker movies. And when the needle drops into the groove and the freakish blend of didgeridoo and Moog (played byJohnny "Didge" Matthews and synth expert Andy Cohan respectively) -- mixed with unidentified clicks, belches, and pops -- flies out the speakers, it is impossible to put a date, let alone a storyline, to this acid-fueled soundscape. The use of confusing and contradictory musical influences alongside bizarre noises is actually the secret sauce in this concoction and when the swampy psychedelic funk-rock rhythm section kicks in the listener is left with a 45-minute program of skewed, forward-thinking avant-pop that would stylistically fill a very lonely section in the record shop racks. There are not many records quite like Stone.” - Finders Keepers.

Artist: KORZYNSKI, ANDRZEJ
Title: Man of Marble
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"2014 release. Opening further doors in the sprawling labyrinth of unreleased music by Polish composer Andrzej Korzyński, Finders Keepers Records presents the soundtrack to the 1977 Polish film Człowiek z marmuru (Man of Marble) by national filmmaker and long-term collaborator Andrzej Wajda. Presented for the first time ever on vinyl, this synthesizer-fuelled soundtrack marks a distinct stylistic maneuver toward a unique brand of Polish cosmic disco, celebrating the cinematic debut of Korzyńskis Arp-Life project -- widely respected as Polands first synthesizer orchestra. Begging direct comparison to Russias Zodiac and sharing an uncanny resemblance to other 1970s European cinematic disco bands like Frances Arpadys or the later projects of Italys Goblin, this soundtrack features Korzyński and Arp-Life at their best, making fantastical and experimental musical approximations of the burgeoning synth funk disco boom which had erupted on the other side of the iron curtain. Man of Marble was Korzyńskis first step into electronic dance music, and with the addition of bonus tracks from the 1981 sequel Człowiek z żelaza (Man of Iron), it provides the perfect companion piece to his recently liberated score to Possession (directed by Andrzej Żuławski). Experimental and fantastical, and taking creative gambles as a necessity, Man of Marbles over-the-top, synth-heavy score depicts a stark, ultramodern contrast, accentuating a plot that switches between past and present tense, illustrating a 1970s researcher who retraces spurious political events that occurred forty years earlier. As with most communist state-owned record labels, Polskie Nagrania Muza, which had previously released works by Korzyński, rarely encouraged the commercial promotion of film composers. Although Korzyński was an occasional exception to this rule (due to his previous career as a radio programmer, pop musician, and writer), Man of Marble would never be commercially released outside of the context of the film. This edition of Man of Marble provides further glimpses into a deeper archive of electronic pop, capturing prime-era Korzyński as a forward-thinking keyboard artist and experimentalist who managed to move with global musical and technological trends under the stifling communist regime." - Finders Keepers.

Artist: KROZIER & THE GENERATOR
Title: Tranceformer
Format: Double LP
Label: Finders Keepers
Country: UK
Price: $28.00
"Finders Keepers really hit the crackpot, erm I mean jackpot this time! This is most excellent and a must have gem -- I promise you wont regret owning this glimpse of Kroziers weird and wonderful world... It took me two seconds to love this record" --Anton Newcombe (The Brian Jonestown Massacre). Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses, and Arthur Brown, then combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. Behold... Geoff Krozier and The Generator. This faithful reproduction of one of Australias rarest synth-post-prog vinyl artifacts bequeaths the only recorded fruits of their precious magick, recorded months before Geoff Kroziers untimely death in 1981. Combining shamanic spoken-word with nodding kosmische instrumentation, this album is fueled by ARP, Roland, and Australian ETI synth technology and leaves fans of synthetic soundtracks, electronic experimentalism, and stubborn synthpop salivating for more (and more there is). Meet Geoff Krozier, collaborator with NY punk band Kongress, Sydneys official 1980 Magician of the Year, and "the high priest of exorcism-rock," and watch him and his trusty studio wizards provide fans of Bruce Haack and Doris White with one of the most absurd electronic private-press LPs to come from either end of the pointed planet, faithfully reproduced here. Welcome to the house of the sun." - Finders Keepers.

Artist: KROZIER & THE GENERATOR
Title: Tranceformer
Format: Double LP
Label: Finders Keepers
Country: UK
Price: $28.00
"Finders Keepers really hit the crackpot, erm I mean jackpot this time! This is most excellent and a must have gem -- I promise you wont regret owning this glimpse of Kroziers weird and wonderful world... It took me two seconds to love this record" --Anton Newcombe (The Brian Jonestown Massacre). Imagine a coven of Jodorowsky, Daevid Allen, Mr. Crowley, Rameses, and Arthur Brown, then combine them into a one-man mutant magician and add the finest Australian synth duo since Cybotron. Behold... Geoff Krozier and The Generator. This faithful reproduction of one of Australias rarest synth-post-prog vinyl artifacts bequeaths the only recorded fruits of their precious magick, recorded months before Geoff Kroziers untimely death in 1981. Combining shamanic spoken-word with nodding kosmische instrumentation, this album is fueled by ARP, Roland, and Australian ETI synth technology and leaves fans of synthetic soundtracks, electronic experimentalism, and stubborn synthpop salivating for more (and more there is). Meet Geoff Krozier, collaborator with NY punk band Kongress, Sydneys official 1980 Magician of the Year, and "the high priest of exorcism-rock," and watch him and his trusty studio wizards provide fans of Bruce Haack and Doris White with one of the most absurd electronic private-press LPs to come from either end of the pointed planet, faithfully reproduced here. Welcome to the house of the sun." - Finders Keepers. Check the Dangerous Minds article on the legendary pre-punk/no wave band KONGRESS (also featuring VON LMO, OTTO VON MUGGINS, etc..) http://dangerousminds.net/comments/kongressional_hearing_amazing_unknown_punk_band_from_the_70s_kongress

Artist: LAMARTINE
Title: Reportage
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"The name Lamartine was a true mystery of library history. In keeping with the habitual culture of library music, the mononymous Lamartine was thought to be one of many creative nom de plumes designed to disguise the true identities of the artists. 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 had remained a mystery for decades. It wasnt until the 2000s, when the Italian independent production music label Flipper -- the parent company responsible for the imprints Union, Octopus, Flirt, and Deneb, among others -- decided to digitize its catalog, that a gleam of hope appeared via a sealed, misfiled master tape. 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 Bari at Flipper recounts that, throughout the extensive paperwork at Flipper, the music of Radicchi or Lamartine was never licensed out for synchronization and doesnt appear on any of the associated labels discographies. "The music was never even pressed on to vinyl and the master tape remained in our store room for all these years," he told Finders Keepers in 2013. After cross-referencing track-times and titles, di Bari could also reveal the full name of the artist to beOdoardo (aka Eduardo) Radicchi -- a senior member of the Italian music scene from the same generation as Nino Rota, Giorgio Gaslini, and Gian Piero Reverberi. Rendered in the hinterland between Italian cinemas penchant for psychedelic rock and the onset of the synthesizer music and Italo disco movements later in the 1970s, LamartinesReportage, recorded in 1974, is part of a community of laboratory projects that researched the capacity of electronic music before it swept the nations media. Lamartine -- once an anonymous, dubious genius in the library micro-genre -- can now be named and recognized as a unique artist with a distinctive sound, adding new colors to the vibrant palette of Italian studio artists and painting a wider sonic picture of the evolution of Italian pop and film music. The Italian library liberation front keeps growing; its the genre that keeps on giving. Its time for artists like Lamartine to name and claim their places in electronic music history." - Finders Keepers.

Artist: MILLER, GRAEME & STEVE SHILL
Title: The Moomins
Format: Cass
Label: Finders Keepers
Country: USA
Price: $17.00
"Comes in a marshmallow colored shell. Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth-driven, proto-techno, imaginary world music created on a Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically-driven post-punk theater performers from a shared house in Leeds. To even the most perspicacious and adventurous of alternative music fans, the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this projects ambitious and exotic credentials didnt tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that youve never heard. From the same social landscape as Gang Of Four, The Mekons, and Impact Theatre Co-operative - armed with a Wasp synthesizer, an ocarina, and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dream-like illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next five minute fix of outer national fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers, in close collaboration with the original composers, present the first-ever full soundtrack release for the UK-specific cult animated series. Finders Keepers take the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion, and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley." - Finders Keepers.

Artist: NICOLAI, BRUNO
Title: All the Colours of the Dark
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"2014 release. Finders Keepers Records proudly unveils what is perhaps the crowning moment for both composer Bruno Nicolai and actress Edwige Fenech, with score of Tutti i colori del buio (All the Colours of the Dark), the film that inaugurated them, with director Sergio Martino, into the giallo canon in 1972. Presented here as an alternative to the extremely rare 1973 Gemelli library edition, this release includes the films previously unreleased hard-hitting left-field psychedelic pop themes performed by a trio of Nicolai with sitar-wielding Alessandro Alessandroni (in true Pawnshop/Braens Machine mode) and Italian cinematic songbird Edda DellOrso. Recorded in January 1972 at Ennio Morricones Ortophonic Studio in Rome (birthplace of Goblins Roller and Alessandronis soundtrack to Sangue di sbirro (Cops Blood) (1976), among many other classics), All the Colours of the Dark is a balance of psychotic free jazz, aggressive bass driven beats, schizoid Eastern motifs, and childlike lullabies -- with the last element augmenting Martinos proud Rosemarys Baby influences in his tale of a rehabilitated relationship plagued by recurring nightmares and vague memories of a religious cult. To claim this score as Nicolais all-time best is perhaps a little hasty for this versatile composer of such acclaim and widespread appeal, but for fans of that unique window of unhinged musical opportunity which came with the giallo boom of the early 1970s, this record epitomizes the world of Fabio Frizzi, Goblin, and Walter Rizzati. Pressed on red vinyl; includes poster.” - Finders Keepers.

Artist: NICOLAI, BRUNO
Title: The Case of the Bloody Iris
Format: 10
Label: Finders Keepers
Country: UK
Price: $21.00
“2014 release. The last in a series of Italian giallo films produced by Luciano Martino and starring Edwige Fenech and George Hilton, Giuliano Carnimeos 1971 film The Case of the Bloody Iris (also released internationally as What Are Those Strange Drops of Blood Doing On Jennifers Body?) remains a key feature for Italian soundtrack fans and giallo enthusiasts alike. Containing every facet of composer Bruno Nicolais versatile musical matrix, this suite of rich, oblique paranoia pop now makes its vinyl debut via Finders Keepers Records. Drawing on a wide experience of cinematic commissions working as Ennio Morricones closest collaborator (on scores as varied as The Good, the Bad and the Ugly (1966) and A Lizard in a Womans Skin (1971)), while also providing the exploitation films of Jesús "Jess" Franco (including Marquis de Sade: Justine (1969) and A Virgin Among the Living Dead (1971)) with elaborate integral theme tunes and cues, Nicolai would reveal some of his best, uninhibited ideas in classic giallo films starring Edwige Fenech. Recorded in just two days in July 1972 at the seminal Ortophonic Studio in Rome (birthplace of Goblins Roller, Alessandronis soundtrack to Sangue di sbirro (Cops Blood) (1976), and recordings by Morricone, Vangelis, and New Trolls), Nicolais score for The Case of the Bloody Iris presents the composer working with his small orchestra free from outside influence. With heavy emphasis on arrangements led by bass and rhythm, this up-tempo score balances the avant-garde stylings of the Gruppo di Improvvisazione di Nuova Consonanza with saccharine bossa interjections (which hardcore fans of the genre will associate with Giorgio Gaslinis score to Rivelazioni di un maniaco sessuale al capo della squadra mobile (So Sweet, So Dead) (1972) and Nicolais own score to Eugenie (De Sade 70) (1970)). This music, alongside the previously unpressed score to Sergio Martinos 1972 film All the Colors of the Dark (FKR 071LP), is an integral chapter in the development of 70s Italian film music and the Italian cinematic pop landscape shared by the likes of Claudio Simonetti and Goblin, Bixio, Frizzi & Tempera, Walter Rizzati, and the Reverberi brothers. The score to The Case of the Bloody Iris was never released as a dedicated soundtrack album when the film appeared in late 1972; these tracks are presented on vinyl here for the first time, and this edition also includes two theme variations that didnt make the final theatrical cut of the film.”
SOLD OUT

Artist: PARKER, ALAN
Title: One Summer: Original Score to the 1983 TV Series
Format: 7"
Label: Finders Keepers
Country: UK
Price: $16.00
"Limited edition of 1000. Previously unreleased schizo post-punk/Moogy folk score for the 1983 British scouseploitation TV drama One Summer from the vault of guitarist and composer Alan Parker, best-kept secret session man for Kate Bush, Serge Gainsbourg, and David Bowie. Composed to cue for the five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small-screen scoring came in one-to-two-minute spells, allowing Finders Keepers to comfortably fit the entire soundtrack on one 7"." - Finders Keepers.

Artist: RANA, SOHAIL
Title: Khyber Mail
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
2011 reissue. "Originally released in 1970 by EMI Pakistan. Sohail Rana, versatile maestro of film and pop composition, and leading force in pioneering the cultural landscape of modern Pakistan. His longplay masterpiece, Khyber Mail is stocked with groovy eastern moods, electric organ, sitar soul and surf guitar. --Alan Bishop (Sublime Frequencies/Sun City Girls)
"Khyber Mail is a concept album designed to invoke images and sounds of a high speed Pakistani freight train travelling from Karachi to Peshawar. Its dominated by Sohails whining and addictive electric keyboard and a motoric rhythm section of beaty percussion and sitars introducing a form of radical patchwork pop and mechanical music to a warm receptive audience. By combining the folk music of the Sindh and the Punjab with maverick sounds, signatures and rhythms, Khyber Mail marks a landmark shift in the Pakistani pop industry, kick-starting a lengthy career for one of its best-loved musical patrons while setting a challenging new standard for the "plugged-in" Lollywood pop scene that would explode at the turn of the decade." - Finders Keepers.

Artist: SATO, MASAHIKO
Title: Belladonna
Format: LP
Label: Finders Keepers
Country: UK
Price: $28.00
"There was a time when the strength of a musicians 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 ORourke.
"An unholy grail of near-mythical status is finally now available in the form of this first-ever reissue. Masahiko Sato composed this elusive, sensual, psychedelic free jazz score for the stunning 1973 Japanese witchcraft animation Belladonna of Sadness (Kanashimi no Belladonna) directed by Eiichi Yamamoto. Since the mid-2000s, 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 in 2015, fans no longer have to settle for third-generation VHS telecine dubs or stuff their wish-lists into the hands of lucky friends visiting Tokyo. 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, with prices literally doubling each time the original stock copies swap hands among the same Italian dealers at central European record fairs. Italian soundtracks are expensive anyway, but this one, originally released by the Italian Cinevox label in 1975, has extra credentials. Finders Keepers Records and Sato himself agreed that this record should finally be liberated among those who know the magic words. With the decision to keep this album "strictly Sato," a track from the original release has been removed -- the main orchestral love theme by Asei Kobayashi and Mayumi Tachibana -- which in all honesty is very much detached from Satos psychedelic soundtrack. Kept intact, however, are the songs sung and penned by Satos wife at the time, Chinatsu Nakayama, including the track titled "TBFS," which only appears on the master tapes and never actually made it onto the theatrical cut of the film (though the theme is briefly alluded to, with different instrumentation, in a cut-scene available on the German DVD release). This reissue project also marks the beginning of a longer intended relationship between Finders Keepers and Masahiko Sato, exploring his recorded work in film music, jazz, and avant-garde composition.” - Finders Keepers.

Artist: SELDA
Title: s/t
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
“2016 repress; originally reissued in 2006. Bearing all the aesthetic watermarks of a private-press country LP, Selda Bağcans 1976 debut long-player is a stunning work of space-age Anatolian electronic, progressive protest-psych-folk-funk-rock; a delectable hybrid concoction, presented with the utmost authenticity and conviction, which has never been replicated or equaled in the decades since its recording. When Selda first released her long-awaited LP (the first of two confusingly eponymous titles released the same year), she was enduring/enjoying her halcyon time as one of Turkeys most politically outspoken popular folk singers. In the previous decade she had made a household name for herself as a traditional Anadolu protest singer with a spectacular emotive vocal capacity (for idle arguments sake, begging comparison to a TurkishJoan Baez). A figurehead and poetic driving force for a radical generation of politically motivated, creative revolutionaries, she sang raw, stripped-down folk songs with a yearning for political change and a heart-wrenching earnestness. On her debut LP, in a match made in psychedelic heaven, Seldas radical prose fuses with equally radical musical gestures from some of the most lauded musical mavericks, including Anadolu beat combo Moğollar (also known to a growing French audience as Les Mogol), popular backing band Dadaşlar under the guidance of Anatolian rock stalwart Arif Sağ, and master electronic producer and pioneer Zafer Dilek. The bands were assembled at multiple sessions at Yeni Studios and the über-legendary Studio Elektronik, where the record was finally completed and mastered. Released in 1976 to equal parts critical acclaim and skepticism, the album smashed boundaries both lyrically and musically. It begs comparison to the second LP by post-folk sibling trio 3 Hür-El (GUESS 056LP), who used a balance of electronically treated saz and proto-polyphonic synthesizers to similar effect (exemplified here on tracks such as "Gitme" and "Yaz Gazeteci Yaz"). However, the fact that Selda was one of the few female voices to adopt the use of such cutting-edge techniques puts the LP in a league of its very own. Anatolian progressive rock has since gained popularity among DJs, producers, and record collectors as an unrivalled source for unique sounds rarely found in other genres of international music, and the artists involved in the recording of this LP, all of whom continued to record radical and experimental music, are considered the cream of the crop among Eastern psych aficionados. Includes two bonus tracks from the album sessions.” - Finders Keepers.

Artist: SHAVIT, AMI
Title: In Alpha Mood
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
""The music of this record was stimulated by the theory and practice of biofeedback. It is aimed to create a calm, relaxed, meditative mood associated with alpha brain wave" --original back cover. Part outsider electronic album, part physiological experiment, part work of art, this is not your average new age record. The brainchild of a reclusive Israeli multimedia artist fascinated with philosophy, technology, and sound by the name of Ami Shavit, In Alpha Mood is the result of a personal and artistic effort to both overcome a personal trauma and push the boundaries of a fledgling physiological understanding while utilizing the burgeoning domestic synthesizer technology of the late 60s and early 70s. Shavit sought to combine his love of electronic music acts likeTangerine Dream, Philip Glass, and synthesizer technology with his fascination with the relatively new technique of biofeedback, but his work was interrupted when, in 1973, he was conscripted into the army during the Yom Kippur War. As he struggled to come to terms with his wartime experiences, he began adding battlefield soundbites to his recordings, and found a sort of catharsis. He returned to his work, and soon a longtime friend and owner of the Mango record shop (a Tel Aviv institution at the time) suggested he press some of his recordings on vinyl. Rather than cull disparate excerpts from his expansive tape archive of home recordings, Shavit began what would become the culmination of his years of experimentation and the centerpiece of his work with the music-induced state of working relaxation he called Alpha Mood. Recorded in Shavits studio during a handful of sessions with no post-production, In Alpha Mood was mastered at Triton Studios (where Arik Einstein and Tamouz had also recorded), pressed by Hed Arzi Music (one of Israels oldest and largest labels and manufacturers), and released on Shavits Amis Records in 1977. Only 500 copies of a planned run of 5000 were pressed, and, with no publicity, it was sold to discerning record-buyers with little or no understanding of the record or its maker outside of his status as a prominent visual artist. Apart from a handful of Alpha Mood exhibitions in Israel, those 500 copies and six remaining master tapes (including that of In Alpha Mood) are the only remaining artifacts of Shavits Alpha Mood experiments. This first vinyl reissue of In Alpha Mood was remastered from the original master tapes sourced from Shavits private archive." - Finders Keepers.

Artist: SPENCE, SAM
Title: Sam Spence Sounds
Format: CD
Label: Finders Keepers
Country: UK
Price: $18.00
"2015 repress; originally released in 2010. The psychedelic synthesized world of Kuckuck label stalwart Sam Spence. Born in San Francisco in 1927, Samuel Lloyd Spence is a peculiar piece in the komplicated krautrock puzzle. As an American expat working in a community of German rock musicians in the early 70s, Spence shared his alien status with the likes of David Johnson and Malcolm Mooney (Can), Carole Muriel (Brainticket), Maria Archer (Embryo), Bill Barone (Wallenstein), and the band Sweet Smoke, but in Spences case it wasnt the free love and communal living that attracted him to Germanic pastures -- Spences European travel plan was academic. Over a decade earlier, Spence had travelled from California to Paris to study "serious music" composition at the École Normale de Musique with the great composers Arthur Honegger and Francis Poulenc, where he conducted alongside Jean Fournier. His original roots playing clarinet and sax in Californian swing bands had led to paid work as a composer for commercial Hollywood groups, which led in turn to a part-time interest in electronic instruments and the development of the synthesizer. Spence was able to use his Hollywood credentials to score German TV commissions making dozens of groovy symphonic scores with electronic flourishes; toward the end of the decade, with the help of a long-term contract for composing motivational music for the National Football League, Spence had raised enough capital to bring one of the very first Moog synthesizers to Germany. While in Munich Spence met Kuckuck label owner Eckart Rahn, and the pair discussed the idea of recording an LP of electronic music that would appeal to ambient and experimental enthusiasts who were searching for cosmic sounds after the rise of bands like Kraftwerk and Tangerine Dream. After the release of two Moog-fueled singles, including a cover version of Focuss 1972 hit single "Sylvia," Rahn agreed to release Spences debut LP of synthesizer based pop music, which would sit among his eclectic Kuckuck roster that included the minimal electronic pulses of Deuter, the experimental field recordings of Ernst Schultz, and the avant-garde releases of Peter Michael Hamel and Terry Riley. Having continued to expand his successful career in symphonic music, Spence would, by the end of the 1970s, return to orchestral film music, seizing further opportunities to work as a composer and recording over 500 cues for films made by the NFL back in his native USA." - Finders Keepers.

Artist: SPENCE, SAM
Title: Sam Spence Sounds
Format: LP
Label: Finders Keepers
Country: UK
Price: $27.00
"2015 repress; originally released in 2010. The psychedelic synthesized world of Kuckuck label stalwart Sam Spence. Born in San Francisco in 1927, Samuel Lloyd Spence is a peculiar piece in the komplicated krautrock puzzle. As an American expat working in a community of German rock musicians in the early 70s, Spence shared his alien status with the likes of David Johnson and Malcolm Mooney (Can), Carole Muriel (Brainticket), Maria Archer (Embryo), Bill Barone (Wallenstein), and the band Sweet Smoke, but in Spences case it wasnt the free love and communal living that attracted him to Germanic pastures -- Spences European travel plan was academic. Over a decade earlier, Spence had travelled from California to Paris to study "serious music" composition at the École Normale de Musique with the great composers Arthur Honegger and Francis Poulenc, where he conducted alongside Jean Fournier. His original roots playing clarinet and sax in Californian swing bands had led to paid work as a composer for commercial Hollywood groups, which led in turn to a part-time interest in electronic instruments and the development of the synthesizer. Spence was able to use his Hollywood credentials to score German TV commissions making dozens of groovy symphonic scores with electronic flourishes; toward the end of the decade, with the help of a long-term contract for composing motivational music for the National Football League, Spence had raised enough capital to bring one of the very first Moog synthesizers to Germany. While in Munich Spence met Kuckuck label owner Eckart Rahn, and the pair discussed the idea of recording an LP of electronic music that would appeal to ambient and experimental enthusiasts who were searching for cosmic sounds after the rise of bands like Kraftwerk and Tangerine Dream. After the release of two Moog-fueled singles, including a cover version of Focuss 1972 hit single "Sylvia," Rahn agreed to release Spences debut LP of synthesizer based pop music, which would sit among his eclectic Kuckuck roster that included the minimal electronic pulses of Deuter, the experimental field recordings of Ernst Schultz, and the avant-garde releases of Peter Michael Hamel and Terry Riley. Having continued to expand his successful career in symphonic music, Spence would, by the end of the 1970s, return to orchestral film music, seizing further opportunities to work as a composer and recording over 500 cues for films made by the NFL back in his native USA." - Finders Keepers.

Artist: SPOERRI, BRUNO
Title: Langstrasse Zwischen 12 Und 12
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"Swiss composer Bruno Spoerri, in conjunction with long term collaborators Finders Keepers, finally unleashes the master tapes to an obscure 1972 feature length documentary called Langstrasse Zwischen 12 und 12 (Long Street Between Midday And Midnight). Directed by Gianni Paggi (who had also worked on Swiss pop music weekly Hits A Gogo) and radio host and author Max Rüeger this seldom seen film studied the stark counter balance between the lifestyles of the inhabitants of Zurichs famous Langstrasse, exploring real-life stories. To accentuate the ironic and slightly schizophrenic nature of the production Paggi and Rüeger called upon Spoerri as one of the countrys most versatile instrumental composers to share a first-hand impression of the area as a local himself. Exploring a wide range of musical disciplines, Spoerri successfully infused vibrant bursts of sonic color into the monochrome imagery of the program, creating a floating narrative undercurrent quite unlike anything heard on regular Swiss TV during the era. In scoring such a project to a precise deadline Spoerri would require a trusted group of regular musicians, many of whom would appear on collectable records by Swiss groups such as The Metronome Quintet, The Rainbow Orchestra and Emphasis. As a leader of The Metronome Quintet himself Bruno was comfortable working alongside reliable members Fernando Vicencio (sax and flute), Ueli Staub (vibes, keys and percussion) and drummer Rolf Bänninger. Other players on this session include Latin multi-instrumentalist Antonio Conde, pianist Renato Anselmi and trumpeter Franco Ambrosetti. The final icing on the cake for this session would be the inclusion of Switzerlands leading harmonica player Heinz Pfenninger, a welcome addition to the group having played with Ueli Staub in the award-winning Roby Weber Quartet. Langstrasse Zwischen 12 und 12 sees Spoerri explore unique new territories, combining the skill of incredibly talented musicians and combining his own discoveries in the realms of electronic music and his own brand of post-concrète found sound application which would appear on his rare postcard records made for industrial companies utilising wristwatches, pneumatic drills and forklift trucks as essential parts of his orchestral palette. This early 70s glimpse into Spoerris narrative composition for the small screen captures an important European artist-cum-scientist treading a seldom trodden path between experimental pop, jazz and music technology in its infancy." - Finders Keepers.

Artist: V/A
Title: Pomegranates
Format: Double LP
Label: Finders Keepers
Country: UK
Price: $28.00
"2016 repress; originally released in 2009.Pomegranates collects some of the finest Persian pop songs ever recorded. Many are acknowledged classics within Iran and throughout the Iranian Diaspora. Some are obscure. This collection is a trove, ripe for discovery and rediscovery, and worthy of inclusion in the canon of idiosyncratic musical gems from the global south. Most of contemporary Irans artistic and creative leanings, and its grapples with history and identity, are loosely and mystically conjoined and contested in memory. Iran is marked by the complex interplay of diverse constituencies, philosophies, and influences -- ethnic, religious, political, geopolitical, and historical. As in many other countries, the 60s and 70s were a time of tumult in Iran, bringing growth (via petrodollars) and freedom (under the banner of socioeconomic development) while exacerbating inequalities within the country. The music and voices that blossomed during those decades exemplify the turbulence and excitement of the age. It is worth recognizing these left-out and lost artists individually and as a group when considering the global happenings of 60s/70s psych, rock, and folk, while exploring their influence and relevance since. This collection endeavors to recontextualize these songs from the realm of reminiscence, nostalgia, and memory into a specific and accessible narrative to share and relate within the universal musical gamut. It is for aficionados, the curious, and collectors alike. The recordings excavated here are highly sexual musings, voluble love songs, simple folk tunes, and subtle works of political protest. Includes performances by Zia, Mohammad Nouri,Mehrpouya, Googoosh, Kourosh Yaghmaei,Parva, Nooshafarin, Soli, Marjan, Sima Bina,Ramesh, and Dariush." - Finders Keepers.

Artist: V/A
Title: Thai? Dai!: The Heavier Side of the Luk Thung Underground
Format: LP
Label: Finders Keepers
Country: UK
Price: $26.00
"2016 repress; originally released in 2011. Fourteen slabs of the heaviest Thai funk and psych rockers ever committed to vinyl. The styles featured on this compilation fall somewhere between luk thung ("song of the countryside") and luk krung ("song of the city"). Bangkok was a melting pot for the evolution of these two genres, the former alluding to musical themes and lyrics aimed at the wider national population and the latter looking westward with a more urban audience in mind. Thai? Dai! collects experiments by both little-known groups and established figures like Plearn Promdan. Even within Thailand the majority of these tunes remain unissued outside of this compilation, making this a truly essential glimpse into the strange underbelly of Thai luk thung in all its unique, original, and outlandish glory; a small snapshot of an otherwise forgotten era, gloriously remastered from the original sources and officially licensed from the original label, Sound of Siam Co. Ltd. Includes performances bySroeng Santi; Plearn Promdan; Rung Petchburi; Rung Fah Puping;Petch Burapa; Teungjai Bunpraruksa; Riem Daranoi; and Jalwal, Annie & Geerasak.” - Finders Keepers.

Artist: V/A
Title: Zucca-MC
Format: Cass
Label: Finders Keepers
Country: UK
Price: $20.00
"Party pack bumper track various artist compendium of hexploitation pop and spook sonics limited to 150 zucca (pumpkin) orange coloured Italian cassette shells in black hard case. Compiled from unheard and forthcoming outer-national releases from all the Finders Keepers sub-labels and featuring a couple of recent (oc)cult-classics. These poltergeist pop premonitions provide an exclusive peek into what we have ressurrected for future releases. Tracks by: Bruno Nicolai , Germain Hubert Ales , Applehead , Suzanne Ciani , Daniella Casa , Tender Prey , Bruce Ditmas , Sam Mcloughlin , Silicon Arc , Sam Spence , The Fates , Braen Raskovich , Clone , François Tusques , Bruno Nicolai , Zdeněk Li?ka , Pierre Henry , Lamartine , The Vampires Of Dartmoore and Jane Weaver ." - Finders Keepers.

Artist: VANNIER, JEAN-CLAUDE
Title: LEnfant Assassin des Mouches (FKR 10th Anniversary Edition)
Format: LP
Label: Finders Keepers
Country: UK
Price: $28.00
"To mark its 2015 ten-year anniversary, the Finders Keepers label presents an improved, remastered repress, with updated liner notes in a gatefold sleeve, of its first release, a reissue of Jean-Claude Vanniers 1972 album LEnfant Assassin des Mouches. At the time of the 2005 reissue the resurgence of 60s Gallic pop, once known as yé-yé music, had escalated beyond an interstellar height. Without a shadow of doubt, the flagship LP with the best odds on becoming a discerning household object was Histoire de Melody Nelson (1971) by one Serge Gainsbourg, an inimitable 45-minute concept LP handcrafted by a bass-driven psychedelic rock group and a heaven-sent 1001-piece orchestral and choral symphony. The album left hip hop producers and progressive rock aficionados crying out for more and more for years to come. This LP was in a league of its very own... or was it? The seldom-sung musical arranger for Melody Nelson, Jean-Claude Vannier, is the lesser-spotted tell-tale seal of sample-friendly quality when it comes to crate-digging "en Français." Suitably, rumors among French record dealers claiming "the band who played Melody Nelson recorded a follow-up LP" became a legend of psychedelic folklore. Another unconfirmed rumor about JCV taking the remaining outtakes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample-hungry producers and DJs in turmoil... The answers to these mysteries lay between the gatefold sleeve of an undiscovered conceptual album bizarrely titled LEnfant Assassin des Mouches by a custom-built avant-rock entourage called Insolitudes. So here we have it. For record-collectors looking for that special something, this LP contains the extra-special everything. Peruse the following genres: psychedelic, classical, soundtrack, jazz, hip hop, samples, avant-garde, funk. Then place a copy of LEnfant Assassin des Mouches in each section. History notes that when M. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper and composed bizarre liner notes, thus consummating the most extraordinary concept album of all time. The story "The Child Assassin of the Flies" was to be included as the only information to grace the LPs highly collectible concertina-gatefold sleeve. The story in full is reproduced in its native tongue on this very special re-release package. DJs and producers such as Jim ORourke, Stereolabs Tim Gane, and David Holmes have spent sleepless nights in perusal of original copies of this perfect release and now regard it as "One of the Best." - Finders Keepers.
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Artist: VANNIER, JEAN-CLAUDE
Title: LEnfant Assassin des Mouches Alternate Takes
Format: 7"
Label: Finders Keepers
Country: UK
Price: $16.00
"RSD 2016 release. Authentic 1970s promo artwork. Limited edition of 2000. Amazing master tape discovery of a misplaced 1973 Jean-Claude Vannier single, including previously unheard instrumentation and alternative arrangements and mix board levels from the first days of the LEnfant Assasin des Mouches sessions (BMS 001CD, 1972), which occurred a few months after the release of Vanniers seminal work on Histoire de Melody Nelson (1971). These pieces were recorded as a proposed major label single, indicating that they were the first (and most exciting) tracks to emerge from the flamboyant, visionary sessions. This is the first in a series of vintage Vannier projects extracted from a vault of previously lost materials." - Finders Keepers.

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