Long heralded by serious fans digging in the out fringes of post-minimal music, before us is yet another shimmering body of sound which redefines our understanding of the 1980s. It’s about as exciting as they come.
4x Vinyl LP collection in cloth bound cover
Sold out at source!!
— Edition of 250 screen-printed canvas carriers, with a signed and sealed Certificate of Absurdity from Robert Cox
— Purchase of collection includes four LPs, including the exclusive Light Metabolism Number Prague:
Below The Horizon (FTS005)
On Dry Land (FTS006)
In The Woods (FTS007)
Light Metabolism Number Prague (FTS008)
— Purchase of collection includes high-quality digital download cards for all four LPs
Finding the perfect axis between the likes of Goblin, Roubaix, Barry and Sorgini this bloodthirsty entrée to our Bruno Nicolai and Edwige Fenech series delivers a vinyl debut for the music of this lesser-known beat driven Sergio Martino Giallo horror. A real treat for the patient Euro VHS fans and the library collector alike this varied vinyl compact OST finally spreads its wings.
As the third instalment of a devoted series of vinyl releases focussing on Italian composer Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers serve this bloody hors d’oeuvres of 4 tracks from the 1971 Sergio Martino Poe inspired Italian thriller Your Vice Is A Locked Door And Only I Have The Key.
This limited pressed 7″ EP opens up with one of the composer’s greatest Giallo theme tunes from his recorded golden era containing all of those characteristic traits as previously heard on our De Sade and Conte Dracula releases. Previously only available in edited form as the lead track of the much sought-after but commercially unavailable Rendez Vous library LP, Finders Keepers have paired our loyalty to both the Euro horror video collectors as well as the vinyl detectives to bring you something unique and truly coveted from italian shock cinema’s vibrant plumage.
Bass driven, beat laden with deranged psychedelic symphonies (finding the perfect axis between the likes of Goblin, Roubaix and Barry) this four track instalment also combines other melodic pastoral harpsichord and clavinet motifs echoing Nicolai’s work with Morricone for films like Lizard In A Woman’s Skin to make this compact forerunner the perfect rounded release for a long overdue vinyl debut.
The remains of the vessel weren’t removed for several days. I walked down with my father to peer inside the boat cabin. Maps, coffee cups and clothing were strewn around inside. “I remember looking only briefly, wilted by the feeling that I was violating some remnant of this man’s presence by witnessing the evidence of its failure. Later I read a story about him in the paper. It was impossible to know what had happened. The boat had never crashed or capsized. He had simply slipped off somehow, and the boat, like a riderless horse, eventually came back home.” The narrative somehow enhances the songs – an achingly beautiful combination of forlorn, reverb-drenched lullabies draped in a veil of isolation reminding us of a more damaged Mark Kozelek, and indeed the classic 4AD sound with which Grouper has been compared so many times in the past.
By the time you reach the closing track ‘Living Room’, however, you come to the realisation that despite her best efforts to obscure her songs, Harris might just be one of the most gifted songwriters of her generation. An incredible album – possibly her finest yet.
The long-awaited vinyl reissues of legendary janglists Felt finally arrive via Cherry Red. For ten years, Felt gave the world ten near-perfect albums and ten near-perfect singles that have gone to make up some of the most alluringly distinct and unmistakably unique ambient reaching post-punk music to ever be recorded.
The shortest and most experimental title in Felt’s catalogue, The Seventeenth Century (originally titled Let the Snakes Crinkle Their Heads to Death) features an expansive 19 minutes of music, mostly instrumental. Yet all in keeping with the traditional Felt sound, post-punk jangle that is as compelling as it is otherworldly. Retitled for this reissue, Lawrence is quoted as saying “You can’t change the title of an album” – they told him – so he said; “if Kraftwerk can and Bowie can then I can too!!”
If you have been grabbed by Coil, Kate Bush & Cocteau Twins or recently the Solid Space reissue on Dark Entries, Offen and Stroom than look no further than this for your next hit of undiscovered, 80’s eclectism. Existing entirely out of time with the groups and music that made up their surroundings back in the 80s, and praised in mixes by everyone from The Black Dog, Regis, Sleeparchive & Blackest Ever Black. Felt are one of the most incredible, yet criminally unknown groups of the post-punk generation.
‘Floating Into The Night’ is the 1989 debut album by vocalist Julee Cruise featuring songs written and produced by composer Angelo Badalamenti and film director David Lynch. The songs ‘Falling’ and ‘Rockin’ Back Inside My Heart’ were both featured in Lynch’s cult television series Twin Peaks, while ‘Into the Night’, ‘The Nightingale’ and ‘The World Spins’ also appeared in the show. The instrumental version of ‘Falling’ was the theme song for Twin Peaks while the album as a whole is almost an unofficial soundtrack to the series. The track ‘Mysteries Of Love’ was prominently featured in Lynch’s classic film Blue Velvet. Cruise’s dreamy, light vocals match perfectly with the music and lyrics to make this album sound like it is unattached to any era. Reissued on red vinyl with a double sided insert by Plain Recordings.
Fantome Phonographique present a reissue of Ustad Abdul Wahid Khan’s self-titled release, originally released on Columbia in 1966. Even though the original recordings are crackly and in low fidelity (but also deeply charming) it seemed necessary to repress this record for its immense historiographic value. These recordings are made available here with new mastering, in as clear fidelity as possible. Fans of Indian classical music will no doubt know the name Ustad Abdul Wahid Khan. He founded the Kirana gharana musical family with his cousin Abdul Karim Khan in late 19th century, which was one of the most prolific and revered gharanas in Hindustani classical music. In addition, serious American minimalist scholars and fans have also been heard echoing his name, linked to that of Pandit Prân Nath, his student for over twenty years. It was Abdul Wahid Khan who pushed his pupil Prân Nath into exporting the techniques of their music school, which brought Prân Nath to the US where he drastically influenced most of the then-emerging avant-garde New York scene. Terry Riley, La Monte Young, Rhys Chatham, Jon Hassell, Yoshi Wada, Marian Zazeela, Henry Flynt, Charlemagne Palestine, and more were Prân Nath’s students and in some cases close collaborators. It is therefore clear how important it is to gain deeper understanding of the music of Ustad Abdul Waheed Khan. A celebrated singer and sarangi player, Khan forbade recording of any of his performances to avoid imitation by other singers. Only these three pieces survived, recorded in secret for a radio broadcast in 1947, just two years before the singer’s death. A truly stunning document that is essential to understanding the modern era of Hindustani classical music, whose influential reach is immeasurable. Edition of 500.
From the shrapnel of the unlikely collision point where Mancunian post-punk royalty collides with sci- cinema and art house animation, this obscure diamond in the rough shines a new light on the Northern DIY era providing disc detectives with a whole new punk funk perspective. Recorded in 1976 by Invisible Girls’ Steve Hopkins and Martin Hannett for a truly bizarre stop-motion animation called All Sorts OF Heroes, this hard edged funk instrumental theme reveals another side to this versatile production team joining the hidden dots between Hannett’s own discoid experiments with ESG, Gyro, A Certain Ratio and the mythical Afro Express recordings from the same year.
Embodying as much in common with 1970’s bass heavy European funk soundtracks by bands like Goblin and Placebo, as the expected parallels with John-Cooper Clarke’s backing tracks or early Happy Mondays, this early 1976 session is the perfect example of Hannett and Hopkins’ under-the-radar artistic commissions working to a storyboard brief in what has now become recognised as a fertile arena for lost lmic funk.
Drawing historic parallels with Leeds-based Graeme Miller and Steve Shill’s home recorded DIY soundtracks for The Moomins animation and accentuating the connection between Manchester based animation house Cosgrove Hall (Dangermouse/Chorlton And The Wheelies) and its employees Bernard Sumner, John Squire and members of Gerry And The Holograms, this lost recording adds kudos to a quirky micro-niche and reveals another dimension to Northern anti- pop’s snarky personality.
Pressed here by Finders Keepers for the first time on vinyl, in close accordance with the wishes of Steve Hopkins himself, this custom-composed track originally appeared on the short lm by Rick Megginson and Steve Hughes which was shown at the Ottawa International Animation Festival in 1976 where it might have otherwise remained, preserved in an 8mm lm box up until now. As relevant today as it was then, this closely recorded, cosmic cartoon, slappy funk theme provided the films backdrop for a workshop montage scene where an aardvarkian spaceman constructs a giant metal face robot which might well leave fans of Madlib and MF Doom fans pondering time travel?! Like much of the lost and unreleased projects that stalled on the peripheries of early proto-Madchester, including the disco-pogo music of Spider King, Gerry And The Holograms, The 48 Chairs, Naf and The Mothmen, this record has been frozen in time waiting for the wider marathon of independent pop to catch up!
Presented here faithful the 45 format of choice, this 7” might well be another missing link between your Rabid, Absurd and Factory records, backed with another lesser- known Invisible girls recording Scandinavian Wastes which has also been begging for its first vinyl outing since its recording in the early 1980’s. Another historical bucket list release for Finders Keepers Records outernational discography, leaving zero stones unturned, even the ones under our own doorstep
Don’t let the name mislead you! The enigmatic M. Zalla is one of the numerous aliases of the italian maestro Piero Umiliani who, during his period of fascination for psychedelic and electronic atmospheres, started to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time. We are at the beginning of ’70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature; dark and disturbing, a sort of unicum in the long and extremly productive Umiliani career. And if, in 2015, titlesas “Mondo in Crisi”, “Problemi Sociali”, “Azione Sindacale”and “Mafia Oggi” sounds still sadly actual, it’s even more surprising find that the music of “Problemi d’Oggi” (Today Problems) is projected on the future, sounding still alien and uniques. The record presents a various styles: Pink Floyd atmospheres (or Braen’s Machine if you prefer…) and compositions characterized by a wide use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen to the opening track “Produzione” to give sense to the words of Sean Canty (Demdike Stare) that defines it the first techno/trance track of the history; but between the grooves of this vinyl it’s easy to find intuitions that many other artist and musicians – from Residents to Aphex Twin and Four Tet – will be able to catch during their carrers. So “Problemi d’Oggi” is released in 2015. Perfect timing!
SHELL is the debut EP from SADAF, exploring a young cineaste’s failed script and discombobulated thought process. The loose narrative of the album pivots from the narrator’s viewpoint to the fictional characters she has imagined. Grappling with writers block and a self-sabotaging disposition, the narrator decides to burn the script and start anew. Burning a script becomes an exorcise in burning an image of oneself, leaving behind an empty shell or crust without a formed center. The shrill combustible sounds and crackling beats echo the destructive sentiments that plague the narrator’s creative process.
HEALTH is a tender meditation on loss and the resulting desire for comfort – be it familial, physical, emotional or romantic.
In October of 2016, Callie fractured her collarbone in a frightening car accident, supported her father through a cancer scare, and experienced the extreme loss felt by her community following the Ghost Ship fire in Oakland. HEALTH was created in the wake of these events. While these swells of loss brought about the popping of an imagined safety bubble, and a new presence of fear and vulnerability, they also birthed the rapid realization that she needed to slow down, release control and replace it with calm-confidence and gratitude. It is an exploration of home, nostalgia, gratitude, fear and the manifestation of anxieties. It documents Callie’s journey of discovering her feminine sexuality, as well as the grounding effects of partnership, and the intimate exchanges between loved ones.
Throughout HEALTH, Callie utilizes field recordings of her loved ones and her home, exploring the idea that nostalgia, sadness, and familial warmth can be felt without context of whose voice you’re listening to. HEALTH aims to prove that love, vulnerability and fear are guttural instincts, universally shared.
Callie is a Los Angeles based electronic musician and vocalist who creates textured compositions with a vulnerable and intentional foundation whilst aiming to invoke feelings of tenderness and self-reflection. Her projects document the search for a balance between the masculine and feminine, as well as presenting fluid feelings of ever-changing physical, emotional, and sexual anxieties and gratitudes alike. Exploring our abject and unaddressed internal anatomical systems and their connection to our feelings and actions is a core foundational brick for Callie’s compositions. She works to express tangible gut responses through emotive and detail-oriented sonic production.
Callie is a resident DUBLAB DJ, and has performed alongside artists such as Kaitlyn Aurelia Smith, Sage Caswell, Kelman Duran, Aisha Devi, Loscil, Leech, Violence, Daedelus, Jimmy Tamborello (DNTEL), and more. She is currently working on her first score for the feature film, LADYWORLD, directed by Amanda Kramer, and preparing to release her debut record, HEALTH, via Los Angeles based label, OUTSIDE INSIGHT, coming out on March 28th 2018.
A1 Heron Dance
A2 Twilight Song
A4 Dragonfly Song
A5 A Homesick Song
A6 The Willows
B1 Long Singing
B2 The Quail Song
B3 A Teaching Poem
B4 A River Song
B5 Sun Dance Poem
B6 A Music Of The Eighth House
Comes with printed innersleeves and a 24 page booklet containing liner notes and photo’s.
Download code included.
Different track order to CD.A1 Almora Sunrise 3:20
A2 Ecstasy Musical Mind Yoga 10:44
A3 Echorgan 5:39
A4 Sunset Inside 2:08
B1 Chase Me Now 4:12
B2 Enuej Elleiv 2:52
B3 Sister Echo 3:43
B4 Les Mots de Tous Les Jours (Rêves Etranges) 3:38
B5 Rainy Day 4:05
B6 What Would You Say 3:16
C1 Les Etoiles Sont Allumées 2:31
C2 Voltage Controlled Wave 4:20
C3 Montparnasse Morocco 4:15
C4 Head Noises 1:57
C5 Asalam Yamarek 6:54
D1 Love And Dream 4:50
D2 Yogini Breath 19:00
A1 Hare Jaya Jaya Rama I
A2 Is This Clear? I
A3 Great Bells In The Morning
A4 All Of A Sudden
A5 I Can Only Bliss Out (F’Days)
B1 We Shall Be Lifted
B2 Cosmic Joe
B3 Hare Jay Jay Rama II
B4 Laws Of Manifestation
B5 Is This Clear? II
B6 Is This Clear? III
A1 I Am A Thought
A2 An Intention
A3 A Kid
A4 In The World
B1 I Am Consumed
B2 In The World, But Not Of The World
B3 I Am Learning
B4 To Follow & Lead
C1 Until I Remember
C2 Who I Am & Why I Am Where I Am
D1 I Am Curious, I Care
D2 I Will Make Room For You
D3 To Feel Your Best
A1 Freedom At The 45th Floor 4:34
A2 Virgin Ice 4:38
A3 In Flight Suspension 7:49
A4 Bonsai Terrace 3:26
B1 Energies 5:58
B2 Mushroom Trip 8:09
B3 Cruising Altitude 36,000 Feet 6:26
C1 Spatial Spectre 6:54
C2 Warriors of the Sun 7:36
C3 Rain On Ancient Quays 7:32
D1 Morning Splendor 6:02
D2 The Unveiling 5:09
D3 Gossamer Silk 5:39