A mix of Turkish female funk / psych soul – the mix was created for the Amsterdam-based Dekmantel organisation & released as a podcast: https://soundcloud.com/dkmntl/selectors-podcast-007-andy-votel.
Double cassette version, ltd run.
Les Rallizes Dénudés are one of the earliest and most revolutionary Japanese psychedelic rock bands, and existed off and on through four decades. The band formed in November of 1967 at Kyoto University, inspired by Exploding Plastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer andMario Schifano‘s avant-garde ensemble Le Stelle. By 1968 they were gigging live and even began a regular collaboration with an avant-garde theater troupe, which ended the next year because of Les Rallizes’ penchant for extreme volume. Not only did they use massive amounts of feedback at loud volumes, their stage shows used strobe lights, mirror balls, and other effects for a live experience that was a total sensory assault. This historic performance recorded in Tachikawa in 1977 is perhaps the most beloved document of the band’s sound: extreme feedback and distressed guitar with detached vocals laid over languid rhythms — unbelievable in intensity.
First ever vinyl reissue of the 1973 Tall Records LP, expanded into a 2xLP set to house magical bonus material. These live recordings capture the band at its most open and transcendental peak, 1972.
Features a staggering 26+-minute bonus track previously only available on CD, plus an entirely unreleased track. Includes an extended version of one of the original album tracks. Scores of previously unseen ephemera adorn the lavish inside gatefold and inner sleeves.
Includes download code with added unreleased material.
First EVER vinyl reissue of the 1972 Tall Records LP, expanded into a 2xLP set to house magical bonus material. These live recordings capture the band at its most open and transcendental peak, 1971/72.
Features a monumental 30+-minute bonus track previously only available on CD, plus an entirely unreleased track. Scores of previously unseen ephemera adorn the lavish inside gatefold and inner sleeves.
Includes download code with added unreleased material.
Officially licensed reissue of the 1981 debut from Patrick Gauthier, keyboardist in legendary French prog bands Heldon, Magma, and Weidorje. An outstanding mixture of electronics, powerful zeuhl, and jazz-rock dominated by synthesizers . On transparent blue LP in 350-gram matte sleeve with obi strip; limited edition of 1000.
RECORD STORE DAY 2016
Late in 2015, exactly ten years since Finders Keepers Records first liberated Jean Claude Vannier’s 1973 French Holy Grail concept LP L’Enfant Assassin Des Mouches, the label was handed a very unexpected anniversary gift in the form of a small clutch of lost Vannier studio master tapes. Having worked closely with Jean Claude to leave no stone unturned both label and artist were shocked and delighted to be given what turned out to be further insights in to the musical ideas and ambitions of the 29-year-old composer during those mythical studio sessions which occurred a few months after the release of his seminal work on Histoire De Melody Nelson.
The original L’Enfant Assassin Des Mouches LP has been the source of inspiration and awe for artists of all disciplines, critics and connoisseurs alike while retaining a firm fixture in many a tome and top ten, accounting for indispensable moments in avant-garde pop and experimental rock music and (with FKs repressing schedule as testimony) continues to gain momentum. The fact that these masters were dubbed to a separate master tape as a proposed aborted major label single indicates that they were the first (and most exciting) tracks to emerge from the flamboyant visionary sessions which eventually trickled out on small independent French label stimulating record collector nirvana in the process.
Including new unheard instrumentation, alternative arrangements and mix board levels, this special limited release comes packaged in authentic 1970’s promo bag artwork and marks the first in a series of new vintage Vannier projects extracted from a new vault of genuinely, previously “lost” materials.
Within the last ten years the resurgence of sixties Gallic Pop, once known as Ye-Ye music, has escalated beyond an inter-stellar dizzy height. What might have been a waning, embarrassing genre destined for a shelf life/death gathering dust amongst the Eurovisions of yesteryear, the ‘jerk-beat’ psychsploitation records of the latter day French-Disco had soon found new floor space in some of the most credible nightspots in London and Japan.
Without a shadow of doubt, the flagship LP with best odds on becoming a discerning household object was “Histoire de Melody Nelson” 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 alongside 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 has become one of the most enigmatic names in French-funk; lorded by many as the “French David Axelrod” Jean-Claude Vannier’s name is the lesser-spotted, tell-tale seal of sample-friendly quality when it comes to crate-digging ‘en Francais’. Suitably, when rumours amongst French record dealers claiming “the band who played Melody Nelson recorded a follow-up lp” became a legend of psychedelic folk-lore. Another unconfirmed rumour about JCV taking the remaining out-takes of the beloved Melody Nelson to create a promo-only experimental rock LP left sample hungry producers and DJs in turmoil…
For those in the know the answers to these mysteries lay flat between the anonymous gatefold sleeve of an undiscovered conceptual album bizarrely entitled “L’Enfant Assassin des Mouches” by a custom-built avant-rock entourage called Insolitudes. The rocking-horse manure treasure hunt began.
So here we have it. The mythical teen-tonic for all those suffering from Melody Nelson withdrawal symptoms. For record collectors looking for that special something, this LP contains the extra-special EVERYTHING. Peruse the following genres: Psychedelic, Classical, Soundtracks, Jazz, Hip Hop, Samples, Avant Garde, Funk. Then place a copy of “L’Enfant Assassin des Mouches” in each section.
History denotes that when ‘our man in Paris’ Msr. Gainsbourg first heard the initial bones of this LP he took his poetic pencil to paper providing 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. The CD also includes the bonus track “Je M’ Appelle Geraldine”, a beat heavy John Barry-esque track taken from Vannier’s super-rare 7″ EP “Point D’Interrogation”.
DJs and Producers such as Jim O’Rourke, Stereolab’s 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’. Recent copies on eBay have commanded ridiculous price-tags, and is now one of the most sought-after articles amongst the vinyl hungry hip-hop community
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.
Never one to merely scrape the surface of a niche genre the Finders Keepers bloodhound digs deeper still into the core of the Indian subcontinent exhuming a concise party pack of opulent, off-centre Pakistani party targets driven by the pounding drum box rhythms of some of Lollywood pops most notorious studio scientists.
Disco Dildar features rare plugged-in proxy pop from some of the country’s lesser-known teen flicks spanning the late 1970s and 80s featuring drum heavy disco guesstimates built around multilingual lyrics celebrating Saturday nights, disco dildars and Hindustani Hogmanays.
These original synth-dripped 45 EPs are not from the front of the pile, nor the quirky result of some token musical tourism. The music found here once soundtracked rebellious all-nighters and hotel bar rendezvous from films of which your parents might have not approved hence their scarce obtainability. Again the Sounds Of Wonder team who bought you Thai Dai, Life Is Dance, Ilectro, Bollywood Bloodbath and others share equal doses of the excitement, wonderment and bewilderment that comes when first needle-dropping these elusive gems.
Featuring the cut and paste, electronics and fuzz tones of flightless super heroes such as Tafo, Ashraf, Rana and Ahmed, whilst voiced by Mehnaz, Runa Laila and Queen Noor Jehan, it is plain to hear why the work of these DIY cosmic composers have eclipsed the collectable desirability of filmic fruits igniting dance floors and providing sample fodder of the wider continent for Wu-Tangular producers in their stride. This workshop funk redefines both DIY and disco revealing a whole new side to world music and marks Pakistani pop cultures transformation from disposable and indefinable to indispensable. Form a circle Disco Dildar is now in rotation.
Buddha Machine 5 – White. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virantand Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3‘s 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling bookHow Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).
Buddha Machine 5 – Black. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virantand Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3‘s 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling bookHow Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included).
“The Sanullim (also spelt as Sanulrim) band is rightly considered to be one of the most influential figures on the South Korean rock scene. Composed of three brothers born into a well-off family, Kim Chang-wan, Kim Chang-hoon and Kim Chang-ik, the band’s first name, when they were still university students, was A Mu-Lee (or Mui), but was to be changed to San Ul Lim (“Echo from the mountains”) at the record company’s request. Released in 1977, their debut album was a great commercial success selling over a million copies. Inspired by both the garage rock of the 1960s and the jittery punk music of the time, San Ul Lim delivered a sound that was still new in South Korea. It is a surprising sound indeed that contrasts with the apparently casual lyrics, as the censorship imposed by Park Chung-hee’s regime forced the members of the band to compose songs that did not actually call for any relevant changes. The band released over ten albums, then parted ways after drummer Kim Chang-ik’s sudden death in 2008. This collection gathers for the first time the band’s best pieces from 1977 to 1979, thus covering the psychedelic period of the first five albums. This is a rare opportunity to listen to and enjoy the music of the fuzziest band in South-East Asia.”
**Hand-numbered edition of 50 housed in deadstock clamshell case** A triumvirate of time-tested mixes by celebrated selector and polymath, Andy Votel, collected on triple tape pack for the first time. Individually released on CD by Fat City between 2002 – 2007 they now find a suitably anachronistic home on Finders Keepers cassettes, duped not far from Votel’s Stockport lair. ‘Music To Watch Girls Cry’ (2002) was his first officially-issued mix, exploring the kind of hard-dug, downtempo breaks and cherry-picked fuzz that he built his name and Finders Keepers Records upon. ‘Songs In The Key Of Death’ (2005) follows equally mutant seams of psychedelic surf, kosmic slop and B-Boy needle drops from across the world, and ‘One Nation Under A Grave’ (2007) takes the party by the throat with stacks of sleazy horror samples and even a french cover version of The Who’s ‘My Generation’.
2014 vinyl repress, originally released in 2009. Clovis Goux andGuillaume Sorge aka Dirty Sound System have been releasing selections of rare, little-known, and hard-to-find recordings which function somewhat like anti-playlists since 2003. Their compilations can be listened to from start to finish, the order of the tracklist is logical, and the selected songs lend themselves to repeated listening. After the seriesDirty Diamonds, two compilations of Dirty Edits played by the world’s most influential DJs, the creation of a regularly updated blog, Alainfinkielkrautrock (www.alainfinkielkrautrock.com), and a space disco CD that prefigures the general craze surrounding the genre, Dirty Sound System is back. On paper, Dirty French Psychedelics is a compilation for classic rock radio with names our parents would recognize. In reality, it is a hallucinated voyage through the land of French pop psychedelics to be listened to in one sitting, eyes half-open in the heat of the summer of 2009. Certain experts will tell you that Bernard Lavilliers and Brigitte Fontaine are not psychedelic, and they are probably right. Who cares?Dirty French Psychedelics is intended for fans of French pop from Serge Gainsbourg to Air, for people who want to discover or rediscover the music of the ’70s, for those who want to listen to music without really paying attention and for those who want to listen attentively through their headphones. What happened in France at the beginning of the 1970s? The hippie venture terminated in a bloodbath in 1969 (a horrendous year: Altamont and the murder of Sharon Tate), heroin replaces LSD and the survivors aren’t long for this world. 146 kids die in a nightclub fire in Saint-Laurent-du-Pont. De Gaulle in his bed: “Tragic ball at Colombey: 1 Dead”. In primitive black and white, Jean Eustache‘s La maman et la putain buries a generation that lost its bearings (a possible definition of psychedelics). It is the same year as the oil price shock. The longest solar eclipse of the century (6 min 20 s) forecasts future oil slicks. God is dead, Marx suffers, a Maoist commando attacks a Fauchon grocer.Dirty French Psychedelics is a subjective vision of this disoriented period. Instead of the France of experiences (Gong, Alpes, Magma, and so forth), this compilation prefers the France of the freelancers (Dashiell Hedayat, Alain Kan), the master-singers (Christophe, Nino Ferrer, Brigitte Fontaine), the composers (Karl-Heinz Schäfer, François de Roubaix, Jean-Claude Vannier), the anomaly among “the variety” rather than the norm in “the margins.” Other artists include: Cortex,Jean-Jacques Dexter, and Ilous & Decuyper.
“IRAN: RPM” is an ongoing project focused on Iranian vinyl record discography. The first edition, published in 2012, is a study on Iranian film soundtracks featuring a selection of vinyl covers from 1965-1974. Launching this March, the second edition is a survey of the activities of the Institute for Intellectual Development of Children and Young Adults (IIDCYA), also known as Kanoon. IIDCYA was founded in 1965 in response to the lack of leisure and recreational facilities available to the new generation in Iran. The institute offered a wide range of cultural and artistic activities focusing on the mental and cultural development of children and young adults. Through an archive compiled by Ali Bakhtiari, “IRAN: RPM Vol. 2” presents the collaboration between Kanoon and some of Iran’s most prominent cultural practitioners in the fields of storytelling, poetry, puppetry, film and animation, music, and visual arts.