OFFICIAL RSD 2018 release. Wewantsounds present the first ever vinyl reissue of Serge Gainsbourg’s cult score for the 1968 French film Le Pacha. These tracks were composed by Serge Gainsbourg at the height of his ’60s cool when he was briefly going out with Brigitte Bardot and the couple was on the verge of recording the infamous first version of “Je T’aime… Moi Non Plus” (1969). All the tracks here are arranged by famed arranger Michel Colombier, who had been responsible for some of Gainsbourg’s best songs (“Bonnie & Clyde” and “Harley Davidson”) and had also arranged Pierre Henry’s classic Psyche-Rock around the same time — note the similarity between Psyche-Rock and “Un Noel 67” from this set. Many of these nuggets blend ’60s pop and psychedelia — pure undiluted Gainsbourg with his classic psyche-pop sound of the late ’60s. The original soundtrack features his classic “Requiem Pour Un Con” together with a previously unreleased instrumental mix, along with two bonus tracks from William Klein’s 1968 film Mister Freedom. Digitally remastered from the original tapes, this is the first time the full soundtrack is released on vinyl in its entirety. Comes in a deluxe gatefold sleeve featuring artwork by the famous French Alternative Movie Poster designer Maxime Pecourt. Includes liner notes with the full lineup and an interview of bass player Francis Darizcuren.
Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret “The Iron Lady” Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in–among many other places–the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat.
Deceit, This Heat’s 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards’ 1979 single, “Money (That’s What I Want Want).” Even so, For A Reason was a great leap, one that created a strange, unsettling mood as Bullen’s multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where Deceit dealt with the nuclear threat, For A Reason was less reactionary, even quoting Bob Marley in its lyrics: “you love the life you live, you live the life you love.”
Containing 6 songs in total, the album was recorded at Cold Storage studio and released on Bullen’s own Tone Of Life Records. It has become a sought-after collector’s item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific–it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms–but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds.
Even though This Heat had no commercial success to follow up on, For A Reason was an album created with no intention of hitting the charts. Reissued on Light In The Attic, Lifetones’ single album retains a timeless quality and perhaps–on tracks such as “Good Side”–a futuristic sound that nobody else ever caught up to.
Vinyl Lovers present a reissue of Os Mutantes’ A Divina Comedia Ou Ando Meio Desligado, originally released in 1970. This was the third album from Os Mutantes, the geniuses of wacked out Brazilian psychedelic rock. They may have been trying to pay homage to their better known icons back in the States, but in doing so they created something that went beyond all that until, 30 years later, they became the ones that everyone was trying to imitate. This album, further testimony to their limitless creativity and considered by many to be their best, was recorded during the height of the Brazilian military regimes crack down on artists, and fellow members of the Tropicalia movement, Caetano Veloso and Gilberto Gil had already been sent into exile in the UK. 180 gram vinyl.
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.
Monster Melodies present the original soundtrack of Amore (1973), a film by Henry Chapier, composed and performed by Vangelis Papathanassiou. An unreleased recording dating from July 1973. Vangelis Papathanassiou was the composer of the group Aphrodite’s Child, he composed the band’s music and the songs of Demis Roussos. Later Vangelis became famous for the soundtrack of the film Chariots of Fire (1981). In 1974, Henry Chapier after several atypical movie, An American Summer (1968), Sex-Power (1970) and Hi, Jerusalem (1972), directed the fiction film Amore. Here is an extract from the Divan d’Henry Chapier interview with Papathanassiou directed by Jean Claude Longin 2011: “This is happening in a city constantly threatened with death. At the time, I thought, there were a lot of documentaries and that I would do it differently. I imagined Venice in the guise of a heroine, a very beautiful woman, Sonia Petrovna, a girl of the Venetian aristocracy ailing, representing a page of history that has passed. But the fact remains that in the frame, in the subject, there was a little journalistic approach. Also because one of the actors, Daniel Quenaud, was presumed to be a reporter, sent to consider the merits of an architectural plan which would save Venice. So in the agreement, there is a slight journalist contamination. Otherwise there was also a love story… I think it’s more of a fiction film than a documentary nonetheless.” Chapier had this to say about going about the score: “The first time, it was at the Olympia, at the band’s concert. I found the music to be trippy and wonderful, I, who above all, loved the Pink Floyd. I thought the Pink Floyd, I could never get them for my films. So I stormed in backstage at the Olympia, I said to Vangelis, ‘Listen you are made to be an independent composer.’ Things clicked between us instantly and so I asked if he wanted the script. He told me, ‘no, we will see, me, I improvise from images.’ This is a technique that is practiced today, but back then, it was unheard of. We did not have people like him, who recorded the sound on sixteen tracks, playing all the instruments themselves and who already had in mind how they would edit the soundtrack.” Colored vinyl. Includes unpublished photos, the film poster and a postcard.
Kutmah (pronounced koot/mah) will release his long overdue debut album “The Revenge Of Black Belly Button!” (or TROBBB!) via Big Dada on 28th July 2017. The record features an incredible cast of guests – Gonjasufi, Jonwayne, Natureboy Flako, Ta’Raach, Jeremiah Jae, Zeroh, Zackey Force Funk, N8NOFACE, Sach, Akello G Light and DJ Chris P Cuts – spanning experimental meditative, Zennist loops; crackly oddball beats and abstract raps; as far as outright punk/noise and even folk/blues. At its heart it’s an incredibly sentimental record, heavily referential to his past but also future-facing, and not just in its sonics. “I wanted to make a record for loners. You know some records have that ‘Hey! I’m at a festival!’ sound? Well I wanted to do the opposite of that,” he laughs.
It’s fitting that the album arrives via Big Dada – a label that helped shape his vision. “Big Dada started the same year I started DJing. Not DJing in clubs or making tapes. Literally when I first touched turntables,” he explains. “I knew I had to find that other type of music to fit where my head was at. Leftfield beats and abstract rhymes were what I was looking for and alongside Jazz Fudge, Mo Wax, Asphodel and Fondle ‘Em, Big Dada was what I was digging.”
Kutmah is a mercurial creative whether you’re talking art or music. As a DJ/curator, he has tirelessly searched for and championed new underground talent from across the globe. His passion, hunger and most importantly, his incredible ear for new music have made him Flying Lotus’ go-to warm-up DJ and also earned him the honour of compiling an album – “Kutmah presents Worldwide Family Vol.2” – for Gilles Peterson’s Brownswood Recordings in 2012. It brought to the fore Kutmah’s gift for A&R, cemented when he founded his own label IZWID in 2013.
Justin McNulty was born in Brighton, England to an Egyptian mother and Scottish father. He moved to the United States when he was 12 years old and grew up in Los Angeles, California. In 2004 he co-founded the now legendary Sketchbook Sessions at Little Temple alongside Take, Eric Coleman (Mochilla) and DJ Nobody (Low End Theory). It was LA’s first instrumental beats and art night, and it paved the way for the city’s inimitable musical renaissance. The sonics and spirit are encapsulated in Kutmah’s monthly Sketchbook radio broadcast on NTS – now in its sixth year.
On 29th July 2010 Justin was deported from the US for 10 years. He spent 3 months in a detention centre in New Mexico before being flown to the UK. He lived in Manchester and London before relocating to Berlin in 2016.
“Everytime I play, I feel I’m planting seeds,” he muses, in relation to his move to Europe and his role as an albeit unofficial ambassador for LA’s blossoming beat movement. “The funny thing is I was an outcast even when I was in LA. Dancefloors weren’t really ready if I’m honest. People were still heavily into classic 90’s hip-hop, so they weren’t ready for some gnarly beats. I started DJing so late that there was no way I was going to get a reputation playing 90’s hip-hop – we already had DJs for that.”
The album was recorded in Berlin in Winter. Being in a foreign country around the holidays when one is supposed to be with family… that emotion of isolation weighed heavy on Justin: “For three weeks during this time I didn’t speak to a single person… I had no internet and no phone.” Accordingly, half of the record fits this season and these emotions. In Spring the sun came out and the flowers were blooming: “I started to cheer up a bit and so did the beats,” says Justin. “I like that there are polar opposite vibes on the record. Hopefully I’ll hear from some punk kid that they only like Part One, or from some hip-hop head that they only like Part Two… or some beat head saying they only like the instrumentals,” he laughs.
Close friend Dario Rojo Guerra (aka Natureboy Flako) played a key role in piecing the album together with Justin, acting as engineer and occasionally producer, in addition to providing a set of trusted ears. “Flako is the real MVP of the album,” affirms Justin. “I couldn’t imagine what the record would have sounded like without his input.” The album was mastered by Kelly Hibbert (AlmaChrome) who counts J Dilla’s “Ruff Draft” and Madlib’s “WLIB AM: King Of The Wigflip” in his discography – two massively influential and inspirational records in Kutmah’s musical DNA.
There’s a definite sense of contemplation and memory with “TROBBB!”. The title is a reference to Justin’s school days in Brighton. He would go to Egypt to visit family in the summer holidays and come back to school suitably tanned. One bully took to calling him Black Belly Button until one day Justin took retribution with his fists. The cover photo, taken by Justin himself is in itself highly symbolic: “It’s my homegirl Angela at lunch break at Hoover High in Glendale around 1992. We would always try to go where no dickheads were hanging out, so we would go chill by the bleachers and take photos of each other.” It was one of the only possessions that survived a house fire in 2007. “If you look at the right corner of the photo you can see the residue from the fire,” he says. “Having this be one of the few things that made it through the fire that was going to burn me alive if I didn’t wake up in time to rescue my housemate and jump out the window in our fucking underwear made the photo even more special, so I had to use it for my debut album.”
A1 Peacebone 5:13
A2 Unsolved Mysteries 4:25
A3 Chores 4:30
B1 For Reverend Green 6:35
B2 Fireworks 6:51
C1 #1 4:33
C2 Winter Wonder Land 2:45
D1 Cuckoo Cuckoo 5:42
D2 Derek 3:01
After decades in the making Finders Keepers Records are proud to present the first-ever pressing of Serge Gainsbourg’s most elusive and coveted soundtrack studio recordings – co-written, arranged and orchestrated by the genius Jean-Claude Vannier (Histoire De Melody Nelson) during what many consider to be the dynamic duo’s most definitive creative period.
Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone’s lost Danger Diabolik soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie Les Chemins De Katmandou have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.
Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse, Cannabis and Sex Shop. Laying the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery.
Comprising Vannier’s signature recipe of thick plucked bass lines, close-mic’ed drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou (aka The Road To Katmandu or The Pleasure Pit) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.
For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers. As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andrea Daltro, Maria Rita, and Fernando Falco, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.
Compiled by John Gomez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time.
2014 Edition 2 × Blue Vinyl LP Reissue. 3D Cover. Limited to 500 numbered copies.
Soap Shop Rock
A1.a Burning Sister 3:41
A1.b Halluzination Guillotine 3:05
A1.c Gulp A Sonata 0:45
A1.d Flesh-Coloured Anti-Aircraft Alarm 5:53
A2 She Came Through The Chimney 3:56
B1 Archangels Thunderbird 3:30
B2 Cerberus 4:18
B3 The Return Of Ruebezahl 1:35
B4 Eye-Shaking King 6:37
B5 Pale Gallery 2:11
C Yeti (Improvisation) 18:00
D1 Yeti Talks To Yogi (Improvisation) 6:06
D2 Sandoz In The Rain (Improvisation)
After 20+ years with psych legends Yura Yura Teikoku, Shintaro Sakamoto’s third solo album is a bonafide masterpiece of warped steel guitar, ambient disco and AOR soul.
Love If Possible
A2 Tournament Of Macho Men
A3 Another Planet
A4 Purging The Demons
A5 Like An Animal
B1 Feeling Immortal
B3 Foolish Situation
B4 Disco Is
Jazz-trained Margo Guryan released Take a Picture in 1968 after about a decade of songwriting – with credits including Ornette Coleman, Don Cherry and Harry Belafonte, among others. The Pet Sounds acolyte’s lone full-length is an early prototype for countless lounge and dream-pop excursions, and bridges the gap between Burt Bacharach and Belle & Sebastian. The hazy production is loaded with horns, strings and sumptuous harmonies; standout “Sunday Morning” became a Bobbie Gentry and Glen Campbell duet. The album received critical praise, but Guryan had no aspirations to tour. “I didn’t want to be a performer,” she said in a 2011 interview. “I wanted to be a songwriter… You needed a manager, an agent, a lawyer, an accountant … people telling you what to wear, what to say, who to be. The whole thing just didn’t appeal to me.”
United States of America, led by respected modern classical avant garde musician Joseph Byrd, cut a wide swath through the 1968 world of rock, just then comfortably settling in to its backwoods dreams of country-rock to find the debut U.S.A. album howling like an infant terrible on its front doorstep. At the center of the U.S.A.?s fiercely experimental universe were the icy-cool vocals of the beautiful Dorothy Moskowitz, keeping this tumultuous sound from spinning out-of-control in every direction. Almost predictably, the U.S.A. disbanded before it could record a second album, but its brilliant, self-titled effort was certainly one for the ages.
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