Steven Julien – Bloodline LP

The new release features 7 tracks and follows Julien’s critically acclaimed debut album, Fallen. Released in 2016, the autobiographical LP was a bold new direction for Julien, and the first release under his birth name. Over the years, the Apron Records boss’ bold, experimental electronics, jagged club cuts and outside-the-box collaborations have seen him carve out a lane all of his own making. His debut LP was divided into two musically contrasting sides, and told the tale of a fallen angel though jazz-fusion, chiming soundscapes and dark acid-tinged techno.

Since his album release, Julien has continued his creative streak by playing across the globe, from Tokyo, Seoul and Shanghai to Montreal and Melbourne, and further developing his label, which released a string of underground 12”s in 2017 from the likes of Max Graef, Hanna, Molinaro and more.

On ‘Bloodline’, Steven continues the soundtrack style mood of ‘Fallen’ – channeling ominous analog techno, drifting synth-house masterpieces, warm soul and hints of new age. Both the title and artwork is a nod to the influence of Julien’s family on his rich musical world and distinct nonconformist style, explaining how: “the influence my family has given me growing up and my ancestors from Africa to native Indians from the Caribbean, has all played a big part in the music I create.”

Recorded in Apron Studios based in East London, each track on ‘Bloodline’ also features a tr808 or a piece of a 808, as a dedication to the iconic Japanese engineer Ikutaro Kakehashi, who passed away April 2017. The much-loved Roland founder and TR-808 creator revolutionised electronic music in the 1980s and 90s.

Tracklisting:
1. Hunt
2. Roll of the Dice
3. Bloodline
4. Apache
5. Queen Of Ungilsan
6. IDK
7. Temple Rd
credits

Price: $22.00

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Serge Gainsbourg & Michel Colombier – Le Pacha OST LP

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.

Price: $42.00

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Doris Norton – Personal Computer LP

OFFICIAL RSD 2018 release. Reissue; 34th anniversary edition, originally release in 1984 by Durium Records. Mannequin Records present a reissue of Personal Computer from the avant-garde Italian-born producer Doris Norton, release in a trilogy with Norton Computer For Peace (1983) and Artificial Intelligence (1985). Apple’s first music “endorsement” and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro/computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance, and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage, and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a MiniMoog, a Roland System 100M, a Roland System 700, and the ARP 2500/2600. In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera Under Ground. Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), Personal Computer (1984) — whose album cover prominently features Apple’s colored logo — and Artificial Intelligence (1985). While the beat-oriented style of Norton’s music aligns her with such fellow global-travelers as Yellow Magic Orchestra and Kraftwerk, her championing of the personal computer as a tool for self-sufficient musical creativity also connects her to more artsy musicians such as Pietro Grossi, Laurie Spiegel, and The League of Automatic Music Composers. Norton’s predilection for the bright, glossy timbres of early digital instruments also recalls Hubert Bognermayr and Harald Zuschrader’s bizarre 1982 one-off Erdenklang. Later, her talent and expertise attracted the attention of IBM, who in 1986 named her as an official consultant. Already the reigning queen of the Italian electronic scene, she recorded two CDs for IBM: Automatic Feeling (1986) and The Double Side Of The Science (1990). Influenced by her son, the musician and producer Rexanthony, Norton brought her fascination with the early days of techno into the 1990s, when she released three volumes of Techno Shock on Italian trance/hardcore label Sound Of The Bomb. While her music remains largely out-of-print and inaccessible, Norton’s early records have recently begun to receive the inevitable rediscovery treatment.

Price: $30.00

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Doris Norton – Norton Computer For Peace LP

RSD 2018 release. Reissue; 35th anniversary edition. Mannequin Records present a reissue of Doris Norton’s Norton Computer For Peace, or Nortoncomputerforpeace, originally released on Durium Records in 1983. This is a part of a trilogy of reissues from the avant-garde Italian-born producer, released alongside Personal Computer (MNQ 120LP, 1984) and Artificial Intelligence (1985). Apple’s first music “endorsement” and Roland affiliate, Doris Norton is one of the most important women pioneer in the use of synths and in the early electro/computer music. Norton is the wife of Antonio Bartoccetti, progressive rock guitarist, and mother of the musician and techno producer Rexanthony. As a teenager, she was drawn to medieval, Renaissance, and Baroque music, not to mention quantum physics, differential equations, organic chemistry, the experimentalism of John Cage, and animated movie soundtracks. Her love for modules and circuits found expression through the waves of an old harmonium, the frequencies of a MiniMoog, a Roland System 100M, a Roland System 700, and the ARP 2500/2600. In 1980, Norton began her solo career by recording at Fontana Studio 7, the Milan studio of the composer and musician Tito Fontana, resulting in the electronic opera Under Ground. Norton became more prolific, continuing her adventures in experimental electronics and computer music with Parapsycho (1981), Raptus (1981), Nortoncomputerforpeace (1983), Personal Computer (1984) — whose album cover prominently features Apple’s colored logo — and Artificial Intelligence (1985). Third studio album, Nortoncomputerforpeace involved Doris Norton, Antonius Rex, and Rudy Luksch (hardware engineer). “Don’t Shoot At Animals” was used as original soundtrack for the RAI TV program Rumore Di Fondo directed by Umberto Marino.

Price: $30.00

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Helado Negro ‎– Private Energy LP

Private Energy is the fifth album from Roberto Carlos Lange a.k.a. Helado Negro. Written and produced by Lange, Private Energy is an interpersonal communication of sounds about his surroundings past, present, and future. In fourteen tracks, Private Energy coalesces into a truly established musical voice.

For the past thirteen years, Lange has created music under a variety of monikers that have allowed him to express and explore experimentation in sound, performance, and music. When he moved to New York City in the mid-2000s, Lange became Helado Negro. It was here where Lange began to sing for the first time — at age 28. The development of his voice is chronicled through each Helado Negro release, an evolving collection of delicate pop songs punctuated by his singular style of singing in both English and Spanish.

Private Energy, which follows 2013’s Invisible Life and 2014’s tour de force Double Youth, continues the work Lange has done as an artist, culminating in the most captivating artistic statement of his career. The music draws from his expansive knowledge of sampling, sound synthesis, recording and history of references, and the album was created as a performance piece in tandem with his Tinsel Mammal dancers. Present at each Helado Negro show, the Tinsel Mammal dancers, costumed head-to-toe in silver strands, are a visual representation of sound and a sensual gateway to profoundly personal lyrics. The Tinsel Mammals are not representative of any human form. They work as a shimmering objects that represent the ideas of genderless and raceless beings and Private Energy’s themes of self-love, pride, and the embrace of constant change.

Price: $26.00

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Harald Grosskopf ‎– Synthesist / Re-Synthesist LP + CD

Synthesist is the debut album by Harald Grosskopf, the enigmatic percussionist behind Ash Ra Tempel, Klaus Schulze, and Cosmic Jokers. Originally released by Sky Records in 1980, RVNG Intl. celebrates the 30th year anniversary with this newly mastered and packaged reissue.

Berlin, Germany, summer of 1979, Harald Grosskopf, then 30 years old, was at a personal and creative crossroads. His girlfriend just left him, and Ashra (Manuel Göttsching’s “solo” project) was on temporary hiatus. Harald always considered himself a rhythmic accomplice to his numerous collaborators’ lead, until prompted by some fellow musician friends to pursue a singular creative vision.

Armed with a MiniMoog and Revox reel-to-reel, Grosskopf set off for the West German countryside that fall and isolated himself in a home studio for almost two months to record Synthesist. The temperamental analog synthesizer and sequencing technology created a long learning curve eventually resulting in a harmonious union of man and machine.

The human response undeniably colors the eight songs of Synthesist and aligns the album with some of the more melodic output of the Berlin School of Electronic Music. The title track and “Transcendental Overdrive” almost take on pop qualities. Harald’s live percussion opens up tracks like “So Weit, So Gut” and “Emphasis” for jammed out exploration. Where the album veers into the ambient space clusters of “B. Aldrian” or “Trauma”, it’s hard not to consider Synthesist the nexus of Krautrock, Kosmische, and New Age.

Re-Synthesist, the companion compilation to Synthesist, is an assemblage of reinterpretations of Grosskopf’s work by a new vanguard of electronic and experimental artists including Oneohtrix Point Never, Blondes, Arp, Stellar Om Source, CFCF, James Ferraro, and many others.

Although Synthesist has been unavailable on vinyl for almost three decades, it doesn’t fetch unfathomable collector fees. Selecting Synthesist as our first reissue is more about the connectivity to a new audience than the scarcity fetish for a select few. It’s about sharing Harald’s story and celebrating an album musically accomplished and compelling from start to end.

Price: $20.00

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Four Tet – New Energy LP

Created on a laptop computer using Ableton Live software to control and mix VST plugins as well as manipulations of audio recordings. Plugins used for sound generation include Omnisphere, Kontakt, Dexed and Arturia V Collection. 

Price: $24.00

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Luboš Fišer ‎– Morgiana 10″

Galvanising our ongoing commitment to the lost music of the Czech New Wave cinema movement from the late 1960s and 1970s, Finders Keepers Records follow up our series of previously unreleased music to Valerie And Her Week Of Wonders, Daisies, Saxana and The Little Mermaid with a short series of soundtracks for films by the country’s master of the macabre and the nation’s first point of call for freakish fairytales and hallucinogenic horror, Mr. Juraj Herz.

Regarded as the final ever film of the Czech New Wave, Juraj Herz’s Morgiana (alongside Valerie And Her Week Of Wonders) was made after the Prague Spring during Czech cinema’s most scrutinised censorship era, deep in the throws of communism. Spearheading a micro-cosmic sub-genre of horror fantasy or scary/fairytales alongside Karel Kachyňa’s Malá Mořská Víla (The Little Mermaid), these directors built a handful of subversive, flamboyant and experimental new films based around classical communist approved surrealist literature; sidestepping creative compromise and uniting some of the leading lights of the FAMU founded film movement for the last time. Both musical scores courtesy of Luboš Fišer unite Valerie and Morgiana; sharing doppelgänger production and compositional ideas presented by Finders Keepers Records for the first time ever outside of the original context of the film.

It is easy to hear why the music for both films could easily be confused as part of the same score, or as very close twin sisters, having been recorded just 18 months apart in 1970 and 1972. Revealing tiny shards of identical melodic phrasing, the Morgiana score visits darker hallucinogenic corners for this tale of two sisters seen through the perspective of giallo-esque “cat’s eye” camera work (filmed by Jaroslav Kučera) revealing poison induced hysteria fuelled by sibling rivalry and desperately twisted jealousy. Adopting his mysteriously macabre musical persona, the versatile Fišer interweaves chimes, harps and harpsichord with echoing flutes, lutes and piano, applying his signature orchestral tension and experimental percussion traits in the form of treated pianos, vibra-slaps, tape samples of striking matches and spring reverbs to this oblique heady selection.

Revered in similar esteem to that of Czech film legend Zdeněk Liška, Fišer’s unreleased filmography of forward-thinking Czech scores is slowly reaching a wider global audience through his first ever dedicated commercial soundtrack releases which should, in time, win him the same votes of confidence that we now award the likes of Komeda, Korzyński, Roubaix and Nicolai, amongst other European soundtrack luminaries.

Old Price: $22.00

Price: $12.00

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Bruno Nicolai ‎– Your Vice Is A Locked Room & Only I Have The Key 7″

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.

Price: $10.00

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Lucien Goethals ‎– Lucien Goethals LP

As the pearls of Finders Keepers exclusive adventures in the deep vaults of Belgium’s Alpha Records we are proud to present this collection of outstanding experimental magnetic music by Lucien Goethals. Simply one of the best examples of organic and electronic music interfacing taken from rescued mastertapes spanning 1964 and 1975, here we find Goethals recomposing transposing and reducing taped recordings of organic instruments such as Cello and Clarinet to make early magnetaphone compositions that defy convention from the heart of the revolutionary IPEM (Institute for psycho-acoustics and electronic music). These melodic explorations into advanced mechanical music provide further likeminded context for the likes of Dariush Dolat Shahi, Delia Derbyshire and Gruppo di Improvvisazione di Nuova Consonanza and beg comparison to Zdenek Liska’s score for Ikarie Xb1.

Lucien Goethals was born in 1931 in Ghent, Belgium. He completed his musical education at the Royal Academy of Music in 1956 where he was awarded the highest accolades for advanced organ, history of music and theoretic notions, after which he eventually pursued his studies of seriated music technique and electronic composition with G.M. Koenig. He was awarded further awards for composition in both his own country as well as abroad, and was a member of the renowned Spectra work group. In 1963 he was appointed to the post of producer of the BRT (Flemish division of the Belgian Broadcasting and Television System) and later a key producer in the division known as IPEM (Institute for psycho-acoustics and electronic music).

From 1971 he taught musical analysis at the Music Academy of Ghent. Goethals was an exponent of the stricter direction in the aesthetics of contemporary music. His work is still recognised as a valuable contribution, on a global scale, to the fields of seriated and trans-aleatoric music of the past half century. His recorded achievements within experimental music include a dozen rare compositions for solo “magnetophonic” music and a set of works for combined orthodox instruments with magnétaphone. Outside of the electronic field Goethals was also recognised for his chamber music, symphonic orchestration, cantata and lied compositions. This compendium focuses on Lucien’s magnetophonic work recorded during, and prior.

Old Price: $20.00

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Trisomie 21 ‎– Wait & Dance 12″

Trisomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.

In Spring 1985 the group went back into the studio to record a new batch of songs. Trisomie 21’s notoriety had increased following two concerts in Belgium and the Brussels recording label Play It Again Sam decided to sign them. In September 1985 the 5-song mini-LP ‘Wait & Dance’ was released by PIAS sub-label Scarface. It contained the band’s first female guest vocals on two of the tracks. Sadly some of the songs had phase related problems and caused partial cancelation playing back monophonically, so the band remixed the songs and reissued them on CD only in 1987. We have added the 5 remixes as bonus tracks here presented for the first time ever on vinyl. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacker featuring a artwork by Sourdeval and includes a photo postcard featuring lyrics and notes.

Price: $28.00

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Trisomie 21 ‎– Passions Divisées LP

risomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.

After the success of the debut mini-LP the band returned to the studio and spent October 1983 to March 1984 recording their sophomore album. ‘Passions divisées’ was released by Stechak Products in October 1984. Pascal Tison was replaced by Laurent Dagnicourt on bass guitar. Featuring eight cold wave compositions including the instrumental funeral waltz “La fête triste”. Songs cross genres, moving from post-punk to synthetic electronics. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacket featuring a artwork by Sourdeval and includes a photo postcard featuring lyrics and notes.

Price: $28.00

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Trisomie 21 ‎– Le Repos Des Enfants Heureux LP

Trisomie 21 is a post punk band formed in 1981 by Phillipe Lomprez (vocals, drums) and Hervé Lomprez (guitar, electronics), two brothers from Abscon, in the North of France. They began composing songs at the age of 16 while studying at school. The brothers were influenced by Kraftwerk, The Residents, Yello, P.I.L as well as the films of George A. Romero. Their music consists of lush soundscapes that do not easily fit into any one category. Lyrics are sung in English because in the north of France the duo sought to contradict the trend at the time for everything to be sung in French. Musically their mood is melancholic and one can hear traces of Joy Division, Durutti Column and The Cure. Since 1983 they’ve recorded 15 albums and appeared on numerous compilations and remain active to this day.

In early 1982 they set out to record their first album joined by Jean Michel Matuszak (keyboards) and Pascal Tison (bass). Soon after that they sent out a demo tape and the Amiens-based record company Stechak offered them a deal. The mini-LP “Le Repos des Enfants Heureux” was released in January 1983. It was received well by both the public and the media, especially outside of France. Originally featuring 5 compositions, we’ve added 4 demos never before released on vinyl. All compositions, lyrics and music were made collectively from shared experiences bonding over travels, literature and cinema. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The LP is housed in a replica of the original jacket featuring a black and white collage by Nadia Zibirskaïa and each copy includes a photo postcard featuring lyrics and notes.

Price: $28.00

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Lifetones ‎– For A Reason LP

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.

Price: $30.00

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Basil Kirchin ‎– Worlds Within Worlds LP

Conceived as the follow-up to Kirchin’s Worlds Within Worlds parts 1 & 2, which were discernibly scored for a jazz sextet (including Evan Parker) and various bird, animal, and amplified insect sounds, and released on LP by Columbia in 1971, Kirchin’s 1974 follow-up of the same name contains parts 3 & 4 and finds him combining similar instrumentation with the sounds of a Gorilla, Hornbills, and Flamingoes in a heavily abstract, tape-processed style that’s just completely messing us up right now.

If any LP deserves the mantle “lost classic”, it’s this one. From the first seconds of distended, hellish moans and flanging analog artefacts in Emergence (Part 3) you know this is going to be a serious trip and it never once sells the listener short. For the next 20 minutes he unspools a fantasy tableaux of warped, grainy harmonics and warbling sonic oddity, smudging samples of autistic children in a Swiss community with the sounds of the docks in Hull, where he lived, to forge a practically unprecedented alternate dimension of atonal, arrhythmic immersion that genuinely feel like a transmission from the other side, much in the best way of music from Aphex Twin thru to Broadcast or NWW.

On the B-side Evolution (Part 4) follows suit into the void without the handrails of convention, effectively landing somewhere between the combustible, metallurgic experiments of Gottfried Michael König, Annea Lockwood’s Tiger Balm, and the vast, cosmic spectral music of Iancu Dumitrescu in terms of space and texture, with 18 minutes of dense, layered concrète chicanery that pulls the ear’s eye almost out of its socket in a seamless, keening traversal of metastable, decelerated sonics from Gorilla growls to submerged clangour and astral flange that uncannily parallels COUM Transmissions from the same era and city, although we’re pretty sure there was no crossover between the two.

Price: $28.00

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