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
limited edition clear vinyl
double LP with download code
Limit one per person. Your order will be automatically cancelled if more than one ordered.
The nightclub as avant-garde architecture: from Studio 54 to the Double Club
Nightclubs and discothèques are hotbeds of contemporary culture. Since the 20th century, they have been centers of the avant-garde that question the established codes of social life and experiment with different realities, merging interior and furniture design, graphics and art with sound, light, fashion and special effects to create a modern Gesamtkunstwerk. Night Fever: Designing Club Culture 1960–Today is the first book to examine the design history of the nightclub, with examples ranging from the Italian clubs of the 1960s created by members of the Radical Design group and the legendary Studio 54 where Andy Warhol was a regular; to the Palladium in New York designed by Arata Isozaki and the more recent concepts by architecture firm OMA for a new Ministry of Sound in London. Featuring film stills and vintage photographs, posters, flyers and fashion, Night Fever takes the reader on a fascinating journey through a world of glamour, subculture and the search for the night that never ends.
Paperback: 400 pages
Publisher: Vitra Design Museum (May 22, 2018)
Product Dimensions: 8.2 x 1.5 x 10.5 inches
LP version. Eartheater (aka Queens based artist Alexandra Drewchin) distills foley-filled digital production, a three-octave vocal range, and classical composition into works suspended between obsessively detailed sonic tapestries and almost recklessly romantic and gestural electronica. IRISIRI, Eartheater’s third full-length record, lays out a shifting network of abstract song craft, laced with sudden structural upheavals, and collisions of mutated tropes from numerous sonic vocabularies. Modular synth staccato plucks hammer out in arrhythmic spirals over a carefully muzzled grid of pumping kicks — unleashed in unpredictable disruptions. Technoid stabs mingle with crushed black metal. An icy OS reads poetry against a bed of granular synth swells. Drewchin’s sirening whistle-tone vocals drape over relentless harp arpeggios. Eartheater confounds expectations of structure and resolution before deciding to thread in a sugary melody that snaps us back into some conception, however hazy, of pop songwriting. Guest spots on IRISIRI charge Drewchin’s ideas with concordant energies, from the stark imagist poetry of Odwalla1221 on “Inhale Baby”, to the sheer lacerating force of Moor Mother’s unflinching verse on “MMXXX”. Drewchin’s lyrics, strewn with flourishes of wordplay and symbolism, explore themes of her autodidactic experience — playing with the tutelage of the “pupil” within the “iris” mirrored in the palindrome IRISIRI. One motif appears as a song name, “C.L.I.T.”, which Drewchin breaks down into “Curiosity Liberates Infinite Truth”. The acronym stands as a microcosm of the Eartheater project in its holistic combination of idiosyncratic spirituality and cheekiness, presented with an earnest confidence that some could consider confrontational. In spite of this lexicon’s maximal effect, it comes from a very personal place as she states, “curiosity has had to be the currency of my education”. On “OS In Vitro”, she reminds us that “these tits are just a side-effect,” and “You can’t compute her,” as if to acknowledge the clouding effect of sexuality and technology in the face of a higher self-significance. In the record’s accompanying video piece, “Claustra”, she slides between “the owning of my loneliness” and “the end of the loaning of my onliness”, encapsulating images of self-purifying isolation and the rejection of artistic exploitation with the flip of two syllables. The transmuting landscape of IRISIRI is riddled with evocative poetry and evidence of Drewchin’s development as an artist since her debut in 2015. Features photography by Elise Gallant. Mastered by Rashad Becker at Dubplates & Mastering.
“On a mixtape of exclusive material debuted on NTS Radio, the Toronto-based producer Jacques Greene trades distanced, soulful melancholy for full-on dancefloor hypnosis.
By the time Jacques Greene released Feel Infinite, his 2017 debut album, he’d mastered the art of headphone house: dance-lite takes on electro-R&B that are more about the club than for it. The Toronto-via-Montreal producer, born Philippe Aubin-Dionne, spent years perfecting his style by flipping chopped-up vocals from artists like Ciara and Tinashe into sweaty, syncopated heat. His bedroom tones and chart-music samples became a hit among Tumblr kids and techno elites. And then, right at the moment moody R&B began to sweep the mainstream, he changed gears.
Aubin-Dionne’s venturesome new mixtape trades distanced, soulful melancholy for full-on dancefloor hypnosis. The 48-minute stream of new material, debuted on NTS Radio and also available on YouTube, is far-out and shape-shifting, like wandering through the different rooms in a dark, labyrinthine nightclub. There are trance climaxes, purring techno intervals, ambient meditations, and spells of after-hours soul—sounds that seldom appear alongside each other, especially this elegantly. Unlike Feel Infinite’s song-focused format, this collection flows with the finesse of a sophisticated DJ set, with each new discovery a seamless surprise. If you thought his club days were behind him, think again.
The Jacques Greene alias was built on eclectic digital crate-digging and fearless sampling (Aubin-Dionne is known to bury YouTube covers and strangers’ phone recordings into the sheets of his tracks). Here, he expands on this affinity for imaginative vocal samples by chopping them into more abstract forms, and then folding them into dancier structures. While this isn’t a dramatic reinvention, it’s a distancing from the diva samples and pop re-cuts he became known for (his edits of Drake and Radiohead, though tasteful, feel beneath him). The only remix here is a spin on Rhye’s “Song for You,” where synth arpeggios and whirring drums make the serenade feel ominous and urgent. It’s the closest the producer gets to the kind of traditional vocal that played such a big part of his old sonic identity. But aside from Cadence Weapon’s hushed raps on “Night Service,” the soulful murmurs that appear here have been so heavily treated that they provide more texture than melody. Similarly, the nervous “DMs With God” begins as a cluster of clangy percussion and humming before a warm, grooving bassline lifts it into a dancefloor moment.”
– Pitchfork 6.9 review
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.
2. Roll of the Dice
5. Queen Of Ungilsan
7. Temple Rd
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.
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.
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.
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.
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.
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.
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.
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.
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.