Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth-driven, proto-techno, imaginary world music created on a Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in 1982 by two politically-driven post-punk theater performers from a shared house in Leeds. To even the most perspicacious and adventurous of alternative music fans, the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project’s ambitious and exotic credentials didn’t tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you’ve never heard. From the same social landscape as Gang Of Four, The Mekons, and Impact Theatre Co-operative – armed with a Wasp synthesizer, an ocarina, and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dream-like illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next five minute fix of outer national fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers, in close collaboration with the original composers, present the first-ever full soundtrack release for the UK-specific cult animated series. Finders Keepers take the original homemade micro-melodies and reintroduce them to a musical landscape where fans of vintage electronics, concrète tape effects, pocket percussion, and domestic synths are finally ready to be reunited with the magnetic music of Moominvalley.
Here are the actual dictation tapes of FBI Agent Cooper, Chief Investigator of the Laura Palmer murder, plus never-before-heard tapes.
Soundtrack Mixtape by Andy Votel. Yellow cassette case with a black and yellow cassette shell.
With the power of an orchestra behind her, Mica Levi provides a melancholy pulse for Jackie‘s portrait of a seemingly unknowable historical figure.
“VHS” Black vinyl
Volume 2 of this phenomenal soundtrack from Kyle Dixon and Michael Stein of SURVIVE!
Analog synth suspense!
“The Upside Down” Ultra clear black salt and pepper colored vinyl.
Volume 2 of this phenomenal soundtrack from Kyle Dixon and Michael Stein of SURVIVE!
Analog synth suspense!
er an overwhelming amount of fan requests, Netflix is releasing the soundtrack to its hit sci-fi horror series Stranger Things. The soundtrack was crafted by Kyle Dixon and Michael Stein of Austin-based synth band Survive. “We discussed having a classic tone and feel to the music for the show but being reserved enough that it wasn’t ’80s cheese, while offering a refreshing quality so that felt modern,” Stein said in a press release. “This was one of the qualities that drew them to our music in the first place. Having a familiarity with classic synths worked, but with an overall forward thinking approach.”
Clear smoke vinyl version! After an overwhelming amount of fan requests, Netflix is releasing the soundtrack to its hit sci-fi horror series Stranger Things. The soundtrack was crafted by Kyle Dixon and Michael Stein of Austin-based synth band Survive. “We discussed having a classic tone and feel to the music for the show but being reserved enough that it wasn’t ’80s cheese, while offering a refreshing quality so that felt modern,” Stein said in a press release. “This was one of the qualities that drew them to our music in the first place. Having a familiarity with classic synths worked, but with an overall forward thinking approach.”
Beautifully produced in a colorful, large-format edition, this volume provides an indispensible companion to this incredible animated masterpiece, including script outtakes, stills and other ephemera from the film, a text about the film’s painstaking restoration and interviews conducted with the film’s illustrator and composer, and director Eiichi Yamamoto. Includes Blu-ray disc of the 4k restored version of the feature film Belladonna of Sadness (1973, dir. Eiichi Yamamoto), with Bonus Features including interviews with the director, composer and illustrator of the film, original trailer and more.
“Belladonna of Sadness, the final film in the adult-oriented Animerama trilogy, is one of the great forgotten masterpieces of Japanese anime. Loosely inspired by Jules Michelet’s 1862 history of witchcraft and the occult, La Sorcière, Belladonna of Sadnesstells the story of a young woman who makes a pact with the devil to exact revenge after being raped and driven from her home. This brief synopsis, however, does no justice to the visual spectacle of the film, which proceeds as a series of still images flashing onscreen. Spectacular watercolor paintings, by Kuni Fukai, marry the art nouveau artifice of artists like Aubrey Beardsley to ’60s psychedelia; the film’s North American distributor, Cinelicious Pics, describes it as “equal parts J.R.R. Tolkien and gorgeous, explicit Gustav Klimt-influenced eroticism.” A legendary cult classic, Belladonna of Sadness has never been officially released in the United States—until now. This publication accompanies the restored film’s North American release.”
Johnny Jewel’s official soundtrack to the Ryan Gosling-directed film Lost River blends clipped, opiated pop from Chromatics, Desire, and Glass Candy, with contributions by the film’s actors and ambient works by Jewel.
3LP on Deep Purple Vinyl
The acclaimed and terrifying score to The Witch composed by Mark Korven
The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time.
Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art.
Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.
‘A theme so melodiously melancholy it’s been singing in my mind continually after one TV viewing 30 years ago’
From the one-man studio vault of the guitarist who adorned Histoire De Melody Nelson, The Kick Inside AND Diamond Dogs comes a post-punk, 80’s TV soundtrack that aims to restore the unforgettable names of Billy and Icky in your nostalgic consciousness while liberating lost music of a significant unsung UK composer.
Bringing back fractured memories of Scouse teenage rebellion, sports casual weekend wear, chip shop violence and escape missions to the Welsh Valleys (where baby birds are fed Mars Bars and shoplifting is the local currency), the series One Summer made an indelible impression of gritty realism, tragic heartbreak and woeful hope in the hearts of a dumbstruck generation in 1983.
Inducing abject fear in protective parents and a street smart swagger amongst clued-up youths, this adaptation of a coming of age pastoral thriller by a reluctant Willy Russell broke new boundaries pinpointing a cultural teenage void between post punk activism and the acid house years while arguably giving Thatcherite telly addicts a tiny kick up the arse.
Scored by legendary KPM/De Wolfe library musician Alan Parker, a renowned session player for Serge Gainsbourg, Kate Bush and Bowie (amongst many more) this score retains a genre defying personality, pinpointing the stylistic essence of the era while successfully switching from barren Rumble Fish funk, pastoral Moog noodlings, Pentangular folk, 80’s post-punk rhythms with hints of dubby melodica/harmonica. Composed to cue for the short five-part series (that TV commissioners were too scared to revisit), Parkers bursts of self-propelled small screen scoring came in one to two minute spells allowing Finders Keepers to comfortably fit the entire soundtrack on one neat eleven track limited 7” EP thirty-three years down the train line.
A selection of tracks from some of Jean-Luc Godard‘s earliest and most memorable films including À bout de souffle (Breathless) (1960), Une femme est une femme (A Woman Is a Woman) (1961), Vivre sa vie (My Life to Live) (1962), and Le Mépris (Contempt) (1963). With works by legendary composers Martial Solal, Michel Legrand, and Georges Delerue, this is an essential collection of music from the films of one of the most important directors of the French New Wave.
Nosferatu, eine Symphonie des Grauens (translated as Nosferatu: A Symphony of Horror) is a 1922 German Expressionist horror film. The film came to be regarded as an influential masterpiece of cinema. James Bernard, composer of the soundtracks of many Hammer horror films in the late 1950s and 1960s, has written a score for a reissue. This particular 7″ version contains audio performed in 1997 by The City of Prague Philharmonic Orchestra, conducted by Nic Raine.
180 gram audiophile vinyl
PVC protective sleeve
Limited Edition of 3000 numbered copies on silver coloured vinyl