Limited edition of 500, 2×10″ records handnumbered in a gatefold sleeve . Includes download code and 12 page booklet containing track notes by Magpahi and an essay titled “Ritual in Devon Folklore” by Paper Dollhouse dated August 2012/16.
A1 –Magpahi The River
A2 –Magpahi Corpse
A3 –Magpahi Crown And Cross
B1 –Magpahi The Sow Of Merripit
B2 –Magpahi Witches And Charmers
B3 –Magpahi Stitchwort
C1 –Paper Dollhouse Cemetry I
C2 –Paper Dollhouse Folklore
C3 –Paper Dollhouse Spell
D1 –Paper Dollhouse I’m Your Nightmare Surfer Babe
D2 –Paper Dollhouse Will Ford
D3 –Paper Dollhouse Cemetry II
Devon Folklore Tapes is an ongoing research, story telling and musical project covering and soundtracking the folklore of the south west county of Devon in volumes of tapes housed in bespoke books. Exploring mysteries, myths, legends and strange phenomena of the old county.
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.
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.
Mikael Seifu’s Zelalem is an ode to – and a fearless break from – the storied lineage of Ethiopian music. The literal Amharic translation of Zelalem is “eternity,” and through Seifu’s conceptual frame it becomes a “vector of light.” Seifu shines this light on the music of his home country while guiding us through an uncharted “Ethiopiyawi Electronic” – a coinage Seifu uses to describe the music he and his peers are producing in Ethiopia’s capital city of Addis-Ababa. Illuminating the rich sounds of Addis-Ababa’s azmaris, Seifu’s music becomes a “dream brew” in which these traditional musicians collaborate and contribute vocals and lead voicings from folk instruments such as the Masenko and the Krar. Seifu was educated at the Lycée Guebre-Mariam in Addis-Ababa. The French academy’s international group of students was Seifu’s first exposure to a world outside Ethiopia; his second was at Ramapo College in suburban New Jersey. Here Seifu met a mentor in Ben Neill, the composer and music technologist who trained with La Monte Young. Seifu was inspired by Neil to take serious his calling in music. A calling of a different, spiritual nature brought Mikael back to Ethiopia. As a repatriated young man in Addis-Ababa, Seifu felt a renewed sense of allegiance to his home country and allowed its ubiquitous music to guide his creations. Seifu’s early work was shared across a string of EPs for stalwart Washington D.C. imprint 1432 R, demonstrating an interplay of regional folk music and international electronic music.
“A bewitching hour of pre-vamped vintage Hindi horror from the Desi-Dracula’s music cabinet featuring rare tracks from Bappi Lahiri, R.D. Burman and Sapan Jagmohan” – butchered by resident werewolf Andy Votel.
Mixtape of 70’s Iranian pop-psych-funk (performed live in New York in 2010)
“Being a self-diagnosed obsessive-compulsive-charity-shopaholic (OCCS) when it comes to foreign language music I’ve managed on recent DJ travels to get caught up in a bit of shortsighted cultural cross-fire whilst hiding behind the DJ booth. Playing Russian pop in a Polish nightclub or getting needle-swiped by an Armenian bouncer for playing synth-fuelled Turkish protest music has quickly taught me to check the rough-guide before a burly doorman gives me another rough-ride. I recently turned up at a Portuguese fundraiser as the only confused DJ playing Portuguese rumba records while everyone else played drum&bass and hip-hop. My recent Nepalese funk night at the Gurkha Grill had it’s obvious limitations.
Anyway, when Steve and Eoin recently asked me to play at their Japanese fundraiser I thought I’d re-check the email before I offered up my psych rock bento box. Encouragingly, after playing triple-truant on my OiPolloi Monday mix-tape Eoin decided that we should take the opportunity to kill two birds with one sharp stone… so before I put the Nippon-Funk back on the shelf I’ve put together a long overdue collage of some of my heaviest Japanese jams, comprising eerie acidik folk, communal prog rock, new-wave-pop and general unclassified oddness that I’ve picked up over the years.
The recent news from Japan is heartbreaking to say the very least. As the years go by the natural disasters that flash onto our TV screens seem to be occurring on an increasingly regular basis. While we watch these images from the comfort of our armchairs on oversize tellys the mental recovery gaps seem to get shorter. But all too often these occurrences happen in far-off lands, that as much as we try, are kinda hard to relate to… This, however, was not the case in Japan. When this sort of thing happens in such a developed and advanced nation the images hit you right between to eyes – evoking the kind of terror only seen in Hollywood blockbusters. Japan is a nation that so many creative people look to for inspiration. The quality of art, design, fashion and film that comes from Japan consistently combines the ultra-cool and the sublimely-exotic, resulting in a simple can of peas from a Japanese supermarket or a packet of batteries providing endless inspiration for salivating Western typographers. For an awestruck graphic designer Japan “looks” indestructible. When natural disasters of this magnitude happen we feel helpless and there is enough conflicting information out there to make us wonder if “natural” is an apt way to describe many of the possibly “man-made” problems that seem to be haemorrhaging. The importance of recycling and eco-friendly living is undeniable. But the recycling and sharing of cultural and creative ideas, like music and art, are also one of the most important, enjoyable and easiest ways of understanding other cultures.
Like most of my favourite “foreign” records, most of the Japanese music in my collection comes from an interest in cinema, design and theatre. Vintage poster designers like Tadanori Yokoo or Keiichi Tanaami, who worked closely with communal pop-up theatre groups like Tenjo Sajiki, provided early images that inspired revolutionary animation like Eiichi Yamamoto’s Belladonna Of Sadness (1973) with its witchy proto-Manga stylings and freak-funk score. These movements went hand-in-hand with street performance, tribal-youth-culture and protest music which manifested itself through the Acid Folk and rock music of Carmen Maki, The Flower Traveling Band, J.A. Caesar and the films of Shuji Terayama (Emperor Tomato Ketchup 1971) and Mitsuo Yanagimachi (God Speed You Black Emperor 1976). In title alone the second and third hand influence on Western pop music is plain to see. These DIY and proto punk sensibilities were already well established in Japan’s self-sufficient pop culture before punk and new-wave became marketable genres in the West, resulting in bands like The Plastics (featuring early exponents of the Major Force label) and The Sadistic Mika Band fusing punk-funk and electronic pop while scoring record deals in the U.K. and U.S. – leaving western contenders dumbfounded. This mixtape contains some rare and obscure examples of the aforementioned artists and ties a common thread around the branches of a family tree from which much of Japanese alt-pop culture (in visual and sonic form) has blossomed.”
This is the third album by this French musician who travels around Europe… like his second release (released on Treue um Treue) this album is filled with music inspired by the French and mediterranean folklore traditions… but the songs are truly products of this day and age done with respect for the tradition… you hear electronics and contemporary elements mixed with traditional instruments… beautifully crafted to please and tease you…
afro disco gold!
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
Mixed by Lawrence English. Recordings from 1978 by David Toop of Yanomami ritual songs, shamanistic ceremonies, and rainforest sounds. The voices of spirits and animal familiars, ventriloquial illusions of sound in dark spaces, secret spirit languages, the clap of thunder that links shamanic trance with the sleep language of Finnegans Wake… Out of these passages of the everyday, intensity flares like flames caught by a gust of wind. Skin burns or oozes blood, the wind blows up havoc as the spirits move about. Includes 40-page booklet with text and pictures telling the full story of Toop’s fascinating journey in 1978 through the Amazon jungle to meet and record the last Yanomami shamans.
If his 1969 debut album, Dawn, offered a magical ethnic sound from an 80-string guitar-zither, American multi-instrumentalist Don Robertson‘s 1980 follow-up, Celestial Ascent, uses the Austro-Germanic instrument as a viaticum for a timeless journey into the depths of the soul and psyche. The album was originally released as a cassette, and this is its first reissue since then. Traditionally designed to accompany the singing of psalms in religious communities, here the zither is the perfect way to explore the power and the formal purity of the natural pentatonic scales of eastern derivation, investigated by Robertson in New York City at the end of the ’60s. According to the same respect for the cosmic rhythms also found in Indian ragas, the album is divided into two parts: the first side (“Oracle of Love”) is the music of the day, while the second (“Isis Unveiled”) is the sound of the night. “Music for Elevation and Transformation” with an extraordinarily peaceful effect and a holistic and transcendent approach that aligns it with other investigations of the sacred sound, like those of Stephan Micus, Paul Horn, or Deuter.
Killer compilation of French Disco Boogie!
Favorite Recordings / Gatefold 2LP version
“Limited 2015 repress, regular printed sleeve this time. This release will undoubtedly be met by the same deep breaths that have been shared by the small group of collectors who, over the past few years, have held original copies of this rare Folkways release in such high regard. Respectfully and subtly combining traditional Persian instrumentation, modular synth exercises, field recordings and tape manipulation — this debut release from 1985 by Dariush Dolat-Shahi bridges multiple cultural and stylistic voids and vindicates the vinyl-buying market’s disparate interests in bygone Eastern experimental rock music, radio-phonic experiments, musique-concrete, sound design, neo-tantric meditational records and other early accidental acidic electro murmurs. “
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.