'Rapor EP' Available Now.

Purchase on:
iTunes http://smarturl.it/raporitunes
Amazon http://smarturl.it/raporamazon
Vinyl http://smarturl.it/raporvinyl

US - www.vagrant.com
UK - www.thirdrockmusic.co.uk
AUS - www.spunk.com.au

Rapor - EP

She Cut Me

Download on iTunes

Disposable Music Series Subscription
DIM006-010

It has taken over four very active years for the people behind the Finders Keepers label family to finally return to what we still consider to be one of our favourite vinyl projects. The ongoing Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. Like all the most influential library music labels on the 60s, 70s and 80s the music from DiM is sourced, compiled and produced catering to the requirements of the film, television and radio industries but as the interest in thematic instrumental 'picture music' seep deeper into the record collector psyche these limited multi-purpose discs are naturally recommended for whichever creative application you see fit. Each disc combines two full musical programmes sourced from both vintage archives and new exclusive recordings by contemporary artists specially paired to compliment the individual musical sensibilities and mutual affection.

This time Disposable Music are proud to bring you metronomic jazz made for the Swiss cheese information board; wind synth music designed for planetariums; possessed pastoral mechanical folklore sounds; primitive electric organ sci-fi music; Spaghetti Western themes for Scandinavian fashion shows; drum machine music for household appliances; unused Polish detective theme tunes; Gallic dreamscapes for graveyard dates; mouthorgan music for mutants; Eastern street music field studies, and a selection of commercially unreleased tracks that have been recycled from French and American horror soundtracks, short-run TV ads, one-off radio programmes and educational science programmes. Having learned, enjoyed and expanded since the first run of DiM we are very excited to unleash this custom collection to your ever expanding music tastes.

Exclusively housed in uniformed die-cut sleeves designed by Finnish pattern designer Paola Suhonen of Ivana Helsinki with the optional inclusion of a limited edition tote bag for subscription participants.  Subscribers will receive the first two releases with the tote bag and a new instalment of the series each month until the end of the year.

Disposable Music Series Subscription (Volumes 6-10) (Sampler)

George Auric
O Willow Waly (The Innocents)
KREEP01


Not content with already liberating over twenty dedicated global horror and thriller soundtracks as part of the labels expansive discography, Finders Keepers Records resurrect their ghostly Finders Kreepers imprint, an apparition last spotted back in 2009 with the archival Willow's Songs which exposed the original twisted folk music that inspired the seminal 1972 Wicker Man score.  With an unwaning appetite for the rare and obscure side of the genre the labels next short series combines ten vintage recordings from the formative years or International horror introducing a host of bygone soundtrack musicians that combined folklore, musique concrète, early electronics, childlike vocals and flamboyant orchestras to accompany the surreal and hallucinogenic films that inaugurated and inspired the golden age of macabre fantastique cinema.

Sourcing a cross section of obscure global domestic pressings and under the radar vintage vinyl runs this Finders Kreepers reissue series combines a cross section of the rare/unknown and the seminal, bringing unobtainable sonic gems of both classic and uber-classic shock cinema to a discerning new generation of collectors.

Starting the series off on a good foot Finders Kreepers bring you a mysterious and beguiling piece of music that has enchanted and eluded fans of vintage horror for decades.  A game changer for the new wave of British horror when it was originally released the most unnerving attribute of The Innocents was the recurring childlike song that haunted the corridors and gardens of a haunted house in between bursts of concrète effects and drones (made by an uncreditted Daphne Oram).  A forerunner to a generation of lullaby lead horror scenes (such as Rosemary’s Baby and Profondo Rosso) whilst drawing comparison with other macabre music featuring minor maestros such as The Night Of The Hunter and The Wickerman, this song is an oft requested gem of a micro-genre which seldom passes through second hand record stores and bookshops undetected in its original vinyl form. Produced as an ambitious commercial tie-in for the release of the film in 1961 this elongated studio version sung by the lead Scottish born actress Isla Cameron (who many will also recognise as a prolific traditional folk singer on the early 60s) was casually marketed to a small audience of movie fans who perhaps liked the idea of bringing the ghost into their own house.  This rare original studio version is one of the only ways to capture the short leading motif that has echoed, in limbo, through the consciousness of film enthusiasts for over five decades.

The alternate side to this debut Finders Kreepers 45 is the theme to another milestone of monochromatic European horror which despite its lifespan of re-distribution and edit room butchery has still failed to penetrate the mainstream DVD/Blu-ray market and stand up to be counted as the glaring influential landmark of the modern female vampire cinema genre that would spiral out of control throughout the following decade.  Based on Joseph Sheridan Le Fanu's 1872 vampyristic same-sex love story, Carmilla, the film Et mourir de plaisir (aka Blood And Roses) became director Roger Vadim's fifth feature (directly following another French literary adaptation with Les liaisons dangereuses) and visually draws a line between Powell/Pressburger's The Red Shoes and Jean Rollin's Viol Du Vampire while sonically begging comparison to Francois de Roubaixs inspired Daughters Of Darkness soundtrack.  Composed by Jean Prodromidès and abetted by sound designer Robert Biard the score reaches its memorable peak during a dream sequence montage combining graveyards, claustrophobic corridors and a bizarre clinical blood transfusion scene, all of which are enhanced by submerged sound effects and a restrained blood red colour tint (predating the likes of Shock Corridor, Rumble Fish or Schindler’s List) it is clear that fans of Rollin/Franco et al will be able retrace their bloodline with this lesser-spotted picture. Originally squeezed onto an obscure six track 7" at low volume for French only distribution this dream sequence theme has been remastered and presented in good company for a fresh Finders Kreepers audience.

George Auric - O Willow Waly (The Innocents)

Walter Schuman
Pretty Fly/Lullaby (Night Of The Hunter)
KREEP02

Not content with already liberating over twenty dedicated global horror and thriller soundtracks as part of the labels expansive discography, Finders Keepers Records resurrect their ghostly Finders Kreepers imprint, an apparition last spotted back in 2009 with the archival Willow's Songs which exposed the original twisted folk music that inspired the seminal 1972 Wicker Man score. With an unwaning appetite for the rare and obscure side of the genre the labels next short series combines ten vintage recordings from the formative years or International horror introducing a host of bygone soundtrack musicians that combined folklore, musique concrète, early electronics, childlike vocals and flamboyant orchestras to accompany the surreal and hallucinogenic films that inaugurated and inspired the golden age of macabre fantastique cinema.

Sourcing a cross section of obscure global domestic pressings and under the radar vintage vinyl runs this Finders Kreepers reissue series combines a cross section of the rare/unknown and the seminal, bringing unobtainable sonic gems of both classic and uber-classic shock cinema to a discerning new generation of collectors.  A haunting lullaby that needs little introduction. Previously obscured beneath gruff narration within the grooves on a collectible patchwork vinyl audiobook of the film, this musical highpoint of Walter Schuman’s The Night Of The Hunter score finds a dedicated and undisturbed home as part of the Finders Kreepers catalog (amongst its distant doppelganger O Willow Waly lullaby found on our previous theme to The Innocents). Originally sung by the five-year-old actress Sally Jane Bruce but stylistically overdubbed by teenage actress Betty Benson (reverse echoing similar vocal dubbing tales from The Wicker Man’s production log) the high pitched fragility of this immaculate piece of haunting cinematic song has left an indelible sonic memory in the minds of discerning thriller fans which remain synonymous with recycled Sunday afternoon television schedules and the spooked-out aerial shots of composite rabbits, toad and Lotte Reinigner like scenery. This lament of the two riverboat runaways fleeing from the house where the submerged dead body of their murdered mother sways in the reeds still stands up as one of the most haunting and painstakingly pensive pieces of lyrical film music and has since provided direct influence on adaptations and interpolation by Stella Vander (Magma) members of Stereolab, Goldfrapp and Jane Weaver while the film itself (with its roots in purported factual events) continues to inspire the likes of David Lynch, Jim Jarmusch and Rob Zombie.

Before disappearing into relative obscurity this pastoral Swedish/French witch flick benefitted some active global distribution in the 60s due to the stunning lead actress Marina Vlady. A tale of unrequited love, sorcery and persecution this cinematic poem relies on hallucinogenic dream scenes and a paranoia plot to convey a similar tale to that of Eiichi Yamamoto's Belladonna of Sadness. With a shimmering organ and acoustic guitar Norbert Glanzberg score which follows the blonde witch as she rows her boat through twilight lakes and echoing caves while living off the land this unknown soundtrack would not be out of place in a haunted Kubrick ballroom or a Lynchian cabaret club. Scaling the outskirts of the classical horror genre La Sorcierre is more of a supernatural story with a horrific conclusion complete with a shimmering haunting score previously only available on a bizarre Israeli exclusive vinyl EP which has always been hard to track down for those who have literally fallen under the spell of the film.

Walter Schuman - Pretty Fly/Lullaby (Night Of The Hunter)

S.Mcloughlin & A.Cooper
Supernatural Lancashire 2
DIM006-B

It has taken over four very active years for the people behind the Finders Keepers label family to finally return to what we still consider to be one of our favourite vinyl projects. The ongoing Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. Like all the most influential library music labels on the 60s, 70s and 80s the music from DiM is sourced, compiled and produced catering to the requirements of the film, television and radio industries but as the interest in thematic instrumental 'picture music' seep deeper into the record collector psyche these limited multi-purpose discs are naturally recommended for whichever creative application you see fit. Each disc combines two full musical programmes sourced from both vintage archives and new exclusive recordings by contemporary artists specially paired to compliment the individual musical sensibilities and mutual affection.

This time Disposable Music are proud to bring you metronomic jazz made for the Swiss cheese information board; wind synth music designed for planetariums; possessed pastoral mechanical folklore sounds; primitive electric organ sci-fi music; Spaghetti Western themes for Scandinavian fashion shows; drum machine music for household appliances; unused Polish detective theme tunes; Gallic dreamscapes for graveyard dates; mouthorgan music for mutants; Eastern street music field studies, and a selection of commercially unreleased tracks that have been recycled from French and American horror soundtracks, short-run TV ads, one-off radio programmes and educational science programmes. Having learned, enjoyed and expanded since the first run of DiM we are very excited to unleash this custom collection to your ever expanding music tastes.

It’s clear that each recording of the latest volume of Disposable Music stands up on its own merit as well as complimenting the previously released volume. Like any library series there is no ideal place to start but at www.finderskeepersrecords.com we'd like to offer a limited number of subscription places to secure the next five records before they are distributed via our usual networks. With unlimited entry to the archives belonging to names like Ciani, Spoerri, Rollin, Epple, Korzynski and Massey, Disposable Music have taken the best in unadulterated, underexposed and unattached mood music and given these homeless compositions a place, purpose and time to thrive.

Following one of the most requested titles on the first Disposable Music collection Sam Mcloughlin and Alison Cooper’s Supernatural Lancashire 2 brings a wide selection of self-made acoustic and electronic instruments to their Northern rehearsal room to blend semi-improvised melody and syncopated mechanical folk - evoking sonic images of bygone rural industry, religious corruption, hallucinogenic medicines, scenes from classic pastoral UK horror films and cautionary European fakelore. Composing the type of instrumental music that simply does not exist outside of a theatrical or cinematic brief the self-initiated and tightly twisted music of Supernatural Lancashire comes from a genuine creative place which is rarely explored with such beguiling results within the oft blinkered parameters of modern handmade music.

S.Mcloughlin & A.Cooper - Hexagons Above Dovestones

M83 announces 2016 tour dates http://m83.it/ticketsSo

Here is a new track from ‘You And The Night’. The soundtrack pays tribute to French soundtracks from the 70's and is much more intimate than ‘Hurry Up, We’re Dreaming’ and the ‘Oblivion’ Soundtrack. This score is really for lovers and ghosts. 
A

'You And The Night' will be available digitally November 19th. A physical release is scheduled for 2014. 

Watch the film trailer here: http://www.youtube.com/watch?v=Mg-9pXblTxc

iTunes

Ali & Matthias from ‘You And The Night’ Soundtrack

Eurovision 2014 Belarus - TEO - "Cheesecake"

Rendezvous - Cannibal Hologram

Con Rise Like A Phoenix, Conchita Wurst se metió al público de Copenhague en el bolsillo. Esta exhuberante "mujer barbuda" consiguió llevarse el primer premio a casa antes incluso de que terminaran las votaciones.

Conchita Wurst - Rise Like A Phoenix

Order the Vinyl from the Kscope Store: http://bit.ly/1maNOEN
Pre-order the CD: http://bit.ly/1kpVXJA
Pre-order from iTunes: http://smarturl.it/SW_Cover_Version
More info on Steven Wilson: http://bit.ly/XhHnHA
More Steven Wilson videos: http://bit.ly/1654n3g

Cover Version, the album, collects all the material issued on the limited edition Cover Version singles series released between 2003-2010. The 12 tracks comprise six Steven Wilson originals and six covers and provide an essential insight into both Wilson's musical taste and his evolution as a solo artist.

In March 2003 Steven Wilson released Cover Version, a limited edition 2 track CD single. This was the first piece to be released under Wilson's own name (following an illustrious career as a member of Porcupine Tree and No-Man, and recording under various guises such as IEM and Bass Communion), and comprised completely solo performances, stripped back to acoustic guitar, piano and voice.

The single was made up of one cover version, along with one new, original composition. Replicating this format, over the next seven years, Wilson released a further five singles as part of the series.

Each of the CD singles were strictly limited. The final release (Cover Version VI) came in a special box housing all six CDs, with artwork designed by Carl Glover and a booklet of portraits of Steven by Hajo Mueller. Subsequently, an even more limited run of 7" singles were also pressed. Inevitably, as Wilson's popularity has grown - both through his work with Porcupine Tree and his hugely successful solo career - these long deleted releases have become much sought-after by collectors.

Cover Version, the album, re-packages this intriguing part of Wilson's career for a new generation of listeners.

Steven Wilson’s cover of ABBA’s 'The Day Before You Came' can be heard on the latest episode of the Kscope Podcast, listen below (for this and previous podcasts check out the podcast page):

Pressed on double heavyweight (180g) vinyl, the gatefold artwork has been 'remixed' from the box design by Carl Glover.

A CD and Digital release will be released on 30th June 2014

The album tracklist is as follows;

A
Thank You
The Day Before You Came
A Forest

B
The Guitar Lesson
Sign ‘o’ The Times
Lord Of The Reedy River

C
Moment I Lost
Please Come Home
Four Trees Down

D
The Unquiet Grave
Well You’re Wrong
An End to End

Order the Vinyl from the Kscope Store: http://bit.ly/1maNOEN
Pre-order the CD: http://bit.ly/1kpVXJA
Pre-order from iTunes: http://smarturl.it/SW_Cover_Version
More info on Steven Wilson: http://bit.ly/XhHnHA
More Steven Wilson videos: http://bit.ly/1654n3g

Kscope - Volume 6

The Day Before You Came

Kscope Store

Steven Wilson - The Day Before You Came (ABBA Cover from Cover Version)

Adını Feriha Koydum

As heard in the motion picture trailer for the film "You're Not You." 

LYRICS:

DEMONS AT THE DOOR

tonight i need to breathe 
but there's nobody left
but you and me
as far as i can tell 
the world has gone to hell
i've been standing here
and coals collide
streak across the edge 
exploding in the sky
there's nobody left
all that we have left
is burning down

lay your demons at the door
this is what we're fighting for
trying to clear the air but nobody's talking 
we've been breathing this disease
trying to find a way to see
but the end is in your eyes
let's finish this tonight

we sleep alone
the end of all the world 
has finally come
i can feel my heart
it's falling like the stars
i remember how 
the promise breaks
and I don't wanna be 
the one who takes
all the we have left
yeah all the we have left
is burning down

i never saw it coming to this, no i
i never thought we could fall so far, so why
do we always burn the bridges and this 
is how we always, we always fall apart
 
Available on iTunes: https://itunes.apple.com/us/album/demons-at-the-door-single/id915119970

Demons At The Door

have you ever had someone tear your world apart? 

Jennifer

09 Desnuda y con sombrilla

Like us on facebook - https://www.facebook.com/IPrevailBand

Download our Blank Space cover and Debut EP "Heart vs. Mind". Download both here! - smarturl.it/IPrevailHeartVsMind


I Prevail - Blank Space (Taylor Swift)Punk Goes Pop Style Cover

Maudlin Strangers - Penny (Clarence Remix)

Nataly dawn -  Sorry Seems to be the Hardest Word

Moloko - Sing It Back

I touch your lips and all at once the sparks go flying
Those devil lips that know so well the art of lying
And though I see the danger, still the flame grows higher
I know I must surrender to your kiss of fire

Just like a torch, you set the soul within me burning
I must go on, I'm on this road of no returning
And though it burns me and it turns me into ashes
My whole world crashes without your kiss of fire

I can't resist you, what good is there in trying?
What good is there denying you're all that I desire?
Since first I kissed you my heart was yours completely
If I'm a slave, then it's a slave I want to be
Don't pity me, don't pity me

Give me your lips, the lips you only let me borrow
Love me tonight and let the devil take tomorrow
I know that I must have your kiss although it dooms me
Though it consumes me, your kiss of fire

I can't resist you, what good is there in trying?
What good is there denying you're all that I desire?
Since first I kissed you my heart was yours completely
If I'm a slave, then it's a slave I want to be
Don't pity me, don't pity me

Give me your lips, the lips you only let me borrow
Love me tonight and let the devil take tomorrow
I know that I must have your kiss although it dooms me
Though it consumes me??. the kiss of fire!!!

Aaah Burn me!!!

rg

Dani684