REST IN PEACE - PETE MITCHELL(11 December 1958 – 12 March 2020)
RARE FILM MUSIC ON VINYL LIVES HERE !!!

The Lost Finders Keepers Radio Show Global Soundtrack Special (RIP Pete Mitchell)

Happy Easter 2021 from all at Finders Keepers Records.

Andy Votel's Jesus Christ Superstar Overdose Mixtape

Zdeněk Liška - The Cremator (Spalovač Mrtvol)
FKR060-B
10" vinyl/Digital
Released 30th September 2013

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.

As another late entry to the unparalleled creative cinematic unison known in Europe as “the Czech film miracle”, Juraj Herz's 1969 feature film The Cremator was one of a clutch of certified cinematic literary adaptations that used the apolitical subjects of fantasy and surrealist horror to evade the com- munist censors’ abortive measures; dodging the overzealous cutting and burning process which poetically echoed the films own macabre and fantastical screenplay. Unifying a cast and crew of some of the Czech New Wave's leading lights, Herz’s macabre depiction of Ladislav Fuks' fictional account of a local crematorium boss whose hallucinogenic burning obsession with the afterlife is ignited by the Tibetan Book Of The Dead and intensifying manipu- lative Nazi propaganda is undeniably one of the greatest underexposed European horror films of all time.
Drawing similarities with other stark monochrome thrillers such as Roman Polanski's Repulsion, Herz’s comparatively untravelled classic also boasts a beguiling score and theme tune that remains one of the most memorable and spine-chilling melodic soundtracks by the country’s finest experimental soundtrack composer Zdeněk Liška (Malá Mořská Víla) providing the movement with one of its best loved signature scores. Featuring an ongoing partnership with studio conductor František Belfín (Daisies) and soprano singer Vlasta Soumarová Mlejnková (Marketa Lazarová), Liška puts his radical concrète and resampling techniques (see Ikarie XB1) to one side in favour of celestial choral and orchestral arrangements; menacing giallo-esque tension and recurring rhythmical motifs of Eastern bells and chimes illustrating Rudolf Hrušínský's Kopfrkingl character’s demise into murderous infatuation and the momentary cameo shots of the hallucinogenic death figure played by Helena Anýzová (Valerie And Her Week Of Wonders/Daisies).

From a country and era when isolated soundtrack music remained commercially unreleased Finders Keepers Records are proud to rescue, remaster and reincarnate this intense and timeless score by one of Europe's finest composers taking a rare excursion into horror territory as part of a filmography of more than 200 formerly unpressed film scores.

Zdeněk Liška - Spalovač Mrtvol

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)

X Ray Pop
CACHE010

Femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. Compiled from the mastertapes of the original 1980s privately pressed vinyl LPs and minuscule cassette runs.

X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, telltale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memorable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members themselves, have the knowledge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this interchangeable, unarrangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7" square flags reading El Gato, L'Eurasienne, Alcool and Fuzzy Christmas are merely alluring landmarks pointing to another sebaceous underground of magnetic tape that flows swiftly (like Magma) awaiting Pirates and liberators alike. X marks the spot!

Peeping out of a warren of unexplored passages their seminal self-distributed debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluo- rescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the bands most underexposed sonic snapshots, many of which were distributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith's Psyclones and The Beastie Boys championed the band as a likeminded inspiration.

X Ray Pop - Ding Dong

Andy Votel - Charlatans DJ set Leeds 15th May 2022

The August 2022 episode of Andy Votel's monthly show for NTS RADIO which was sadly never archived. This show is dedicated to the tragic passing of Dan Dwayre aka Black Lodge. Check out the NTS website for a further 80 x 1 hour long episodes of Randomonium which can all be streamed in full.

Andy Votel "Missing" Randomonium show August 13th 2022

Wipe your blade clean. The bloodline of Eastern European kosmische and groundbreaking, grinding cinematic psych rock finally emerges from fifty years of forbidden forestland to fill your thirsty grails. Poland’s prime progressive provocateurs Żuławski and Korzyński finally expose the jagged roots of Possession and The Silver Globe and give the devil his due via this historical vinyl release.
If an opening strapline that reads “Forget everything that you thought you knew about the history of psychedelic rock and horror movies” appeals to you, then further potentially hyperbolic phrases like “Lost Grail” and “Banned Forever” will surely clinch the deal, leaving the hugely significant wider context of this dream come true release surplus to requirement. But as we hope you have come to expect from Finders Keepers releases “The devil is in the detail” and the fact that any mention of the perpetually elusive original master tapes to a 1972 project entitled Diabeł and the phrase “Holy Grail” have become synonymously associated only adds the twisted irony that surrounds this genuine masterpiece of both aforementioned fields.
For those fastidious enough to pursue the hunt, these unearthed recordings represent the crowning glory of the lifelong unison of Maestro Andrzej Żuławski and filmmaker Andrzej Korzyński, two genuine mavericks of Polish experimental cinema who challenged artistic and societal norms, on both sides of a politically restricted regime and on an international artistic stage, without compromise. Friends since childhood, Korzyński and Żuławski may have become divided by limelight and geography (Żuławski the intrepid emigre), but they remained united in their kaleidoscopic creative vision, resulting in a fractured stream of troublesome and mind-bending golden era collaborations such as Possession, The Silver Globe, and Third Part Of The Night. This long-awaited liberation of the psychedelic masterpiece known as Diabeł finally completes the duo’s full vista with what many consider the most vital piece of the prism.

https://lnk.to/AKdiabel

Diabel

The Devil

Buy/Stream

Andrzej Korzyński  - The Devil

Rendezvous - Cannibal Hologram

Part fantastical historic sonic biopic, part anthropologic journey into the deep roots of Belgium’s monstrous cosmic rock sound, this wholly individualistic concept album combines the lead members of the mighty COS (Daniel Schell and Pascale Son) with studio genius Alain Pierre (Ô Sidarta/Des Morts) and celebrated Dutch progressive rock singer Dick Annegarn, for what many consider to be both the overlooked hiding place of Belgium’s deepest psychedelic moment and European prog’s lost map to the ‘Franco-Flemish Boom’.

Emerging from the wider musical family that counted Marc Moulin, Placebo and Marc Hollander amongst its creative kin, Daniel Schell’s most profound conceptual project ambitiously combines the tale of the heroic historical figure of Count Egmont, while simultaneously tracing the evolution of the ud, or oud, (‘the grandfather of the guitar’) in this multifarious hallucinogenic epic. Featuring key members of other collectable groups such as drummer Felix Simtaine from Solis Lacus and bass player Jean-Louis Baudoin from the mythical Classroom (COS predecessor), this best-kept secret vinyl release also harbours the voices of Dirk Bogaert (of Belgian hard rockers Waterloo) as well as Catalan singer Ilona Chale (Marc Hollander/Aksak Maboul) before her later tenure as the COS front woman.

Initially released in 1978 via Zeuhl school distributors Free Bird alongside French pressings of Don Cherry, Jacques Thollot and CAN, it is plain to understand the niche nature of this maligned “lost COS” LP as it finally blooms from between the cracked branches of European jazz-rock-synth-psych-prog-pop history… and beyond!

https://lnk.to/DSDAegmontandtheffboom

Egmont & The ff Boom

Granvelle

Daniel Schell & Dick Annegarn - Granvelle

The lost Belgian blueprint of Brussels based jazz fusion and how free form Franco-Flemish punk put Zeuhl school in the Classroom via to the conception of COS.

Emerging from behind the same clouds that kept formative Belgian progressive jazz records like Brussels Art Quintet and Kiosk’s Mona Call in tangible obscurity, these impossibly rare early Euro jazz recordings shed a new ray of light on the intricate foundations of the scene that elevated COS, Marc Moulin, Placebo, Marc Hollander and Telex to Zen master status, while also capturing one of Europe’s best female vocal artists in the midst of her wide eyed and uninhibited prime.

Idiosyncratic, intrepid, psychedelic, scholastic? Affirmative. But not once do these recordings resemble pages of a dog-eared sketchbook. Expertly executed and recorded, this semester of progressive proto jazz fusion symposiums capture the group as they unveil the unique strain of experimental ‘Flower Music’ (a title worthy of a lost Don Cherry album?) that would imminently blossom into the trailblazing COS powerhouse. Listen closely and hear the sound of this outernational mutating quintet as they tear up the rule book and still graduate onto the International jazz rock scene with flying psychedelic colours. Fans of COS tracks such as Mein maschine ist schön and L’Idiot Léon will herein identify the foundations of Pascale Son’s early experimental, non-lyrical and onomatopoeic vocalisations which would earn the band favour amongst early Zeuhl aficionados, thus winning the group support slots with Magma and historically leading directly to the Classroom/COS overnight metamorphosis. These recordings capture that precise chink in time and the eureka moment where Daniel Schell’s experiments become a leading life force. Constantly forward-thinking with a don’t look back mantra, these recordings have remained nestled on old acetates and magnetic tape akin to similar lost Low Country albums such as Alain Pierre’s mythical L’enfant grandit synth opus and Placebo’s coveted Three Days In April TV recordings.

Never before released on vinyl, these tracks provide us with a sonic chalkboard of Daniel Schell’s ambitious musical equations, recalculated by precocious polymaths, then conveyed via Pascale Son’s inquisitive child-like vocal explorations. For those keen to learn the Histoire De Melody COS? The classroom door is open - prepare to be schooled!

lnk.to/Cclassroom

Classroom

Sur deux

Classroom - Sur deux

As one of the three inaugural 1976 releases to ignite the mythical Mustevic Music catalogue, David Wertman’s elusive Kara Suite LP was the first record to turn jazz drummer Steve Reid’s vanity imprint into an bona fide cooperative record label with a multi-artist repertoire. Entrusting his own bass player with the limelight, Reid’s unlikely A&R decision would typify his oblique strategies and challenge the common perception of a soloist within jazz’s shifting landscape.

Drawing few comparisons amongst independent label releases of the time, save for rare standalone LP by Ronnie Boykins (ESP 1975) and cellist Abdul Wadoud (Bisharra 1978), Wertman’s only solo album (preceding his work with Sun Ensemble and The New Life Trio) combined frenetic bow work, intricate spiritual exchanges and raucous rock solid cyclic riffage to underpin his own compositional complexities. Providing a platform for first-time players like Richard Schatzberg (French horn) and future avant jazz punk participant Ken Simon (tenor/soprano sax) Kara Suite provides an early indication of Wertman’s multilayered and non-conformist blueprint from which the hallowed New Life Trio would eventually illuminate. The album’s off-kilter commitment is further cemented by the inclusion of worldly free jazz luminary Charles Tyler (alto sax) and the naturalistic back-beat of Steve Reid himself to complete the dream team – albeit a sleepless one, on account of this one-off quintet’s wide-eyed innovation.

Presented in four parts, Kara Suite documents Wertman’s very first musical directorial commitment to vinyl, preceded only by guest appearances, months earlier, on Steve Reid’s classic Rhythmatism and the ultra-rare The Universal Jazz Symphonette LP which chronicles Wertman’s deep-end New York baptism alongside Billy Bang and Earl Freeman before his relocation to Northampton forged this unique and oblique chapter in America’s independent jazz narrative. As one of the final pages to be turned in the Mustevic reappraisal legacy this album perhaps remains the best kept secret for aficionados who actively choose to blur the lines between spiritual jazz and free jazz with no discrimination against art rock and the genre that might soon be christened punk (but not as we know it).

Finally resurrected via the Finders Keepers/Early Future unison, complete with full cooperation and sleeve note narration by David’s partner Lynne Meryl, it might come as little surprise that amongst these pillars of alternative, privately pressed jazz is a story that also intertwines names such as Alice Cooper, Archie Shepp, KISS and DJ Shadow and many mutating musical genres that have made this music so hard to pin down over the subsequent five decades.

Kara Suite

David Wertman - Kara Suite

The Fates - Sheila-She Beats In My Heart

FKR055X
Andrzej Korzyński 
Secret Enigma

Released 29th September 2023

Back due to unprecedented demand and available for the first time since the original 2012 pressing, Finders Keepers Records is proud to once again present these twenty-two rare and unreleased vintage tracks from the secret vaults of one of the most enigmatic composers in 60s/70s/80s European cinema, Andrzej Korzyński. Originally recorded in the best studios in Poland, Italy and France for experimental film, political allegories, lost television shows, sound libraries and radio – these tracks have been hidden behind the Iron Curtain on lost master tapes and film reels until now! Secret Enigma represents the first ever dedicated anthology of this great composer’s work.

Originally released exactly thirty years ago In artistic cinema Andrzej Korzyński's unique experiments with jazz, pop, rock, orchestral and electronic music make his name synonymous with the most praised (Andrzej Wajda) and the most provocative (Andrzej Zuławski) Polish filmmakers (counting many more in between). As an early patron of the Polish New Wave and a key exponent of the development of conceptual Polish pop music his expansive portfolio has remained commercially unreleased and untravelled (like many of the original socialist era Polish made films) and has yet to find its deserved place next to the work of Ennio Morricone, François de Roubaix and John Barry. Now enhanced by a renewed interest in vintage art house film and a subculture of open minded music collectors many Easter European artists, such as Krzysztof Komeda (Poland), Zdenek Liška (Czechoslovakia) and now Andrzej Korzynski, have finally begun to earn their place alongside their Central European peers.

For lovers of film music and experimental pop, this debut anthology and appraisal of Korzyński's work is long overdue, and stylistically, probably never more relevant.

Secret Enigma

Saved From Oblivion

Andrzej Korzyński - Saved From Oblivion

FKR063X
Andrzej Korzyński 
Third Part Of The Night

Released 29th September 2023

As one of the most triumphant and beguiling directorial debut features to emerge from the fruitful Polish New Wave, Andrzej Żuławski's 1971 film Third Part Of The Night not only earned the 30 year old filmmaker a place next to other radical Polish directors such as Polanski, Skolimowski and Has, but also galvanised a creative bond with long running collaborator and composer Andrzej Korzyński, providing fans of foreign abstract/suspense cinema with a potent creative fusion to match those of Polanki/Komeda, Fellini/Rota and Argento/Goblin, amongst others.

Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej Korzyński's short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that unknowingly begs comparison to Masahiko Sato’s Belladonna Of Sadness and Billy Green’s Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar 64 and later Arp Life (and composing for national heroes such as Czeslaw Niemen, Niebiesko-Czarni and Test) Korzynski’s growing passion for conceptual rock and jazz music soon lead to instrumental composition and soundtrack scores.

His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa ABC) also provided Korzynski with another significant cinematic muse in that of the stunning actress Malgorzata Braunek with whom they would both eventually achieve their finest performances under the direction of the ravenous first timer Żuławski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music - elements which would intensify for all three creatives with the next film, Diabel, which was banned by the Polish government the following year until 1988.

Third Part Of The Night also marks the public unison of Żuławski and Braunek whose later private romantic relationship is said to form the basis for another defining Żuławski/Korzyński defining endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the composers finest and most inspired sonic adventures.

Third Part Of The Night

W instytucie

Andrzej Korzyński - W instytucie

ANDY VOTEL - MONDO CARNE VAL MIXTAPE 2016

Andy Votel - Mondo Carne Val Mixtape

Andy Votel & Jane Weaver - Europium Alluminate Mixtape

Andy Votel - Music To Watch Girls Cry Mixtape

As our maiden voyage into an expansive vat of unreleased music by Polish composer Andrzej Korzynski, Finders Keepers Records originally presented his previously unreleased electro/orchestral/experimental score for Andrzej Zulawski’s surrealist 80s horror classic, Possession in 2012. These 25 cues were written and recorded exclusively for the 1981 award-winning film starring Isabelle Adjani and Sam Neil, but due to the progressive, stark and modernist nature of the finished film less than half of them made it on to the actual director’s cut – leaving many of the tracks on this spackage totally unheard outside of Korzynski’s studio.

The intended Possession score in its entirety marks an important axis in Korzynski’s career where his various musical disciplines overlap. In one respect it marks his first forays into to synth driven electronics and disco drum machines, while other tracks epitomise the well honed techniques used in previous Zulawski scores, such as Third Part Of The Night and The Devil, which rely on his inimitable orchestral arrangements and combination of clavinet, Rhodes, piano and electric guitar.

Available once again on black 12” vinyl for the fist time since its original release some 11 years ago, our ongoing commitment to the important restoration of Korzynski’s music aims to shed new light on the seldom manufactured productions of the composer whose vast cinematic catalogue warrants overdue global status alongside other golden era Eastern European composers such as Kryzstof Komeda, Jan Hammer and Zdenek Liska – not to mention the best of the French and Italian soundtrackers, such as Roubaix, Vannier and Nicolai.

Duplicated and carefully remastered directly from Korzynski’s original master tapes this album boasts the uninhibited studio experiments and retains the pre-cut ambience.

Possession

The Night The Screaming Stops (Opening Titles)

Andrzej Korzyński - Possession - 01 The Night The Screaming Stops (Opening Titles)

From The Silver Globe, Bird Records (019EGGS, 2014)
http://www.finderskeepersrecords.com/shop/jane-weaver-the-silver-globe-amber-light/ - https://itunes.apple.com/gb/album/the-silver-globe/id920010385 - http://www.amazon.co.uk/The-Silver-Globe-Jane-Weaver/dp/B00MAPMACE

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Jane Weaver - Argent

From Don't Take My Soul/Undisputed Heavyweight Champion Of My Heart, Bird Records (020EGGS, 2015)
From the album The Silver Globe, Bird Records (019EGGS, 2014)
http://www.finderskeepersrecords.com/shop/jane-weaver-the-silver-globe-amber-light/ - https://itunes.apple.com/gb/album/the-silver-globe/id920010385 - http://www.amazon.co.uk/The-Silver-Globe-Jane-Weaver/dp/B00MAPMACE

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http://www.facebook.com/janeweavermusic
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Released 30th March

From an unassuming, self-sufficient musical micro-industry in the north of England comes more finely tuned fastidious femme pop from Jane Weaver and her growing Bird Records imprint with a new split single available of vinyl and download this spring.

Having garnered unanimous acclaim amongst critics, bloggers, radio programmers, likeminded artists, gig promoters and record shops alike, Jane’s The Silver Globe LP has managed to top multiple end of year charts in 2014 and is still commanding the attention of new found fans on a daily basis – a feat deemed almost impossible for an artist with five previous albums to her name and a fervent loyalty to the independent anti corporation she has cohabited for the last twent years. With this mindset (plus good taste and talent) blooms independent pop music as it should be – adventurous, free, visionary and exciting – with Don’t Take My Soul the Liverpudlian born Manc dweller has achieved just that. Combining domestic synth pop with falsetto melodics and 10cc sounding prog pop arrangements Jane depicts a theatrical electronic pop character that fuses Kate Bush karaoke with a J-Pop Erykah Badu whilst retaining her own very distinctive songwriting, conjuring images of neon arcade machines and shabby 1980′s Euro roller rinks.

Singled out as a class favourite on an album that was awarded Piccadilly Records coveted Album Of The Year accolade (and has since commanded an entire year’s worth of live commitments) Don’t Take My Soul features extra production duties from Andy Votel and ends with a guitar solo from Badly Drawn Boy which sounds like a cryogenic experiment from his pre-Bewilderbeast days.  

True to her co-op mentality Jane’s first vinyl single from the LP (following a limited cassette single of the Dave Brock co-write Electric Mountain) shares vinyl sides with label mate Tender Prey (aka Laura Bryon) who brings her inimitable drummy saccharine tinged pow-wow punk to the fray with the effortless Undisputed Heavyweight Champion Of My Heart ripped from the forthcoming Organ Calzone cassette and download long player released later this year. Based in Cardiff with countless road miles shared on tour with H.Hawkline and Cate Le Bon (another Bird school alumni), Laura has stolen the hearts of unknowing live converts via support slots and Marc Riley endorsed radio sessions motivated by her own self-propelled god speed. Amongst a broad clutch of other artists, spanning 70 years of lost pop and new noise, Bird Records looks set for an airborne 2015. The Silver Globe is still turning and catching many a siege in its electric rays.

Jane Weaver - Don't Take My Soul (Radio Edit)

From The Silver Globe - The Amber Light bonus disc, Bird Records (019EGGSCDD, 2015)
http://www.finderskeepersrecords.com/shop/jane-weaver-the-silver-globe-amber-light/
https://itunes.apple.com/gb/album/the-silver-globe/id920010385 
http://www.amazon.co.uk/The-Silver-Globe-Jane-Weaver/dp/B00MAPMACE

http://twitter.com/janelweaver
http://www.facebook.com/janeweavermusic
http://www.janeweavermusic.com/
http://www.finderskeepersrecords.com/

Released 30th March

In March, barely six months since its initial release, following tours with friend and sonic sister figure Laetitia Sadier (Stereolab) and one time backing band Black Rivers (two thirds of Doves), Jane will release an expanded edition of The Silver Globe - including a second full-length disc called The Amber Light which follows the original LP with the same dedication and adventurous zeal as its much loved synth driven sister record. With a title that alludes to the toils of trepidation and a running theme of industrial procreativity and DIY handy craft, The Amber Light carves a niche between new age motivational music, radiophonic folk and snarling krautrock echoing the kosmische stylings of The Silver Globe with the punk urgency of 80s domestic-synth pop. Featuring four brand new songs, three exclusive instrumental themes (including a commissioned theme from an American vampire film) and three new collaborative re-workings/duets based on tracks from The Silver Globe, this extensive package harbours work from Tom Furse (The Horrors), Andy Votel, Suzanne Ciani, members of Demdike Stare and original Silver Globe inhabitant Pete J. Phillipson. Substantiated by other extra format editions, including a silver vinyl version of The Silver Globe, a series of compact cassettes and a single release of standout robotic roller rink track Don’t Take My Soul (presented digitally as well as a split single with Bird Records label mate Tender Prey) Jane’s expanded Silver Globe/Amber Light project reciprocates the positive energy shared by her loyal readership and a wide host of new converts who have allowed Jane’s self-sufficient songs and synthetic soundscapes to flourish on he cusp of 2014/2015. Showing little signs of slowing down, Jane Weaver alongside her Bird Records family looks set for an airborne year. The Silver Globe is still turning and catching many a siege in its electric rays.

Jane Weaver - I Need A Connection

Masahiko Sato
Belladonna
Finders Keepers Records

Released 4th December 2015

www.finderskeepersrecords.com

Masahiko Sato - Take It Easy

Don Cherry & Jon Appleton
Don & Jon
Cacophonic

Released 29th January 2016

Rare outtakes from early pioneering and controversial electronic jazz experiments presented on vinyl for the first time.  This previously unpressed music provides and absolutely essential insight into Zen master experimental jazz outrider Don Cherry on the eve of his fertile Holy Mountain period which saw the composer combine all his well-travelled influences – such as the free music incubation of France and Germany with the traditional instrumentation of India, north and west Africa – then return to New York with a technicolor dream team and a healthy appetite for emerging synthesisers and electronic music. This project between electro-acoustic pioneer and Synclavier developer Jon Appleton coincided with his own history defining years at Dartmouth College where he played an integral part in the formation of one of Americas first electronic music institutions.  Recording benchmark LPs for Folkways Records and Flying Dutchman Jon collaborated with Cherry to create the album Human Music which tested the boundaries of electronic sound, jazz and ethnological disciplines in a series of melodic and rhythmical interfaces that would polarise both musical tastes, pop politics and potential spiritual beliefs in the process.

Recorded in the exact same sessions at Bregman Electronic Music Studio, Dartmouth College, New Hampshire the two tracks Don and Jon did not appear on the Human Music LP and now show a glimpse of what future unisons might have bequeathed before both artists coincidentally re-located to Sweden to pursue their individual and very specific journeys into contemporary music. Released with the blessing and encouragement of Appleton himself this record is quite simply a treasure of a dream-combination from the early doors of genuine alternative popular music. These rare sides combine the creative technology that directly coincided with the dawn of Bob Moog’s and Don Buchla’s synthesiser revolution with the homecoming of outernational free jazz which, in tandem, spearheaded America’s most radical music developments in the subsequent two decades and beyond. Don/Jon and The Human Music sessions also prelude Cherry’s further imminent electronic positioning alongside Carla Bley and Don Preston (on Escalator Over The Hill) and in film soundtracks for Jean Rollin collaborator Jean-Noël Delamare and Jodorowsky’s The Holy Mountain (with Walter Sear) before a hiatus from the for almost a decade. This extra glimpse of that important era, at the hands of these two pioneers, is now available in this very special package.

www.finderskeepersrecords.com

Don Cherry & Jon Appleton - Don

Suzanne Ciani
Buchla Concerts 1975
FKR082LP
Finders Keepers Records

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we’ve come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it’s daunting to learn that this record was in fact not a record at all… It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco’s neck and neck contender to New York’s Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla’s versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog’s marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These “concerts” are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and ‘alternative’ musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes “ambient” and “futuristic” utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental “records” of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

Suzanne Ciani - Buchla Concerts 1975 (Excerpts)

Just in time for the longest UK bank holiday weekend of the year, your intrepid explorers at Finders Keepers Records bring you an epic elongated bumper episode of our regular radiophonic rare record rundown including approximately 50% extra absolutely free!

This time the tangled topic of rock operas, mutant musicals and psychedelic stage shows is discussed, dissected and defended by regular hosts Andy Votel, Pete Mitchell and Doug Shipton who will be joined by a crooked chorus line including regular Keepers cottage pop patron Jane Weaver, TV's "Toast" main maestro Matt Berry, Cambrofuturist Gruff Rhys and Twisted Nerve co-founder Badly Drawn Boy (as well as the usual musings of a certain slimy crolyn cestodaria). This show is served best with an open mind and closed captioning bringing foreign language rip-offs of West End repeaters, creep show cash-ins and holiday season sequels - not forgetting token doses of horrotica, bastardised ballet and Popera Cosmic anti-classics. 

Marvel as your hosts play expensive Japanese cross-dresser psych sing-alongs while discussing Chitty Chitty Bang Bang standards sung by stars of adult entertainment! Relax to the sound of Minimoog movements that soundtrack the Messiah meeting The Mafia. And celebrate the annual eggsploitation vacation while our combined edutainers mention the words "Jesus", “Christ” and "Superstar" over 76 times! For listeners who aren't too high-brow to compare the work of Jodorowsky and Lloyd-Webber and think that The Wickerman should have been a Vaudevillian blockbuster then this one is for you... and if not, "Dammit, Janet!" Anything you can do, we can do... odder?

Finders Keepers Radio Show - Musicals Special

Graeme Miller & Steve Shill
The Moomins
FKR090
LP/CD/MP3

Pre-order the album here:

Finders Keepers Records - https://goo.gl/Ppng0H
iTunes - https://goo.gl/s2QtiW
Amazon - https://goo.gl/91iELn
Bandcamp - https://goo.gl/cGxKfb

Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth driven, proto-techno, imaginary world music 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 theatre 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. Alternatively we could just say The Moomins and, for many, things would instantly begin to make perfect sense.

From the same social landscape as Gang Of Four, The Mekons and Impact Theatre Co-operative - armed with a Wasp synthesiser, 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 dreamlike illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next 5 minute fix of outernational fuzzy felt folklore. Collected here, all in one place for the first time, Finders Keepers in close collaboration with the original composers finally bring 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.

www.finderskeepersrecords.com

The Moomins Theme

Suzanne Ciani
Fish Music
FKSP011 (Finders Keepers Records)
7" | MP3

As the first and only dedicated label to liberate the private, non-commercial artefacts from Suzanne Ciani’s groundbreaking Ciani Musica studio vault, Finders Keepers Records presents an incredible cryogenically suspended slice of precious precocious immersive fledgling synthesis for this ultra limited RSD 2107 title.Ironically well removed from the intension of phonographic application in its original inception, this anti-pop wash of marine biology modular synth sound design was originally proposed by a very young Ciani for exclusive infinite loop airings in a giant mid-American shopping mall aquarium in 1977.
Potentially conjuring ambient scenes from the consumerist satirical Dawn Of The Dead while sonically ushering a genuine desire for total musical science reevaluation/revolution via a decidedly mainstream portal, the Fish Music project is a striking eerie example of how Ciani’s “Subversion With A Smile” approach led to a long career breaking boundaries in formal music technology, film scoring, the advertising industry and gender equality – all of which has continued to fuel her passion and channel her life lust and artistic appetite much to the benefit of future ambitious trajectories of music.
Owing much to the memory of genuine synthesiser maverick Don Buchla this conceptual release is very much the product of artistic America at its progressive halcyon but, with its illustrious and idiosyncratic composition, communicates subtle undertones of Suzanne’s feminine Italian origins which seldom reside outside of the efforts of Roman library composers like Casa, Tomassi, Raskovich and siblings Antonioni and Maria Teresa Luciani. Presented here as an isolated one-sided pressing on aquatic clear vinyl and including the original press release and a press cutting this limited release proceeds a wider series of unreleased Ciani work for 2017. File under… water.

A RECORD STORE DAY 2017 EXCLUSIVE

www.finderskeepersrecords.com
https://finderskeepersrecords.bandcamp.com/album/fish-music

Fish Music

Suzanne Ciani - Fish Music

Originally assembled for BBC 6 Music and aired on Stuart Maconie's FREAK ZONE tribute to the passing of CAN drummer Jaki Liebezeit this EASY CAN LAZY mixtape sequences both CAN rarities and klassik cuts as an EASY introduction to the bands expansive discography. Mixed and compiled by CAN FAN, completist and friend and collaborator to various CAN members, Andy Votel, using all original German Vinyl Pressings. Uploaded here via Finders Keepers in tribute to the tragic loss of another legendary CAN pioneer HOLGER CZUKAY who passed away in early September 2017. R.I.P.

Andy Votel - Easy Can Lazy(BBC6 CAN Tribute Mixtape)

Susan Christie
Paint A Lady
Finders Keepers Records (FKR007)

Release date - 15th February 2019

A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.

Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like “acid folk” and “soft rock”, it’s difficult to imagine a time when the legendary Susan Christie album didn’t exist. When Finders Keepers Records first shared the unheard 60’s songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan’s new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an “instant classic”. Which is why it’s hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.

The oft over used term mythical applies to this album on many levels. Perhaps it’s the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960’s copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where’s My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase “unbelievable” as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market… No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan’s won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday… could easily allude to the haunting melodies that sat in the can on John Hill’s studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it’s future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender – at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60’s America simply wasn’t ready for. It is just over 12 years since champion record rustler Keith D’Arcy (who you’ll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it’s almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.

https://www.finderskeepersrecords.com/shop/susan-christie-paint-a-lady-3/

Paint A Lady

Susan Christie - Paint A Lady

Merry Christmas from everybody at Finders Keepers Records!

Andy Votel - Santa's Sangria (Christmas Mixtape)

MORE FREE LOCKDOWN MIXTAPES FROM THE ANDY VOTEL / FINDERS KEEPERS ARCHIVE. THE EYE IN THE SKY SAYS WE CANT TRAVEL UNTIL AUGUST 2020 AT THE EARLIEST... BUT THAT DOESN'T MEAN YOUR EARS AND YOUR IMAGINATION CAN'T GO ON A TRIPPPP! ALL VINYL PERSIAN PROGRESSIVE POP FROM THE PRE-REVOLUTION PSYCHEDELIC-SOUL SOLUTION.

Raising Helelyos (Pre-Revolution Persian Progressive Pop Mixtape)

Seven lucky years since Finders Keepers released the mesmerising theme tune to Renato Polselli’s truly bizarre psychedelic horror film The Resurrection Of Isobel the label has been taking it’s next step into the director’s controversial filmography with caution. Let’s make no bones here, as the title clearly suggests, Revelations Of A Psychiatrist On The World Of Sexual Perversion is an XXX rated film, where most of the drama happens below the belt – although it would be unfair to say it was totally without its artistic merit. When making this highly theatrical Mondo exposé into the closeted kinks and private pleasures of 1970’s Italy even Renato himself decided to go under a nom de plume (hello Ralph Brown) shielding his career as a semi-serious director from titty bar tarnish and, when probing the annals of the films history, it seems that he wasn’t the only one. On hearing the opening titles to this film the soundtrack has got Finders Keepers splattered all over it; a robust synth bass line (not unlike Will Malone’s Death Line soundtrack), some mysterious Marxophone shimmers, dripping electronics and a head nod drum beat with more open chokes than an auto-asphyxiation addict, If you choose to witness the on-screen antics that occur afterwards then that’s your choice, but, honestly, we only came for the music… repeatedly.

To be fair, if it wasn’t for the typical Italian soundtrack smokescreening and alter-ego name games we might not have needed so many repeat sittings and after settee summers spent searching for master tapes we finally attached Polselli’s most titillating title to one of the most elusive Italian B-sides of all time. Arranged by Gianfranco Reverberi, based on a blues number by Umberto Cannone, credited to Romolo Forlai and released on the back of a painfully elusive single under the name of Sharon Chatam to promote a totally unrelated film, the hiding place for this incredible theme tune is cut deeply into black Italian vinyl preserved by fastidious collectors where flighty sleaze cinema production companies failed.

For a film that at one point was considered lost for eternity (until a rare 16mm collectors’ print surfaced), Finders Keepers are excited to finally source and liberate this incredible music (alongside another heavy psych cut from a decidedly explicit sense Set in an Underground nightclub) uninhibited, proud and loud for your sleazy listening pleasure. Deletes history.

Available in all good independent record shops Saturday June 20th
* Remaining copies will be made available through the site Monday 22nd June

Rivelazioni Di Uno Psichiatra Sul Mondo Perverso Del Sesso

Gianfranco Reverberi & Romolo Forlai - Rivelazioni Di Uno Psichiatra Sul Mondo Perverso Del Sesso

COS - Mein Maschine Ist Schön (Single Edit) from the single Mein Maschine Ist Schön/The ff BOOM out 5th March 2021.
Finders Keepers Records (FKR107, 2020)
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From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery. COS, where have you been all my life?

Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue.

Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo.

A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSMIX.

COS - Mein Maschine Ist Schön

Behold Finders Keepers, a British record label, 40 years in the making, introducing fans of psychedelic, jazz, folk, funk, avant-garde and whacked-out movie musak to a lost world of undiscovered vinyl artifacts from the annals of alternative pop history.

Catering to record collectors and DJ-producers alike with a huge emphasis on sample friendly soundscapes, rocksteady back-beats and primitive electronic experimentalism. Discerning purveyors of the bizarre and abnormal should expect the Japanese choreography records, space-age Turkish protest songs, Czechoslovakian vampire soundtracks, Welsh rare-beats, bubblegum folk, drugsploitation operatics, banned British crime thrillers and celebrity Gallic Martini adverts... presented on CD, 7" and traditional black plastic discs in authentic packaging.

Following in the very same footsteps as the mind boggling "Music To Watch	Girls Cry" and "Songs In The Key Of Death" mix CDs for Fat City Records and the original 5-star rated Finders Keepers compilation LP in 2001, Manc-based vinyl-vulture, recording artist and record producer Andy Votel enlists the skills of fellow B-Music DJ and Rare Disc Detective Doug Shipton to form a team of psychedelic librarians and cosmic-pop-quiz-elitists to run their new Twisted Nerve distant sister-label, leaving no progressive pebble unturned or record collection un-rifled.

Future compilations and re-issues will feature collaborative curators such as David Holmes, Cherrystones and Bob Stanley and further contributions from mystery A- / B+ pop-celebrity fanatics of outsider music and ultra-rare bakelite discs. Finders Keepers is an 'accidental world music label' with a punk aesthetic and DJ friendly ethos which allows the desperate listener to sit back while we deliver schizoid cultural channel-hopping compilations and rocking-horse-shit & hen's-teeth re-releases to the comfort of your psych-starved living room...

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