Labor Day Hey

'Bootlegs' from Ghost Wave's debut LP: Ages

Available August 27, 2013 via Flying Nun Records
Pre-Order: http://bit.ly/18hOzas

--
www.GhostWaveTheBand.Com

Ages

Bootlegs

T.R.A.S.E - Tape Recorder And Synthesiser Ensemble
FKR067
CD/LP/Digital

Known amongst a small group of teenage friends as T.R.A.S.E (Tape Recorder And Synthesiser Ensemble) this previously unearthed and fully formed electronic music project was spearheaded by a 16-year-old schoolboy as an extension of his woodwork, metalwork and science classes in 1981.

Composed and recorded using a self-made synth, audio mixer and electronic percussion units T.R.A.S.E would bridge the gap between a love for sci-fi horror soundtracks, Gary Numan b-sides and an extra curricular hobby as a sound and lighting designer for school plays - bequeathing a backstory as unique and unfathomable as the individualistic sonic results that he would finally commit to C90. Having successfully recorded his only solo album, Electronic Rock (which was never duplicated beyond his own demo copy), this early musical achievement by Andy Popplewell stands up as a rare self-initiated example of embryonic experimental electro pop and genuine outsider music, marking the early domestication of synthesisers and the dawn of electronic home recording studios and the uninhibited results. Unhindered by adult concepts like self-consciousness, popular snobbery, fashion, pride and fear of failure (while funded by paper rounds and odd jobs in his Mancunian community), Andy, armed with the plans to the Chorosynth kit module, an old junk shop piano keyboard and some hand-me-down tools from his recently deceased dad, would fill an exercise book with plans, arrangements and self-penned new wave pop lyrics to fully realise the potential of his one-man synthetic symphony. Reaping the benefits of his own stencilled circuit boards and soldering iron skills (whilst occasionally enlisting the part time help of his younger brother on guitar) T.R.A.S.E’s homemade technology pop continued to bloom right up until the very cusp of adolescence when careers officers and real life responsibilities saw the end of Andy's reel to reel multitracking which is finally presented here for the first time since it was sung and played. This ambitious cross section of robotic funk and moody soundscape sequences makes instrumental nods to John Carpenter and Kraftwerk next to unpolished vocal drones worthy of a sedated Human League or Joy Divison, all of whom shared radio dial digits amongst Giorgio Moroder, Tubeway Army and The Glitter Band as Popplewell’s clearest unabashed influences.

The T.R.A.S.E tapes, finally unearthed by Finders Keepers, show the full extent of the projects repertoire before the "group's" final hiatus which, for Andy, was followed by a working education in London under BBC employment as a trainee radio engineer (not far from the closed door of the Radiophonic Workshop) which has since led to a widespread reputation as one of the country’s leading independent tape engineers/editors/archivists indiscriminately splicing and baking vintage tapes for anyone in-between Alpha in Brussels and ZTT in London. Having worked with hundreds of reputable studios, pop stars and media companies throughout his career Andy claims he has rarely been asked about his own musical history in 30 working years, Finders Keepers are glad we Popped that very question.

T.R.A.S.E - Sketch 1

Luboš Fišer - Morgiana 
FKR060-A
LP/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.

Regarded as the final ever film of the Czech New Wave, Juraj Herz's Morgiana (alongside Valerie And Her Week Of Wonders) was made after the Prague Spring during Czech cinema’s most scrutinised censorship era, deep in the throws of communism. Spearheading a micro-cosmic sub-genre of horror fantasy or scary/fairytales alongside Karel Kachyňa's Malá Mořská Víla (The Little Mermaid), these directors built a handful of subversive, flamboyant and experimental new films based around classical communist approved surrealist literature; sidestepping creative compromise and uniting some of the leading lights of the FAMU founded film movement for the last time. Both musical scores courtesy of Luboš Fišer unite Valerie and Morgiana; sharing doppelgänger production and compositional ideas presented by Finders Keepers Records for the first time ever outside of the original context of the film.

It is easy to hear why the music for both films could easily be confused as part of the same score, or as very close twin sisters, having been recorded just 18 months apart in 1970 and 1972. Revealing tiny shards of identical melodic phrasing, the Morgiana score visits darker hallucinogenic corners for this tale of two sisters seen through the perspective of giallo-esque “cat’s eye” camera work (filmed by Jaroslav Kučera) revealing poison induced hysteria fuelled by sibling rivalry and desperately twisted jealousy. Adopting his mysteriously macabre musical persona, the versatile Fišer interweaves chimes, harps and harpsichord with echoing flutes, lutes and piano, applying his signature orchestral tension and experimental percussion traits in the form of treated pianos, vibra-slaps, tape samples of striking matches and spring reverbs to this oblique heady selection.

Revered in similar esteem to that of Czech film legend Zdeněk Liška, Fišer’s unreleased filmography of forward-thinking Czech scores is slowly reaching a wider global audience through his first-ever dedicated commercial soundtrack releases which should, in time, win him the same votes of confidence that we now award the likes of Komeda, Korzyński, Roubaix and Nicolai, amongst other European soundtrack luminaries.

Luboš Fišer - Morgiana (Opening Titles)

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

'Orb' from Ghost Wave's debut LP: Ages

Available August 27, 2013 via Flying Nun Records
Pre-Order: bit.ly/18hOzas
--
www.GhostWaveTheBand.Com

www.atomnation.net/ATM011-Applescal-Ryan-Davis-Creatures-EP

Applescal & Ryan Davis - Creatures (Dark Edit)

Applescal & Ryan Davis - Creatures (Ambient Mix)

The Creatures project is a collaboration between Ryan Davis and Applescal; it started in Amsterdam and finished in Berlin. The project contains three different versions of one song and all versions were born out of a spontaneous session; each version can be seen as a further modulation and step in the whole process. The best part of the process is in your hands though, as we have all the remix parts available. Interested? Find out how it works below....

http://www.atomnation.net/ATM011-Applescal-Ryan-Davis-Creatures-EP

Applescal & Ryan Davis - Creatures (Original Mix)

Bruno Nicolai
Marquis De Sade
FKR069LP (vinyl only)

De Sade 70? La Isla De La Muerte? Decameron Francese? Wildkatzen? Philosophy In The Boudoir? Les Inassouvies? Eugenie And The Story Of Her Journey Into Perversion?... De Sade, De Sade.. The film so odd they named it fifteen times!

Represented here on this special commemorative format you will find some of the finest fruits from an infamous fertile creative relationship between two of the most dedicated and productive bastions of the 1960/70s Eurotica genre - Spanish born director Jess Franco (Vampyros Lesbos) and Bruno Nicolai (The Good The Bad And The Ugly/All The Colours Of The Dark). Thrown into a long-running partnership following a rare/lost 1969 Italian/Spanish co-production with the emblematic title Sex Charade (which also marked the debut collaboration between Franco and actress Soledad Miranda), the unison of shocking image and rocking sound provided an inspirational exchange of new experimental and uninhabited avenues for both of these workaholic European artists. In the late 60s, as the rise of Italian horror directors, such as a young Dario Argento, test- ed the boundaries of censorship and common decency, the Giallo comic book adaptation movies had began to open new channels for established symphonic composers such as Ennio Morricone, who was able to exercise his off-menu interests in the free jazz (exemplified by his non-soundtrack work with Gruppo di improvvisazione Nuova Consonanza) as budget restrictions were exchanged for creative freedom thus creating an important niche in European cinema which came to typify the burgeoning movement. The boom in the Horrotica/exploitation industry that rapidly sprawled across central Europe to Germany and Spain virtually overnight made extensive work for a long line of established Italian composers such as Alessandroni, Sorgini, Piccioni, Nicolai, and Cipriani - all of whom spread their spaghetti western roots (often under multiple pseudonyms) and took tight hold of the sonic aesthetic of European thriller cinema. While working in the organised ranks of production houses and library labels Like Deneb, CAM, Octopus, Beat and Liuto, the syndication of Italian music in Spanish horror cinema became synonymous. 

When Jess Franco began to work on Italian co-productions he forged a consistent relationship with conductor and arranger Bruno Nicolai, who had already worked very closely with Morricone on some of his greatest feature films while remaining tightly committed to arthouse cinema such as Pasolini’s Theorem and Pontecorvo’s The Battle Of Algiers. As a one-time professional jazz musician himself, Franco always had a good ear for emotive music, an integral facet that has ulti- mately given wider wings to his films and longevity for future generations of film/music enthusiasts. Where many directors would employ musical supervisors or license library recordings, Franco would often synchronise his own compositions alongside tracks from LPs that he sourced in record shops on his travels, as typified by the economic use of the German Sexadelic and Vampire Sound Incorporated LPs by Sigi Scwhab and Manfred Huber (which became the soundtrack for a film trilogy starting with Vampyros Lesbos in 1970) or the Blue Phantom LP as used on his film Sinner in 1975. 

What originally began as a one-off relationship of convenience for the production company became a fruitful and habitual unison of choice and Nicolai would spend much of the early 70s balancing his time as a conductor for Morricone with repeat commissions for two notable horror directors - Sergio Martino in Italy and Franco in Spain. Forming a faithful relationship similar to that of Argento/Goblin and Fellini/Rota, the Franco/Nicolai partnership is arguably best illustrated on the soundtrack to this version of De Sade, presented here for the first time with a sharper focus on the free avant garde elements and the previously unpressed heavier psychedelic music that was prevalent and integral to Franco’s tastes. Including titles such as Drug Party, this set of full-length instrumental songs (as opposed to short cues) benefit from the extra collaborative energies of Italian studio luminaries Edda Dell’Orso (breathy onomatopoeic vocals) and Alessandro Allesandroni (sitar), striking comparisons with the aforementioned work under The Pawnshop moniker or the music from the Sergio Martino film All The Colours Of The Dark which enhance the displaced hallucinogenic and inebriated subtext of the film’s exploitative and counter cultural tenuous source of inspiration.

www.finderskeepersrecords.com

Bruno Nicolai - De Sade 70/Circle (edit)

Particles of Bliss is Ryan’s debut album and is set to appear through Traum, one of Germany’s finest labels when it comes to high quality house music. It has become a canvas for Ryan to demonstrate his skills to the fullest, with the result being 11 very exciting (and previously unreleased) tracks including a couple of more experimental cuts. The Enchanted Garden opens the album with a melancholic combination of strings and pianos, after which we are being treated to two spectacular club tracks along the lines of Oliver Schories and Gui Boratto: Where The Right Things are and Beluga, both of which combine soaring synths to euphoric strings and organic but steady grooves. As the album proceeds we get to hear more of such tracks: Aquarius, Head In The Clouds (the most experimental track on the album, but a real treat to the ears), the pitch black, bass-driven Entangled Lives and album highligh Dragonheart (a truly epic track with Davis himself on the mic). It is on tracks like these that Ryan’s status as a skilled producer who knows how to enchant a floor with groundbreaking, highly emotive melodics is further cemented. But what’s more important is that it has lead to a very impressive and intense debut album.

Tracklist:
1. The Enchanted Garden
2. Where The Right Things Are
3. Beluga
4. Break The Night With Colors
5. The Field
6. Aquarius
7. Head In The Clouds
8. Entangled Lives
9. When Rain Drops Soft
10. Eyes Wide Open
11. Dragonheart

Ryan Davis - Particles of Bliss - Traum - Album Preview

THE ECCENTRONIC RESEARCH COUNCIL - 1612 UNDERTURE (014EGGSCD/LP/DIGITAL)

THE ECCENTRONIC RESEARCH COUNCIL - AUTOBAHN 666 (TRAVELOGUE #1)

Mostly-Instrumental-Eastern-Infused-Delicacies*

*To promote B-Music's residency at the Gurkha Grill Restaurant / West Didsbury / 
Man Chest Hair / UK

Prepared By David Orphan 

SOUNDS OF WONDER - MIXED PLATTER VOL.1 (GURKHA GRILL 'TAKEAWAY MIX')

Eastern-Infused-Delicacies

To promote B-Music's residency at the Gurkha Grill Restaurant/West Didsbury/
Man Chest Hair/UK

Prepared By Benjamin Hatton

December 2012


SOUNDS OF WUNDER - MIXED PLATTER VOL.2 (GURKHA GRILL TAKEAWAY MIX)

This version of On A Breeze is one we recorded as part of a Part Time Punks Radio in LA.  We recorded at Bedrock Studios which is just outside of downtown LA. After we did some other tracks the night before, we weren't really happy with the outcome so Michael was good enough to let us come back the next evening and do another few hours before our Part Time Punks show that night.  We got to use an old Fender organ to record a background drone, and the amps at the space were pretty cool too - I think I ended up using an old Epiphone but it might've been Orange.  Thanks to Michael and the other people who hooked us up in LA, its nice to have a recording from our first trip over.




On A Breeze (Part Time Punks Radio Session)

CACK4502 | MR. ONDIOLINE | MR. ONDIOLINE | 7" SINGLE | CACOPHONIC RECORDS

Since the true identity of this sinister masked electronic keyboard villain was revealed in Jean-Jacques Perrey’s recent autobiography the Mr. Ondioline EP has become one of the most wanted records amongst collectors of early electronics.  As a controversial figure amongst the early musique concrete pioneers due to his painstaking ambition to put popular melody into edited tape music this debut release from 1960 hears Mr. Ondioline showcasing Perrey's Ondioline electronic keyboard (and synth precursor) while proudly celebrating the dawn of multi-track recording and tape editing.  Pioneering, eerily nostalgic and creatively fearless this record brings electric melodies to your shining barstools and haunted ballrooms. 

MR. ONDIOLINE - NOLA

Taken from the single 'You'll Be Safe Forever remixes' released as 12" only.

Labor Day Hey

muddy mike