Sube a mi bote

The Lost Tapes Record Club
EP-1
RSEP01
Cassette

Folklore Tapes Present a new Radiolore Series, The Lost Tapes Record Club

A series of four EPs curated by members of the band Clinic  and presented by the Lost Tapes Record Club.  Containing tracks pertaining to a unique project based around ethnographic radiolore and  surrounding the Dorset town of Symonsbury.

Panhandle - Click Clap

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)

Biotek - Jazz Minimal Line

Otto Luenig & Vladmir Ussachevsky
Tape Recorder Music
7CACKLP

One of the very earliest and most important examples of electronic tape music to be pressed on to vinyl (alongside the Radiodiffusion-Télévision Française musique concrète compilations in France and Jim Fassett’s comedic Strange To Your Ears novelty record) this privately pressed 1955 LP was released on a one-off label owned by businessman Gene Bruck to document a custom made performance at the New York Museum Of Modern Art back in 1952.  This facsimile edition of this important LP archives remastered versions of the first recorded unison of Otto Luening and Vladimir Ussachevsky and a partnership that founded the Columbia-Princeton Electronic Music Center at Columbia University in 1959, which would later count Ilhan Mimaroglu, Wendy Carlos, Dariush Dolat Shahi and Alice Shields as its graduates.

The October 28th 1952 performance showcased the debut of the seminal Fantasy In Space based on resampled flute recordings which were manipulated on magnetic tape to create an otherworldly melodic composition, stylistically begging comparison with the early recording of Kraftwerk (made some twenty years later) and bringing a palatable and tuneful alternative to the stark avant garde experiments of their French counterparts.  The mechanical construction of the track was even "performed" on prime time American television to celebrate this groundbreaking approach to modern music.  Alongside four other tracks the full programme comprises further experiments with manipulated recordings of bells and woodwind instruments subjected to mechanical "augmentation, diminution and retrograding" to create pieces that "cannot be played with conventional instruments."  In the following years labels like Folkways and Desto would also plunder this important session as a milestone in electronic music.

For the purpose of this release Cacophonic have also included the seldom heard 14 minute track A Poem In Cycles And Bells For Tape Recorder And Orchestra which was recorded using the same techniques with the Royal Danish Radio Orchestra in 1956 and released via the Composers Recordings Inc. label founded by Otto himself in 1954 (employing Vladimir in an advisory capacity) and operated for forty-nine years - releasing records by Harry Partch, Alwin Nikolais, John Cage and Alice Shields.  Also included on this edition is an expansion of the rare 10" original artwork by legendary graphic designer Ronald Clyne, an early example of his work made before he became in-house designer for Folkways Records rivaling the likes of Blue Note's Reid Miles for some of America’s most iconic record sleeves.

Otto Luenig & Vladmir Ussachevsky - Sonic Contours

Bruno Spoerri 
Hommage Du Frommage
DIM007-A

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.

Hommage Au Frommage is perhaps one of the best titles we have ever seen written on a dusty box of a quarter inch tape reel. However, without a crumb of irony the music that appears on this session also ranks highly in Finders Keepers list of archival triumphs. An early 70s conceptual jazz pop album combining dulcimers, harps, a Jew’s harp and what sounds like a tap dancer instantly earns itself its own protective niche shared only by certain vintage recordings by Vladimir Cosma and The Roundtable - but when accentuated by a heavy weight back beat and the added information that it was commissioned by the national Swiss Cheese Consortium this record commands further inspection and repeat listens. Starting with all the traits of a moody Morricone or Bruno Nicolai giallo soundtrack and breaking into a healthy cross section of modal jazz, tape manipulation, electronic grinds, Brazilian accordion and (dare we say it) b-boy break beats, Hommage Au Frommage by Swiss electronic jazz pioneer Bruno Spoerri (who else?) is a record quite unlike anything else in your record collection and knowing how hard some of you dig, that's a challenge.

Bruno Spoerri - Swiss Pack

This is my track from the forthcoming compilation from Cosmic Composition's Avant Garde Series [Vol.3 Sun Ra] Only Sun Ra inspired tracks! 

Release date: November 5th

Jabber

Спят усталые игрушки

View Video: http://vimeo.com/38037848
Audio edit for the t1/2 video promo for the upcoming EP on Detroit Underground (www.detund.com) 

t1/2 EP
Drasko V & Kero
Remixes by Si Begg, Drumcell, Valance Drakes, Borealis
Detroit Underground - Summer 2013
Limited 12" + Digital

Featured on Vimeo HD , IdN DVD Collection 2012

Drasko V & Kero - t1/2 EP Teaser

A Not for Sale collection of remixes, rejigs and track developments that we did for Warner Chapell- We got access to their vault of 70's library music and were given free reign to do what we wanted with the samples..


Bullet Train

My Exotica remix of http://soundcloud.com/renegadesofjazz/renegades-of-jazz-solitaire for the album http://soundcloud.com/renegadesofjazz/sets/hip-to-the-remix/
Out June 25, 2012 on http://soundcloud.com/wassrecords

Renegades Of Jazz - Solitaire (Jazzy Gentle Remix)

Richard Devine - Etch and Sketch (Drasko V Remix)
RiSP Album 2012 
Detroit Underground

www.detund.net
www.drasko-v.com

Richard Devine - Etch N Sketch (Drasko V Remix)

Get on Up

Drasko V Remix for the UFO Film - Original Soundtrack - Main Theme by Si Begg
IMDB: http://www.imdb.com/news/ni39882108/

Si Begg - UFO Main Theme (Drasko V Remix)

CACK4501 | THE KRZYSZTOF KOMEDA TRIO | KNIFE IN THE WATER | 7" SINGLE | CACOPHONIC RECORDS

A record of contended mythical existence amongst fans of Euro cinema and rare jazz for decades this Polish only EP contains all four themes to Polanski's first-ever feature film Knife In The Water composed by unanimously beloved Polish pianist Krzysztof Komeda.  Featuring Roman Dylag (Bruno Spoerri’s Teddy Bär) and a radical inclusion of a Swedish trumpeter, the sought after Bernt Rosengren, this picture sleeve EP (complete with artwork from Polish poster legend Roslav Szaybo) is the only true existing companion piece to the other Komeda/Polanki soundtracks Cul De Sac and Rosemary's Baby released before his accidental death in April 1969.  Having worked alongside Don Cherry, Michel Urbaniak and Gato Barbieri while unwaned by the clutches of communism this important artist deserves due focus.

THE KRZYSZTOF KOMEDA TRIO - BALLAD FOR BERNT

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. 

t°

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