Aphex Twin: [mostly mellow] for Supreme

Fairy Tale

Far View

Rock Program

Rocks

Pierre Henry
Theme De Myriam
KREEP03

For the third installment in our Finders Kreepers dedicated vintage horror soundtrack series we begin with an obscure French witch flick which pulls together stylistic echoes of both Bell Book And Candle and Czech gothic thriller Morgiana then feeds them through the musical mind of one the true pioneers of electronic composition for this little known OST by a well known sonic maverick. Often evading the composer’s discography lists Pierre Henry’s rare score to Malefices (aka The Hex or Where The Truth Lies) hears our bonefide musique concrète originator at what is perhaps his most melodic and fragile (especially for the formative era) layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind and brooding industrial piano textures for this intoxicated poison peon which stands as the perfect opener to an intense soundtrack for those lucky enough to find the original record (or film for that matter).

The second cut on this limited edition 45 is a classic piece of unnerving horror composition that adopts the same child-like vocal/brooding undercurrent that has earned scores like The Innocents, Night Of The Hunter and Profondo Rosso an indelible place in our nostalgic nervous systems.  Creating a major stir as a novel and stage play before benefitting a celluloid adaptation The Bad Seed shocked audiences with the first cinematic killer kid in mainstream cinema following a did she/didn't she plot set to innocent nursery rhymes played in fragile minor keys against paranoid orchestral restraint.  Mirroring the theatrical mother’s worst fears and accentuating the lead roles split personality The Bad Seed earned composer Alex North continued plaudits for his classy, conceptual realisation of this milestone in horror cinema soundtracking.

Pierre Henry - Theme De Myriam (Maléfices)

http://www.discogs.com/Reload-The-Autoreload-EP/release/1276049

Played by Ben Klock @ Dekmantel Festival 2013 (last song)

Reload - Peschi (Original Mix)

Follow iayze on IG: https://www.instagram.com/fuckiayze/
Stream Virtuous on All Platforms: SmartURL.it/Virtuous

Roxy (prod. Jdolla & Shxrkz)

http://www.delsinrecords.com/release.php?idxRelease=3872

Back in March 2003 Claro Intelecto announced his arrival in the electronic world with his Peace Of Mind EP on Ai Records. Now, a decade later, Delsin, the label on which he released his latest LP, is re-releasing it in all its glory. Across four perfectly formed tracks the EP proved Manchester’s Mark Stewart to have a fine grasp on techno, electro and dub, and that he was able to do his own unique things with each.

Arguably the most well known cut from the EP is 'Peace of Mind (Electrosoul)', a busy bit of chattery house-come-electro that is wired up with many zithering melody lines and Claro's trademark lush strings. 'Tone' is then a much more frazzled and aggressive bit of techno with raw, slapping percussion, gurgling synth lines and plenty of dystopian electro vibes. 'Contact' then settles into a deep, dubby, spacious groove with airy hi hats and a delightful bassline and carries you along effortlessly, and final track 'Signifier' closes things out in beautifully serene style with ambient swirling pads, organic synths and a curious bassline that rises and falls like the tide. Seminal stuff that still fetches a high price on Discogs, it was the start of a remarkable career for Claro Intelecto.

Buy at Delsin Webshop

Claro Intelecto - Peace Of Mind [x-dsr5]

Ascoltiamo una descrizione delle sensazioni tattili che si provano esplorando l’edificio.

Transcript
Male Narrator: Mentre saliamo lungo la rampa, un muretto all’altezza dell’anca, sempre alla nostra sinistra, ci separa dallo spazio aperto della rotonda [light electric guitar strumming]. Se si appoggia la mano sul muretto ci sorprende quanto sia basso. Ha uno spessore di 8 o 10 cm circa ed è arrotondato. Non è completamente liscio ma trasmette una sensazione piacevole al tatto.

Facendoci scorrere sopra le mani [sliding sound] ci accorgiamo che è butterato e irregolare, come una buccia d’arancia o un melone, a causa dei numerosi strati di pittura utilizzati per ritoccarne le pareti e mantenerle splendenti. Anche le pareti delle gallerie danno la sensazione di buccia d’arancia o di una terracotta priva di smalto.

A livello epidermico possiamo percepire altre sensazioni mentre percorriamo l’edificio. A volte sentiamo cambiamenti di temperatura. La rampa in cima può sembrare molto più fresca, a causa dei soffitti più alti, oppure più calda quando il sole vi risplende.

Si avverte chiaramente l’aria che si muove all’interno dello spazio. Mentre si passa davanti a certi punti [air moving] si può sentire il rumore meccanico dei condotti proprio sopra le pareti del parapetto, nel soffitto che si inclina verso di noi. Un enorme motore installato sul tetto fa circolare l’aria pulita filtrata, ventilando la rotonda giorno e notte, come se fosse il polmone dell’edificio.

[Airy electric guitar music begins.] La balconata più alta è forse il punto più tattile dell’intero edificio. È un intaglio in cima alla spirale. E in cima al museo potremmo avvertire una spinta gravitazionale verso il centro o la sensazione di vacillare, una leggera inclinazione verso l’immenso vuoto sottostante. L’impulso è quello di afferrarci al parapetto e di attaccarci alle sottili e basse pareti per restare ancorati a terra. Circondati dalla luce avvolgente e dallo spazio intorno, tutte queste sensazioni tattili potrebbero suscitare un’emozione viscerale.

All’apice della traiettoria della spirale, questo spazio ci invita a fare una pausa per abbracciare la profusione di stimoli sensoriali. Potremmo sentirci attirati verso il bordo, per sbirciare sotto, e poi ritrarci e sbirciare di nuovo, giocando con l’architettura [music fades out].

Mind's Eye

Exhibition Website

Esperienza tattile

Marshmallow

Mysterious River Snake

Unspeakable Visions

Little Star

Cremisan: Prologue To A Blade

Honeycomb

Das Ding - H.S.T.A.

Viva Boma

Cos - Flamboya

Brian Bennett & Alan Hawkshaw - Mermaid

Dance in the Endless Night

Horrorscope

Rubba - Way Star

In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required.
 
Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce.
 
The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (out now on Anthology Editions), these 20 tracks, encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it.

Unusual Sounds

Stringtronics - Tropicola

Africa Oscura

Iniziazione Africana

From an artist in their seventies, you probably wouldn’t expect to hear an album like this. But Brazilian drumming legend Ivan ‘Mamão’ Conti has been experimenting and innovating for the last half a century. As one third of cult Rio jazz-funk trio Azymuth, Mamão was at the root of the group’s ‘samba doido’ (crazy samba) philosophy, which warped the traditional samba compass with jazz influences and space age electronics. Even with his lesser known jovem guardua group The Youngsters, Mamão was experimenting with tapes and delays to create unique, ahead-of-its-time sounds, way back in the sixties. More recently Mamão recorded an album with hip-hop royalty Madlib under the shared moniker ‘Jackson Conti’.

With his first album in over twenty years, and the first to be released on vinyl since his 1984 classic The Human Factor, Mamão shares his zany carioca character across eleven tracks of rootsy electronic samba and tripped out jazz, beats and dance music. Featuring Alex Malheiros and Kiko Continentino on a number of tracks, the Azymuth lifeblood runs deep, but venturing into the modern discotheque (as Mamão would call it), Poison Fruit also experiments with sounds more commonly associated with house and techno, with the help of London based producer Daniel Maunick (aka Dokta Venom).

Take a bite of Mamão’s psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

United by a love for the music of Mamão and Azymuth, the CD and digital edition also feature remixes and dubs from some of today’s most forward-thinking producers with a penchant for percussion, including IG Culture, the 22a crew, Max Graef and Glenn Astro.

Vinyl / CD / Digi

Ivan ‘Mamão’ Conti - Ilha Da Luz

The Music I Love Is Gospel

Golden Strings

Aphex Twin: [mostly mellow] for Supreme

Stuart Mclean 6