Light Conductor • "Splitting Light (Radio Edit)"

Finders Keepers presents this uber-rare soundtrack to a film that never existed, performed by an imaginery pop group. Incredible Polanski inspired German hip hop psychsploitation beats from 1968.

You couldn’t script it… You are nineteen minutes and twenty-two seconds in to your peak- season cruise around the Kraut-schlock peripheries. To say the trip has been an eventful one would be an understatement – you don’t know what to expect next and your 12” x 12” Germanic tour guide has proved quite unreliable thus far. As your diamond tipped vessel maneuvers through the grooves of your ninth horrific attraction (entitled The Soaked Body) the soundtrack awkwardly becomes background music and you are overcome with the sound of gushing water… ‘Help!’ you think sarcastically, the music, or is that muzak, is drowning!

This is the movie soundtrack to a film that never existed. This is the movie soundtrack by the band that was never requested. These were the sound library musicians who had to invent their own clients and imaginary cast, crew and plot to get their music heard, by a niche audience, before floating deep into the depths of the rare record reservoir gasping for breath.

To take a cinematic cue the record in question is the eurotrash pop equivalent of Jean Renoir’s tragic/triumphant Boudu character who as a homeless, confused and desolate down-and- out plunged to the depths to be unwillingly rescued, resuscitated then after gradually winning the hearts of an entire family becomes respected and revered as royalty. Over twenty years after the mad scientists, Dr. Horst and Ackermann, first breathed life into this short-lived beast, brave and intrepid vinyl explorers have sporadically returned to the doors of Dracula’s Music Cabinet to resurrect the sonic spooks and mutated melodies to share with nerds, mods, rockers, hip hoppers, psych nuts and Krautsiders alike. The lifeless corpses of The Vampires Of Dartmoore that lay six feet beneath the belly of the Eins Deutschmark bins has since crept through the record collections of the aforementioned social circles devouring continental currencies and demanding random ransoms of €250 plus, not to mention sweat, tears (of laughter) and a lot of blood.

www.finderskeepersrecords.com

Dracula's Music Cabinet

The Vampires Of Dartmoore - Tanz Der Vampire (Dance Of The Vampires)

First track off London Odense Ensemble Jaiyede Sessions vol. 2 - cut from the same sessions as vol. 1, but showcasing the more diverse nature of vol. 2 which broadens out the spectrum of the ensemble into new realms.

London Odense Ensemble: Reflective Shapes

Stereo excerpt from a continuously looping 10-channel (decaphonic) ambient audio installation for the Norwegian Maritime Museum in Oslo.

Outpost (Norwegian Maritime Museum Commission)

Holy Worms

Lay Llamas – Holy Worms (Radio Edit)

Taken from the score for dance and circus performance 'Engel', by Marta Alstadsaeter and Kim-Jomi Fischer. Available here: https://machinefabriek.bandcamp.com/album/engel

Engel

Buy on Bandcamp

Cradle

Рассвет

Taken from 'Suso Saiz - Nothing Is Objective'(MFM040)
Buy Vinyl: https://www.musicfrommemory.com/
Buy Digital: https://music-from-memory.bandcamp.com/
© 2019 Music From Memory

A2 - Suso Saiz - Anti-stress For Babies And Families (8:00)

From Oiro Pena 10'' (Ultra-023, 2019) limited edition of 200, silkscreened sleeves. Released on 7th of June, 2019. 
Buy vinyl ---> ultraaanirecords@gmail.com
------
On Working Alone

The first person to create something one may classify as instrumental music was probably alone. The mind tingles when imagining the prehistoric moment when, for the very first time, a member of what then was the human race grabbed something and used it to make a purposeless series of sounds. Even if some of his fellow beings had been present at the time, would they have understood anything of it? Would they have taken interest in it and stopped to listen, or would they have demanded something easier to dance to?

The leap from vocalizing or clapping to a form of expression produced with instruments may have taken a long time, perhaps even a thousand years. The same goes for the fabrication of such instruments. Human communities were small, and influences spread slowly. We do know, however, that the first discovered instruments date back to 43,000 years ago and took the form of flutes made from the bones of mammoths and birds. Researchers believe they played a role in religion and in entertainment – in this sense, very little has changed. The wildest theories claim that music was one of the factors that gave us, the Homo sapiens, a competitive edge over the Neanderthal: music helped foster deeper cooperation between individuals. 

In any case, however, the ones who decided to hollow out that bone and find out what kind of sound you could get out of it were individuals, and this brings us back to our theme of working alone. The modern solo musician enjoys a much greater sense of liberty than our distant forefathers. Multi-track and recording technology freed us from our physical constraints and allowed us to imagine ourselves as a multiplicity. Everyone could, in the comfort of his home, be his own one-man band without having to strap an array of instruments onto his body like carnival musicians or Rahsaan Roland Kirk used to.

This is the frame from which A. E. Vauhkonen and Oiro Pena spring from. Vauhkonen´s hands simultaneously summon up brass, flutes, keyboards, drums, stringed instruments and all sorts of percussion. The sound is firm and slightly cosmic, like early Sun Ra Arkestra at its heartiest. But that’s enough about the music, listen for yourself. 

-Markus Karlqvist

Nimeton

Oiro Pena - Nimeton

https://metronrecords.bandcamp.com/album/music-for-baths-vol-i

Music for Baths Vol. I is the debut album from former Georgia resident Early Fern, and the inaugural release from new Métron Records project/sub-label small méasures - which aims to donate funds to organisations and causes of the artists choosing.

Having recently quit their full time job and begun seasonal work on organic farms, Early Fern began a process of reconnection in their own life. Taking the plunge to move away from the stresses of 9 to 5, along with the depression and anxiety engendered by participation in that lifestyle, they began to find a new grounding in remote farm-stays in Florida, Texas, and New Mexico. It was during this process that Early began recording music that mirrors their attempts to become more calm, more present, and more connected to their natural surroundings. It was in these sessions that Music for Baths was recorded.

Baths are a place where people have historically visited to find restoration, both mentally and physically, whilst soaking in the tranquility of water. It thus seemed appropriate that this record be an homage to those moments of calm, and to the process of healing. Indeed we can confirm that these tracks are a fantastic accompaniment to a soothing bath.

Early wanted to use the profits from this release to support an organisation close to their heart. Seeding Sovereignty is an indigenous womxn led collective which seeks to dismantle colonial structures and policies in politics, agriculture, and justice. These songs were recorded on colonised land, and by donating to them Early seeks to undo some of the harm of colonial structures and, in a small way, offset some of the privilege from which they benefit in a colonised nation.

Music for Baths [Vol.I]

Early Fern - Body Yoghurt

Pre-order now available from Imprec.com

Harry Bertoia's Glowing Sounds LP contains three versions of the same composition, each transferred at different tape speeds in accordance with the artist's instructions. This is the third LP to be released from Bertoia's extensive tape archive and it's the first, of many, to be released using instructions left behind by the artist himself.

Bertoia wrote the concept for this Glowing Sounds LP on a note in 1975 and slipped it into the master tape case where it sat unread for 45 years. The idea was simple, transfer the original recording at its original speed and two slower speeds. Bertoia noticed that the results, however, were profound. 

Recorded on January 20, 1975 using two large gongs, Glowing Sounds is one of the most powerfully minimal recordings yet discovered in Bertoia's collection. The artist's note left with the tape indicated that it was recorded at a speed of 15 IPS (inches per second) but slowing it down to speeds of 7.5 IPS and 3.25 IPS were quite effective for enhanced playback. Side A features the original 15 IPS recording and the 50% slower 7.5 IPS recording. Side B features a 20 minute, ultra-slow version at 3.25 IPS. 

Long, deep drones and powerful overtones define the sound of this recording. Comparison of the three speeds provides a revealing magnification of Bertoia's gongs, overtones and the artist's inventive approach to performance, composition and recording. 



Bio: 

Harry Bertoia first gained some artistic visibility in the early 1940s, then came into prominence with his sculptural, ergonomic chairs, produced by Knoll Furniture beginning in 1952, which quickly became classics of modernist furniture. Inspired by the resonant sounds emanating from metals as he worked them and encouraged by his brother Oreste, whose passion was music, Harry restored a fieldstone "Pennsylvania Dutch" barn as the home for this experiment in sounding sculptures which he had begun in the late 1950s. Bertoia was an obsessive composer and relentless experimenter, often working late into the night and accumulating hundreds of tapes of his best performances; Oreste, too, would explore and record the sculptures' sounds during his annual visits to his brother's home in rural Pennsylvania.

Harry Bertoia's recently dismantled Sonambient barn collection was an attentive listener's paradise full of warm, expressive instruments that were gorgeous visually and audibly. Nothing could prepare you, even on return visits, for the overwhelming experience of entering the spacious wood and plaster interior where gongs, some of them giant, hung among the ranks of standing sculptures of various metals. Over nearly twenty years of adding, culling and rearranging, Bertoia carefully selected nearly 100 harmonious pieces ranging in height from under a foot to more than fifteen feet. He considered this barn a full experience, sights and sounds comprising not a collection of works, but one piece unto itself. It was here, deep in the woods, that his Sonambient recording work took place.

Learning by experimentation was common for Bertoia and he mastered the art of tape recording, turning the Sonambient barn into a sound studio with four overhead microphones hanging from the rafters in a square formation. He would experiment with overdubbing by performing along to previous recordings, sometimes backwards, constantly improving his methods while also honing his performance skills. Bertoia was a careful editor of his own work and only chosen recordings remained, each with a date and carefully considered observations written on a note included with each tape. Through these pieces of paper a the artist's logic can be uncovered, a careful approach to composition, ideas, feelings and forms. The story of Sonambient barn collection will slowly be told through the release of recordings from the archive as well as installations and performances built from Bertoia's own recordings, lectures and a book.

Oiro Pena - Nimeton

Ultraääni

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