Finders Keepers Soundtracks 12 Items

During the 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 package 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 epitomize 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 first time since its original release some 11 years ago, Finders Keepers' 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.

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 thirtyyear- 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 Polanski/Komeda, Fellini/Rota, Argento/Goblin…

Featuring one of the heaviest psych rock movie theme tunes 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, François de Roubaix and Alain Goraguer, creating a soundtrack that unknowingly begs comparison to Masahiko Satô’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 Czesław Niemen, Niebiesko-Czarni and Test) Korzyński’s growing passion for conceptual rock and jazz music soon led 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 Korzyński with another significant cinematic muse in that of the stunning actress Małgorzata 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 Diabeł, 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 endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the the composers finest and most inspired sonic adventures.

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 Żuławski) 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), Zdeněk Liška (Czechoslovakia) and now Andrzej Korzyński, 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.

The original off-kilter psychedelic score rejected by Andrzej Zulawski available for the first time ever on limited edition transparent red vinyl 7” (500 only). Released alongside long-awaited liberation of Andrzej Korzynski’s full psychedelic score for Diabeł (fkr112) Sourced from the elusive original master tapes with the full cooperation of the CeTA archives in Warsaw this grinding psych ro

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 Andrzej Zuławski and Andrzej Korzynski 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 Zuławski and filmmaker Andrzej Korzynski, 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, Korzynski and Zuławski may have become divided by limelight and geography (Zuławski 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. Sourced from the elusive original master tapes with the full cooperation of the CeTA archives in Warsaw.

From deep in the heart of Moominvalley, frozen in time for many midwinters passed, comes a genuine treasure chest of never heard Moomin melodies and instrumental comet songs composed for the continued animated adventures of our Fuzzy-Felt freak folk friends who disappeared from UK TV pastures in the mid-1980s. From the top of the Hobgoblin’s Hat and the bottom of Snufkin’s satchel, original Moomin’s composer Graeme Miller (The Carrier Frequency) kindly shares this patchwork selection of spellbinding sound poems and percussive peons made using the very same selection of ocarinas, kalimbas, miniature squeak boxes, Waspy synths, cornflake box shakers and a seemingly endless array of talent and lo-fi home studio trickery. Regarded as one of the most enigmatic, beguiling and haunting imported children’s programmes to ever grace UK TV screens, The Moomins was one of the first-ever commissions by Anne Wood (The Teletubbies) who ingeniously replaced the original Polish/ Austrian/Finnish soundtrack with homemade music experiments by unknown post-punk theatre students Graeme Miller and Steve Shill (aka The Commies From Mars) who after the screening of two unforgettable series in 1983 and 1985 were left in eager anticipation of rescoring further Moomin adventures with new melodies, arrangements and sound designs which then lingered in the ether waiting until the Groke awoke and Snorkmaiden sang once more. With future felt adventures screened exclusively in Poland and Germany for many years (often as feature films) these unheard recordings are the only genuine musical sequel to the bizarre UK version of The Moomins and stand as important inclusions the Graeme Miller’s own portfolio of theatrical theme music and sound installations as part of The Impact Theatre Cooperative including collaborations with artists and writers such as Russell Hoban. Witnessed in fragmented form during a short run of incredible rare live screenings at The Barbican Theatre and various film festival this record marks the first time this music has been heard in its original full-length form, free from sound effects, dialogue and whimpers of euphoric joy and nostalgia from those who have continued to crave the company of our Moomintrolls and their mysterious music over the last five decades.

Converging at a cultural terminus that bridges Belgian electronic music, French comic book culture and the cream of the cinéma fantastique film genre, this rescued and previously unreleased multi-discipline art film soundtrack entwines unlikely links between the likes of Daniel Schell's Cos, French vampire film director Jean Rollin, Tintin, dark ambient pioneer Igor Wakhévitch, Heavy Metal magazine, Moebius, Alejandro Jodorowsky, choreographer Maurice Béjart, musique concrète legends François Bayle and Luc Ferrari, and some of the most notorious examples of pre-certificate Video Nasties and Mondo cinema. Needless to say the empty branch on the Finders Keepers family tree reserved for synthesist, sound designer and ethnological instrument enthusiast Alain Pierre is ready to bare some very strange fruit.

The recent rediscovery of this 1974 short film documenting revered cosmic comic artist Philippe Druillet and the creation of one of his finest works has given fans and enthusiasts of counter culture comic design, sci-fi pop art, and French Futurism a rare glimpse and insight into a master at work during his creative halcyon. Directed by Swiss-born Michel Jakar, the film Ô Sidarta, (named after a seminal design created for French/Belgian bandes dessinée monthly Pilote) not only explored the mind-set and applied techniques of the artist, it also witnessed the master painter in his natural habitat, at home amongst gothic decor, while seizing the opportunity to animate some of the artist’s best work via quick-fire edits and cross-fades accompanied by the all-important back drop of Alain Pierre's unique, multi-layered and potentially ground breaking space raga soundtrack.

Limited edition of 500 copies pressed on white and yellow vinyl.

Back in the latter half of the 1960s the burgeoning idiosyncratic group of alternative filmmakers coming out of (then) Czechoslovakia known as the Czech New Wave were taking art house cinemas in Western Europe and America by storm. The hour long films that came out of the infamous Barrandov production house played a competitive rival to that of the French and Italian New Waves with their very own immaculate and spellbinding takes on cinema verité, film noir, surrealism and cinema concrète. But after the Soviet Union invaded Czech in August 1968 the clampdown on non-conformist creative arts saw over seventy films either banned or withdrawn from production in a mass culling of film reels until 1970.

It is not until recent years that the genre has become widely recognised as a veritable and virtually untapped source of inspiration for fans of experimental cinema, psychedelic cinematography, baroque costumes and scenery, music and graphic design.

Daisies pulls together what you might call the ‘Holy Trinity’ of the Czech New Wave – director Vera Chytilová, costume and set designer Esther Krumbachová, and cinematographer Jaroslav Kucera – arguably the three most forward-thinking and truly experiMENTAL minds in the whole of the CNW collective. Witness Les Petites Margeurites (original French theatrical title) as they mischievously flutter through Prague’s finest restaurants accompanying middle-aged men on flamboyant double dates in gastronomic ménage à trois – “If the world spoils itself, then we shall be spoiled as well” decide the two bikini clad button-cute Maries in the films opening scenes.

The radical and experimental nature of Daisies is further enhanced by its erratic score which consists of the juxtaposition of various non-melodic elements and sound effects, laden with a broad palette of samples and snippets of choral and classical vintage recordings spliced with concréte effects, traditional brass band music, Disney style exotica, Charleston dance standards and token 60’s beat tracks.

Originally prepared for public consumption by Finders Keepers in 2007 and available once again as part of our ongoing (and slightly disrupted) 15th birthday celebrations this immaculate release was taken from the original reels and compiled in close accordance to the original storyline and comes complete with unseen archive images, original international poster designs and new and extensive sleevenotes.

From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, Video Nasty film composer, occasional Jaume Sisa (Música Dispersa) collaborator and future electronic music therapy pioneer comes the synthridden vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alienígena amic and the unidentified flying object of thousands of Catalonian kids affections through the 1980s as Finders Keepers present J. M. Pagan’s lost lunar modular synth score to Kiu I Els Seus Amics (Kiu And Friends aka Kiu Is Your Friend).
From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in “Badi” or South Africa’s lo-rent hommage “Nukie” to our unregulated small screens, and the same craze which filled international airwaves with the likes of Extra T’S electro smash single “E.T. Boogie” or the million selling Columbian “Cumbia De E.T. El Extraterrestre” smash hit... not to mention a wide range of unofficial themetune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album) the creators of the movie which inspire the music on the album you are about to hear made no bones about their intergalactic muse. In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyones favourite torch fingered, three toed, Skittle scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21st century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before. At the precise moment that international audiences saw that cute little baldy poke his retractable neck around the corner and started stealing beer from the fridge, demanding long distance phone calls while circuit bending kids toys and frankly not looking after the plants... the human race was hooked! and we wanted more! more! more! When Spielberg regrettably told interviewers that he had no intention of making a sequel to E.T. The Extra Terrestrial, it instantly became open-season for the imitators... but way before somebody squeezedout, Mac & Me, ALF and The Purple People Eater a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisió de Catalunya (TV3) and screened exclusively in Catalunya, Kiu I Els Seus Amics was one of the first E.T. “tributes” to make it out of the gate, and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, “Kiu” has since remained a short but sweet micro-memory in the hearts of an entire generation of Catalonian cosmonauts.

Recorded in 1976 by Invisible Girls’ Steve Hopkins and Martin Hannett for a truly
bizarre stop-motion animation called All Sorts OF Heroes, this hard edged funk
instrumental theme reveals another side to this versatile production team joining the
hidden dots between ESG, Gyro, A Certain Ratio and Afro Express.

Like much of the lost and unreleased projects that stalled on the peripheries of early
proto-Madchester, including the disco-pogo music of Spider King, Gerry And The
Holograms, The 48 Chairs, Naffi and The Mothmen, this record has been frozen in
time waiting for the wider marathon of independent pop to catch up!

Pressed here by Finders Keepers for the first time on vinyl.

An unholy grail of near mythical status finally joins the Finders Keepers Records discography in the form of this first-ever reissue of Masahiko Sato’s elusive sensual psychedelic free jazz score to the stunning Japanese witchcraft animation Belladonna Of Sadness (Kanashimi no Belladonna) directed by anime screenwriter Eiichi Yamamoto in 1973. asn early feature-length example of a micro-genre in which Japanese anime producers collaborated with the “pink” film genre.