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The Moomins Winter Wunderland Edition. Strictly limited Winter Wunderland sleeve; edition of Imagine, if you will, a foreboding homemade electro-acoustic, new age, synth-driven, proto-techno, imaginary world music created on a Portastudio soundtrack for a Polish-made animated fantasy based on a Finnish modern folk tale and created for German and Austrian TV, composed in by two politically-driven post-punk theater performers from a shared house in Leeds.

To even the most perspicacious and adventurous of alternative music fans, the genuine bloodline of this previously unreleased record already begins to sound like an entire record collection in one sitting. It would be surprising if this project's ambitious and exotic credentials didn't tick at least one box on your musical matrix and without one drop of unnecessary nostalgic hyperbole this project already sounds like the perfect fantasy record that you've never heard. From the same social landscape as Gang Of Four , The Mekons , and Impact Theatre Co-operative - armed with a Wasp synthesizer, an ocarina, and a cassette of the Robinson Crusoe music taped off the TV, Graeme Miller and Steve Shill used minimum means for maximum mayhem, instilling over 35 years of dream-like illusory fuzziness and freakiness into the memories of a generation of school age TV addicts waiting for the next five minute fix of outer national fuzzy felt folklore.

Collected here, all in one place for the first time, Finders Keepers, in close collaboration with the original composers, present the first-ever full soundtrack release for the UK-specific cult animated series. Woodland Band Parade. Graeme Miller and Steve Shill 's Woodland Band Parade consists of homemade electronic and mechanical music heard exclusively via British TV speakers as an eerie backdrop for the Polish-made stop-motion adaptation of the Finnish comic strip.

Ticking all the boxes that attract freak-folk enthusiasts and "synthusiasts" alike, the combined efforts of Shill and Miller deployed thumb pianos, backwards tape effects, wooden pipes, and a Wasp synthesizer the almost-affordable post-punk synth of choice to replace the original '70s German jazz soundtrack, thus dramatically mutating the tonality of the hundred episode-long saga.

Miller and Shill's unique DIY approach follows characters like Moomintroll, Sniff, Snuffkin and the Snork Maiden as they encounter hobgoblins, sand lions, and the mysterious Groke, complete with their individual detuned electronic voices and theremin-esque whimpers. Based on the original sprites invented by Tove Jansson , the modified fuzzy felt figurines were designed by animator Lucjan Debinski at the legendary Se Ma For studios in Poland for German syndication resulting in what many regard as the definitive and most enigmatic version of the story, succeeding further animated adaptations form Japan and Russia.

Sharing the same nostalgia and oblique exoticism as The Singing Ringing Tree , The Little Mole , The Magic Roundabout , and other reconstituted imports seen on programs like Granada TV's Picturebox , The Moomins and its synonymous theme tune and sound effects render this limited 7" vinyl release an essential addition to the record shelves of soundtrack collectors, domestic electronic fans and absent bygone tele-addicts as well as animation and design enthusiasts on account of its unique imagery and packaging.

Includes an extended take of "Woodland Band" and a never-before-heard cue from the forthcoming Lost Tapes.

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Like the running lengths of the original episodes, these rare specimens won't stick around for long -- act fast, relax, regress, and rejoice for the return of the Moomin trolls. Custom-made felt backed 7" sleeve depicting original production stills. Featuring some Finders Keepers' regulars amongst galactic Gallic rarities, this double-vinyl dossier demystifies some of the essential French free jazz and Parisian prog inclusions from the alphabetical "dedication" inventory as printed the anti-bands industrial milestone debut.

When Steven Stapleton, Heman Pathak , and John Fothergill 's anti-band Nurse With Wound decided to include an alphabetical dedication to all their favorite bands on the back of their inaugural LP the notion of creating a future record dealers' trophy list couldn't have been further from their minds.

By adding a list of untraveled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential like-minded bands. Many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outer-national vinyl junkies, mostly without consultation of the enigmatic NWW map. Via vinyl vacations, on cheap flights and interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their year vintage, Stapleton and Fothergill, even if you've never heard of them, were at the bottom of the pit before "digging" became pay dirt.

The List has been mythologized, misunderstood, and misconstrued. It's also been overlooked, overestimated, and under-appreciated in equal measures. Bolstered by the sub-title "Categories strain, crack and sometimes break, under their burden," all bands on the inventory many chosen on the strength of just one track alone were chosen for their genre-defying qualities.

Forty years after Nurse With Wound's first record, Finders Keepers, in close collaboration with Steve Stapleton remind fans of this kind of "lost" music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. A collaborative attempt to officially, authentically, and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred.

The first volume of the series focuses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Black Cat. A spontaneous Turkish-Norwegian-Dutch expedition makes the story of Durul Gence 's Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music's great "what ifs? Unintended for commercial release, Finders Keepers present these previously unheard tracks sourced directly from original tapes.

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A testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours -- a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. Flowers Of Evil. As a genuine vanguard of electronic music composition at the forefront of the modular synthesizer revolution in the late s, Suzanne Ciani 's forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from a rare exception to the collective futurist vision of Ciani and synthesizer designer Don Buchla.

In her varied career that would combine art gallery installations, major film soundtrackings, and commissions for Atari, Suzanne Ciani's earliest experiments remain some of her most challenging, beguiling, and timeless. Ballard and Aldous Huxley some might instantly recognize an unconscious sistership between this recording and another electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White's excellent version of Flowers Of Evil released via Limelight records is that its dark tone generation and vocal manipulation was created with a Moog synthesizer, the commercially triumphant rival to Suzanne and Don's Buchla Systems.

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The fact that Ciani's version was never intended for commercial release is also poetically reflective of the nature of Ciani and Buchla's alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani's faithful reaction from some of its better-known variations. La Bete Noire. RSD release.

Lost and presumed missing for decades the soundtrack tapes to this lesser-known French thriller, captures the revered composer and arranger of Serge Gainsbourg 's Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas, and cyclic carousel psychedelia. Werewolves On Wheels. B-movie junkies, gather round and prepare yourselves for what could only be described as a cinematic speedball. Take a combined hit of two of the most potent strains of toxic cinema, dress it up in ritualistic robes, and make it dance to the beat of a stoned, motoric, country commune soundtrack.

Werewolves On Wheels emerged in in a climate where the B-movie genre of the previous two decades began to make way for the early glimpses of imported slasher films and video nasties.

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Until this point, Don Gere had been a pop folk songwriter and a country music devotee, but while riding with the werewolves, Don Gere became a disjointed psych rock stoner making ritualistic commune country with more coincidentally in common with Germany's emerging krautrock scene or the more localized stoner psych of Skip Spence whose radically ahead of its time LP OAR was recognized by Columbia Records as their lowest selling record in the company's history.

Ikarie XB Fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry , Ennio Morricone , Michael Nyman , and Stanley Myers.

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But having waited patiently behind the borders of the wider landscapes of international cinema, Liska's musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like "lost", "rare", and "unreleased" in a climate where previously lesser-known off-kilter master composers such as Vannier , Kirchin , and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer.

Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liska is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his "client" who would in-turn end up working under this composer's creative direction. Not only was Liska a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition.

It is a direct extension of these experiments that saw Liska also draw parallels with Walter Branchi Ennio Morricone's main electronic sidekick in Italy as well as Daphne Oram in the UK, making Liska a relatively untraveled pioneer of early electronic composition and sound design due to his unlikely global environment. Remastered from the original tapes with the full cooperation of the National Film Archive in the Czech Republic. Labels O' Interest by superstringtheory. Favorite Labels by Mimaku. Favorite Labels by angst. Favorite Labels by echocheddar. Favorite Labels by HardcoreBones.

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