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2LP
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CACK 027LP
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"In 1967, 1968, and 1969 most of my works were happenings loosely based on Lewis Carroll's The Hunting Of The Snark, a not-so-cryptic poem that, to my mind, gave clues to free the theater in the same way the 'new music' had freed jazz. It never made it to record and I gave up on the idea when I met Sunny Murray and Alan Silva when they arrived in Paris in the summer of '69. Few concert venues would have anything to do with us but we didn't want that kind of connection with the public . . . Galleries, museums, and art/theater/dance festivals, on the other hand, were open to this early multimedia event -- complete with films, masks and early electronic devices (Bernard Vitet, the trumpet player, brought an early portable reverb system to the proceedings). The reels and cassettes we rescued from my basement are rather evasively labeled and the following data is far from precise. The core group was me on piano, Bernard Vitet on trumpet and electronic treatments, Beb Guérin on double bass, Daniel Laloux as MC, Jean Frenay and Jean Vern on saxophones, Michel Kurylo, Annick Astier, Lambert Terbrack, and my then wife Françoise Tusques 'singing' and 'acting', so to say. Jacques Thollot, Aldo Romano, and later Noel McGhie were on drums. I know for sure side A is a studio recording carried out in August 1968 by the comité action musique, an activist group of artists and engineers aiming to reclaim the means of production from the 'record industry'. The line-up is me, Vitet, Guérin, Laloux, Frenay, Vern, Astier, Françoise Tusques, no drums (everyone doubling on percussion), and Michel Portal on bass clarinet and saxophone as guest. Side C is a montage of the surviving bits of the happenings that took place at La Vieille Grille between August 1967-March 1968 (sometimes on a daily basis in '68!), the museum of modern art during the May '68 demonstrations, and the Biennale Of Paris in February 1969. Sides B and D are less theater oriented and may have been recorded either at the American center in October 1968, the international students center in November 1968 (Barre Phillips on bass and Barney Wilen on sax guested on these dates but I'm not able to confirm they are on the tapes), or in the winter and spring of 1969. However, the cassette for side b only read "Snark 1969"... The name of the group (it changed every time it ventured out), the title of the concerts and accordingly the cuts on these LPs were all lifted randomly from Lewis Carroll's poems and novels." --Francois Tusques
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CACK 026LP
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François Tusques on Alors Nosferatu Combina Un Plan Ingenieux: "After Le Nouveau Jazz was released in early 1967 (CACK 014LP), I worked for two years with Bernard Vitet, Beb Guérin and a few other friends on a happening loosely based on Lewis Carroll's The Hunting Of The Snark. There was a strong element of theater to it and we presented it in playhouses, museums, public places, institutions... It never made it to wax and I gave up on the idea soon after when Sunny Murray and Alan Silva showed up in Paris in late 1968. I had meant to upend the conventions of performance with this happening: now I was fully part of a similar revolution, the 'New Music', with its very originators. Nevertheless, the 'Snark' adventure was never over, and the bands I co-directed still used the musical themes (and methods) we had developed for the project. The headlines for the performances and the name of the band itself were still lifted from 'fantastique fiction' works: for instance, we performed as the 'Boojum Consort' and used the title of the present LP was used several times at festivals. The music enclosed here is heavily indebted to free jazz but also retains various elements of the former happening (for instance, I also play saw, marimba and organ, and stray away from jazz references). My famous Shandar and 'Dazibao' albums are partially made up of the same material and were recorded at the same period/momentum which lasted roughly from the Spring of 1969 to late 1971 when I started to distance myself from free music. The final macabre incarnation of this work was the show 'Who Killed Albert Ayler?' whose political content stirred controversy. Gérard Terronès considered recording it, he even advertized it, but again nothing materialized. We found these recordings in my basement. The old reels and cassettes were unmarked or the cases (and sadly some of the music) damaged by time, water, and rats! To the best of my recollections, and from posters and advertising of the events, the artists who took part in the 1969-1971 concerts who make up this record are Ronnie Beer, Joseph Déjean, Claude Delcloo, Earl Freeman, Beckie Friend, Eddy Gaumont, Beb Guérin, Noel McGhie, Jouck Minor, Barre Phillips, Aldo Romano, Alan Silva, Kenneth Terroade, Jacques Thollot, and Bernard Vitet. Who, when, where (American Center quite often), exactly, I can't say..."
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CACK 025LP
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Cehennem is the first-ever collection of the highly sought after and largely previously unheard EMS Synthi AKS recordings of Gökçen Kaynatan, one of Turkish pop and rock's best kept secrets. A key figure during the birth of Turkish rock and roll, a founding father of Anatolian rock and the studio brains behind the first Turkish electronic pop records, Kaynatan's influence runs like the lifeblood through Turkish pop and rock. Having shunned the recording industry early in his career, he remained a driving force behind the scenes and on TV screens, spearheading the explosion of synth technology in Turkish music with his pioneering use of the EMS Synthi AKS, the fruits of which would only be shared on stage, never to be repeated television broadcasts, and in archival recordings that haven't seen the light of day until now. Having chanced upon the newly released EMS Synthi AKS in 1972 during a sabbatical in Cologne, Gökçen undertook six months of tuition in order to fully explore every intricacy of the highly versatile portable modular analog synthesizer. As the beating heart of his now self-sufficient custom-built studio it would propel Gökçen's forward-thinking aural ambitions to a new plane. Making his first entirely synthesizer-based public performances in Germany in 1974, he then returned to his homeland to soundtrack the dawn of the Turkish television age as in-house composer and one-man house band for Turkey's first TV channel TRT, signaling the arrival of a new era in Turkish pop and rock. Increasingly dogged by ill health, Gökçen privately harnessed the Synthi to channel his suffering caused by what would later be diagnosed as a brain tumor, dutifully recording and archiving his studio experiments, which would remain in the proverbial can for over 40 years. With unparalleled access to Gökçen's closely guarded private vault, Finders Keepers Records presents another first with this previously unheard collection of EMS Synthi AKS recordings that represent a vital yet hitherto missing thread in the development of modern Turkish music. Recorded between 1973-75, this modest compendium comprises two of Gökçen's earliest synthesizer compositions and an updated recording made whilst recovering from brain surgery -- arguably some the earliest Turkish synthesizer music committed to magnetic tape, further cementing Gökçen's indelible legacy within Turkish popular culture. Cehennem was mastered from the original quarter inch studio tapes with full cooperation from the man himself.
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7"
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CACK 4508EP
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Reissue. A two-track 7" from 1969, one of the best jazz 45s of all time. Essentially as a five-piece, the short-lived Brussels Art Quintet neatly combined members of both the mythical Babs Robert Quartet (early exponents of Belgian spiritual jazz) and key players from the leading progressive jazz/rock/funk unit known as COS (formally Classroom) who would stand as close affiliates of the likes of Marc Moulin, Kiosk, and Placebo through the 1970s. Reproduced in close collaboration with COS leader Daniel Schell, this one-off single includes the only known output by the Brussels Art Quintet.
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CACK 001LP
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2018 repress, 2013 release. Cacophonic presents a reissue of Michel Magne's Musique Tachiste, originally released in 1959. As the debut release on Finders Keepers' experimental/jazz/avant-garde imprint, Cacophonic releases Musique Tachiste, the first in a series of rare records by French experimentalist Magne. Musique Tachiste is one of the very earliest full-length French concept albums: part radical manifesto, part pantomime. This anti-intellectual "physical" reaction to the burgeoning Musique Concrete movement combines found sounds and industrial noise with piano jazz alongside imposing avant-garde orchestral elements and Magne's own hammered cimbalom flourishes. This unique debut LP also provides an early insight into a fruitful soundtrack/conceptual jazz career collaborating with Jean-Claude Vannier, Martial Solal, and Artie Kaplan, as well as founding the French Strawberry Studio at Château d' Hérouville where French groups like Magma, Catherine Ribeiro, Brigitte Fontaine, and Ange shared a diary with Terry Riley and Pink Floyd. As a dedicated producer of thematic composition, anti-intellectual experimental performance and modern jazz, Magne was also a well-respected pioneer of France's signature film score sound of the late '60s. Musique Tachiste marks a stylistic cross roads where the likes of Egisto Macchi, Harry Partch, Rolf Liebermann, and Igor Wakhevitch meet; this LP is an essential forefather of European conceptual pop made at the start of a career that begat a discography of challenging albums before his untimely suicide in the early 1980s. Presented here for the first time since its initial humble pressing in its unabridged entirety complete with its collectible illustrated sleeve art, this LP stands as the perfect debut release and musical modus operandi for this new archival imprint.
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CACK 002LP
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Repressed, 2013 release. Karel Goeyvaerts is the first collection of some of Karel Goeyvaerts' ultra-rare vinyl releases. This music was previously unavailable away from its original vinyl release. Goeyvaerts was born in Antwerp in 1923. After having received a humanistic education in Antwerp, he took courses at the Lemmens Institute in Malines. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud, music analysis with Olivier Messiaen and was in addition the pupil of Maurice Martenot at the Conservatoire National in Paris. In 1949 he was awarded the Second Prize for Composition and the Lili Boulanger Prize at the same Conservatoire. He obtained the Halphen Prize in 1950. During the winter of 1950-51, he wrote the Sonata For Two Pianos. Because of its decisive and total stylistic novelty he designated this work as "Composition No 1", thus rejecting all his former work. With this sonata, he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Messiaen and laid the foundations for generalized "punctual" serialism. He demonstrated the application of this technique on the electronic medium in his compositions 4, 5 and 7. During the period 1951-1956, he influenced directly through personal contact and intensive correspondence the musical creativity of Karlheinz Stockhausen, whom he met during the summer-courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first electronic music in the studio of the NWDR in Cologne. In 1970 the BRT appointed him as producer at the Institute Of Psychoacoustics And Electronic Music (IPEM) in Ghent. Beginning in 1974 he was in charge of the New Music productions for BRT-3 in Brussels. Goeyvaerts received several awards, such as the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders and the NOS (Nederlandse Omroepstichting). His works have been performed in several European countries, in Canada, the United States, Japan and at the festivals of the International Society for Contemporary Music (ISCM) in Brussels 1950, Oslo 1953, Graz 1972, and Bonn 1977.
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CACK 024LP
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Cacophonic presents a reissue of experimental Irish avant-garde and electroacoustic innovator Roger Doyle's Oizzo No, originally self-released in 1975. This manifesto of outsider orchestrations, teenage symphonies and cultivated concrete is Doyle's debut album. A pianist and composer, Doyle was also an improvisational jazz drummer with a penchant for experimentation that would marginalize him from traditional seats of learning in his native homeland but embrace him to the bosom of Europe's leading forward-thinking research centers for electronic and computer music. Here he would piece together two highly sought-after experimental albums before returning home to channel his multi-disciplinary work ethic into the agit-pop theatrical company Operating Theatre and play a leading role in the burgeoning Irish new wave scene as an early signing to U2's Mother Records. Oizzo No is a collection of some of Doyle's earliest works as an indomitable scholarship student of composition at the Royal Irish Academy Of Music in Dublin and then as founding member and drummer of experimental jazz rock outfit Jazz Therapy (who would later become Supply Demand & Curve). This patchwork 1975 debut draws from what was an already bulging portfolio that included academic assignments, living room compositions and soundtrack collaborations with Irish filmmakers. Originally part-recorded and subsequently aborted when the would-be label vanished without trace overnight, Oizzo No was shelved indefinitely until a scholarship at the prestigious Institute Of Sonology at the University Of Utrecht in Holland afforded Doyle not only the opportunity to partially revise his humble opus in their state-of-the-art studios (as well as those of the EMS Studios in Stockholm) but also the money to press a limited run of 500 copies and help further cement the foundations of his future status as one of Ireland's leading and most versatile contemporary composers.
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CACK 022LP
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2021 restock. Cacophonic present an abridged reissue of Experiences Musicales De Jean Dubuffet, originally released by Jean Dubuffet in 1961. If ever a phonographic accomplishment could encapsulate the precise modus operandi of the Cacophonic label, then the Expériences Musicales sessions made by French born painter, sculptor, music maker, wine merchant, and founder of the Art Brut movement, Jean Dubuffet would be a prime candidate. Originally released as an impossibly rare six record box set containing Dubuffet's first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960s recordings show a lesser-known side of this important artist's personality and stand up as a vital document in both fields of contemporary art and experimental music. Finally released to a wider audience and presented complete with Dubuffet's signature style artwork, this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu, and showcase what the two leading lights of modern art consider to be the best moments of this historic session. On this limited vinyl pressing Dubuffet succeeds in translating his unique spontaneous creativity and active support of Low Art into musical forms, a process with which he would also collaborate in his dual compositions with Danish avant-gardener Asger Jorn (for a separate series called Musique Phénoménale). Utilizing a wide range of orthodox acoustic instruments ranging from violin and open piano to duck whistles and not musical apparatus this set of eight pieces (culled from a potential twenty tracks made under the Expériences Musicales banner) sees the work of the artist approaching music from the perspective of "a man of 50000 years ago". Recorded at Galleria del Cavallino in Venice Italy during the first months of 1961, these primary experiments with music followed over twenty years of Dubuffet developing his own unconventional artistic persona as an instantly recognizable pioneer of post-war artistic abstraction. The recordings you will find within the grooves of this LP were created without any reference and in the artist own words "without any discipline, without anything that would present the artist from expressing himself freely and for his own good pleasure". Almost sixty years have passed since this sonic objet d'art was first realized, and with all the technology and the advanced science-of-sound, decades of so-called experimental musicians are still struggling to find that Brut energy within their creative endevors making this early example one of vital existence.
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CACK 021LP
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Cacophonic present a reissue of Musique Expérimentale, originally released in 1962. Further concrète explorations from the second generation of forward-thinking sonic auteurs that would push the boundaries of experimental music known collectively as the Groupe de Recherches Musicales, founded by Pierre Schaeffer. Having found a job in 1936 at Radiodiffusion Française (later Radiodiffusion-Télévision Française, or RTF) as an engineer, Schaeffer developed a newly found interest in music and with the blessing of his superiors made the most of his access to the Radiodiffusion Française studios. In 1942 Schaeffer and influential theater director, producer, and actor Jacques Copeau founded the Studio d'Essai (renamed Club d'Essai in 1946) as part of RTF in order to experiment with radiophonic techniques. Drawing on the works of French filmmaker, critic, and novelist Jean Epstein, Schaeffer would occupy his time with the manner in which sound recordings "revealed what was hidden in the act of basic acoustic listening" and in 1948 formally set about his research in earnest. With word of his theories and experiments spreading, Schaeffer was able to press the RTF management to further finance and in doing so expand his research. He recruited a previous collaborator for help, the young classically-trained composer Pierre Henry. By adding sound engineer Jacques Poullin as well, Schaeffer was able to complete a powerhouse, which he renamed the Groupe de Musique Concrète. In 1951, RTF handed the trio the keys to one of the earliest purpose-build electroacoustic studios (the other being the WDR Studio in Germany), furnishing it with state of the art bespoke equipment such as a Morphophone (designed by Poullin; capable of tape loop-delay) and a Phonogène (designed by Poullin; a multi-headed tape instrument). As Schaeffer's notoriety grew and Pierre Henry pursued other projects, RTF underwent a different direction. In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalize both their approach as well as personnel. As a result, Henry and several other key members left the group the following year leaving Schaeffer to lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales, and recruited new members including Iannis Xenakis, Henri Sauguet, Luc Ferrari, and Michel Philippot. Features works by François-Bernard Mâche, Romuald Vandelle, Michel Philippot, Luc Ferrari, and André Boucourechliev. Remastered; Includes original liners notes translated here for the first time.
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7"
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CACK 4507EP
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Groundbreaking three-track 7" EP -- the very first aural glimpse of the future of progressive Europe at the hands of physical sound sculptures glaring in the face of premature technology. The Lasry-Baschet unison united husband and wife Jacques and Yvonne Lasry plus their son Teddy (later creating Magma with Christian Vander) and hard material sculptors François and Bernard Baschet (later working with William Klein). Promoting "Instruments Non-électroniques", Lasry-Baschet's humanistic music later sparked the imagination of Jean Cocteau which led to installations at the Museum Of Modern Art, which then led to a shift how way people approached experimental melodic music.
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CACK 020LP
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2021 restock. Cacophonic present a first time vinyl reissue of a pioneering album of French free jazz, François Tusques's Free Jazz, originally released in 1965. Comprising some of the earliest, uninhibited performances from musicians behind groundbreaking European records and films, Free Jazz captures the birth of an exciting movement that would soon earn its Parisian birthplace as the go-to European spiritual home of improvised and avant-garde music. Spearheaded by pianist and composer François Tusques, this 1965 French album laid the foundations -- alongside Jef Gilson's 1963 album Enfin! (OI 020LP) -- for a unique satellite brand of jazz that would later provide visiting Afro American avant-garde players with a vibrant Parisian platform. With Free Jazz, you not only hear the unique differences within the Gallic approach to the art form (combining masterful somber cinematic changes with aerated free-form percussion and erratic reed and brass), but you also witness the early, lesser savored secret ingredients that would carry France's mainstream pop culture into truly uncharted and unrivalled territories. Best known as the soundtrack composer to the horror-tica films of Jean Rollin, Tusques is joined here by sax and flute player Francois Jeanneau, who later led Triangle, France's leading French language prog-jazz-rock act. Featuring three players from Enfin!, Free Jazz combines the skills of Jeanneau, with clarinet player Michel Portal, and trumpeter Bernard Vitet. In addition to this, Free Jazz also boasts the inclusion of double bass master Bernard "Beb" Guérin, a contributor to Sonny Sharrock's Monkey-Pockie-Boo (1970). It is by no coincidence that this carefully selected ensemble would be enlisted as the backing group for politically driven singer-songwriter Colette Magny (arguably influencing Brigitte Fontaine to adopt The Art Ensemble Of Chicago as her backing band). This album also captures a rare glimpse of percussionist Charles Saudrais in free-form mode after his departure from the Barney Wilen Quartet, resulting in the follow-up record 1970's Le Nouveau Jazz (CACK 014LP) for actor Marcel Mouloudji's privately funded label. This glimpse into a seldom documented underground of a domestic, revolutionary, uncompromised spiritual art-form reveals the other-side of abstracted French music which, alongside musique concrète, protest pop, symphonic rock, and Zeuhl-skool electronic prog, created a homegrown, self-contained music industry that influenced a universe of Gallic magnetic inspiration. Taken from Tusques's master-tape archive. Features two rare original outtakes which did not appear on the original album; Includes a facsimile of the original Tusques-penned booklet.
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CACK 018LP
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Limited restock. Reaching a near-mythical status amongst fans of free jazz's most worldly intrepid explorer, these seldom heard Paris soundtrack sessions known as Music, Wisdom, Love have evaded collectors' grasps and confused historians for exactly 50 years. Instigated in Paris in 1967 and filmed during Don Cherry's downtime on a visit to the Chat qui Pêche nightclub in March 1967, where he played with Karl Berger, Henri Texier, and Jacques Thollot, the bulk of this cinematic portrait was filmed on the streets of Paris under the direction of creative all-rounders Jean-Noël Delamarre and Nathalie Perrey, who, as their careers bloomed, would become pivotal figures in underground French cinema - straddling La Nouvelle Vague, adult entertainment, and cinema fantastique in what can only be described as speedball cinema. As the supportive creative family that primarily played home to French vampire/horrortica director Jean Rollin, both Nathalie and Jean-Noël, his brother Jean-Philippe Delamarre and a small team of other fans of oblique media would be responsible for a vibrant micro-culture that awkwardly flourished on the outskirts on the Parisian new wave - combining comic book culture, Lettrism, sexual liberation, psychedelic rock, graphic design, and, with this record as prime example, free jazz and avant-garde music. What previously might have been regarded as an unlikely coupling, with the benefit of half a century of archival hindsight, this release documents the essential cosmic collision of two fantastic planets. Available here for the first time ever and licensed from producer and director Jean-Noël Delamarre himself.
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10"
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CACK 019LP
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The first-ever dedicated album release by pioneering female Italian film music composer/arranger/multi-instrumentalist Giulia De Muittis (aka Mrs. Alessandro Alessandroni). This release compiles her contributions of Folkmusic releases Alle Sorgenti Delle Civiltà volumes One and Two to create her first-ever dedicated artist album under any of her recording monikers. Rare undercover pseudo-ethnological studio sessions made under her experimental alter ego Kema (The Pawnshop) combining the ethos of Can's "Ethnological Forgery Series" (EFS) with the studio trickery of Delia Derbyshire and unshakable credentials as one of the founding figures of Giallo film music and Italian psych soundtracks. Remastered from the original Flipper master tapes in collaboration with the Di Bari family. Perhaps best known amongst fans of Italian production music and Giallo movie soundtracks as the wife of the legendary Alessandro Alessandroni, composer, vocalist and multi-instrumentalist Giulia De Muittis was an equally formidable force who emerged from the formative years of the aforementioned anti-genres and rose to a monarchic status within the country's vibrant, and seldom rivalled musical secret society. The cliché "behind every successful man, there is a strong woman" might not do Alessandro and Giulia's long-running creative unison justice but one thing that rings true that in the shadows of Senor Alessandroni's limelight (illuminated by his work with Ennio Morricone for the films of Sergio Leone and Dario Argento) remained a darker musical feminine force which in time has come to represent the duo's finest and most sought after sonic artifacts. In a career that spanned four decades until her untimely death in 1984, Giulia's collaborative work as a reliable creative all-rounder and pop polymath has stood the unshakable test of time like few other musicians resulting in projects like The Pawnshop, Femina Ridens (1969), Revolver (SPITTLE 056LP, 1973), Questo Sporco Mondo Meraviglioso (1971), The Night Evelyn Came Out Of The Tomb (1971), Angoscia (1975), Inchiesta Giudiziaria (1971) and Witchcraft '70 (Angeli Bianchi Angeli Neri) (1970) earning increasing "Most Wanted" status on the collectors market. It is of no coincidence that Giulia's nom de plumes, Kema and De Muittis, have in recent, more educated years, become trusted seals of approval which connect top choice composers such as Raskovich (aka Sorgini), Stelvio Cipriani, Morricone, Braen (aka Alessandroni) Amedeo Tomassi, Piero Umiliani and Bruno Nicolai amongst select others. It is, however, De Muittis's seldom heard self-initiated solo work for small independent Italian library music imprints that reveal a unique multi-instrumentalist female composer working at her most intimate and uncompromised best.
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7"
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CACK 4502EP
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2013 release. 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 a desirable record 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 multitrack recording and tape editing. Pioneering, eerily nostalgic and creatively fearless, this record brings electric melodies to your haunted ballrooms.
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7"
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CACK 4501EP
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2013 release. 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 Roman Polanski's first-ever feature film Knife In The Water (1962). Composed by unanimously beloved Polish pianist Krzysztof Komeda. Features Roman Dylag and a radical inclusion of the sought after Swedish trumpeter Bernt Rosengren. This picture sleeve EP features artwork from Polish legend Roslav Szaybo. Komeda has worked alongside Don Cherry, Michel Urbaniak and Gato Barbieri. While unwanted by the clutches of communism this important artist deserves due focus.
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CACK 015LP
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Filed neatly and undisturbed within the micro-genre of 1970s Italian artsploitation, amongst films soundtracks such as Girl With The Crystal Plumage, A Quiet Place In The Country and House With The Laughing Windows, this obscure library LP is one of the few fully formed concept albums from the recently reappraised discography of Rome's most versatile and adventurous female production music composer Daniela Casa. Once destined for a shelf life within the storage rooms of defunct TV studios and educational facilities, Daniela's previously strictly commercially unavailable music has in recent years been given new focus at the hands of open-minded disc detectives and sonic salvage hunters earning Casa's distinctive feminine take on experimental instrumental mood and movie compositions a place next to her widely respected masculine counterparts such as Alessandro Alessandroni, AR Luciani, Pierro Umiliani, Morricone and Nicolai. Sharing tight studio space and strict syndication schedules with all of the aforementioned artists (under commission from Romano Di Bari's fervently independent Flipper music factory) Daniela Casa embraced a liberating wind change in affordable music technology which opened doors for uninhabited solo compositions in home studios, taking advantage of communal recording consoles and domestic synthesizers which nurtured a lesser-documented creative family tree (or rather secret society) and paved the way for individualistic projects from the likes of Magnetic System's Fabio Frizzi and Goblin's Claudio Simonetti. Here, on this repress of the impossibly rare, one-time subscription-only album, Arte Moderna, we find Daniela at her versatile best, creating a wide thematic suite (based on paintings and sculptures in an abstract art gallery) for which she would deploy mostly organic and acoustic instruments to construct a set of unorthodox compositions straddling avant garde, free jazz and Giallo tension (with some brief moments of brooding electronics and italian pop). Veering from her stylistic pop interests (which clearly included a fondness for the music of Black Sabbath and Led Zeppelin) Casa's Arte Moderna saw her adopt a less era-specific approach, combining neo-classical elements and piano improvisations akin to the likes of France's Francois Tusques or Burton Greene, or America's Mal Waldron without compromising her strong narrative personality. Finders Keepers Records now shine new light on these sonic sculptures and provide a fresh context where educated music listeners are ready to fill the gaps between Delia Derbyshire, Ennio Morricone, Suzanne Ciani and Harry Partch.
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CACK 016LP
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Originally released in 1959. Oft overlooked for over half a century while misfiled amongst exploit belly-dance records and holidaymaker souvenirs, this one-off twelve track album is the only existing full-length record by the best-kept mutant musical secret of the Armenian American diaspora, oud pop maestro Charles "Chick" Ganimian. One of the earliest examples of any kind of recorded fusion between rhythm heavy pop music and traditional Turkish music, Ganimian's developments in New York City - with his sadly unrecorded turk-jerk combo The Nor-Ikes (New Dawn) combo - ran almost simultaneously alongside the rising Anadolou pop scene in Turkey, resulting in his short lived powerhouse of Kif proto-rock under the changing names of Ganim's Asia Minors, Ganimian & His Orientals and Ganimian & His Oriental Music Orchestra. Combining a line-up of mostly unknown musicians from his local community (where he was worked as a butcher), Ganimian, in a short unison with ATCO records, was fortunate enough to accommodate jazz guitarist Al Schactman as part of his studio personnel (launching the career of this Nina Simone regular) as well as French born Armenian folk singer Onnik Dinkjian and reid player Steve Bogoshian (both from the band The House Of The Seven Uncles) as well as the esteemed Turkish raised kanun player Ahmet Yatman. As one of the very few early American recorded authentic Middle Eastern fusion record Come With Me To The Casbah has piqued a refined interest in a new generation of progressive world music collector resulting in a distinct drought in original Ganimian pressings on the collectors' market. This LP includes all of Ganimian's recordings including the rare singles for ATCO and East West which sit awkwardly next to bizarre and unique takes on popular American standards enhancing the exciting freak factor of this record which simply could not be made by today's stifling self-aware anti-standards. Come With Me To The Casbah is the music of this lost enigma of early world music, Eastern fusion and a missing kink in the fabric of New York pop music history captured before his short stint as an exotic Herbie Mann sideman which proceeded his migration into obscurity and his well-imparted tragic struggle with alcohol dependency depriving pop culture of a forward thinking pioneer who paved the way for the more credible exponents of the cross-continental Indo fusion enigma such as John Berberian and hard rock efforts of The Devils Anvil.
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CACK 017LP
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2021 restock; reissue of 1960 BAM label release. Musique Concrete represents an important milestone in the development and progression of the genre of the same name. It marks a crossroad for the genre and its originator, Pierre Schaeffer and another of the genre's most important protagonists, Pierre Henry. In 1942, Schaeffer and Jacques Copeau founded the Studio d'Essai (renamed Club d'Essai in 1946) as part of Radiodiffusion Française studios in order to experiment with radiophonic techniques. In 1948, Schaeffer occupied his time with the manner in which sound recordings "revealed what was hidden in the act of basic acoustic listening". This resulted in a series of studies known as Cinq études de bruits (Five Studies of Noises) (1948). With word of his theories and experiments spreading, Schaeffer's studies grew in size and he would need assistance. Pierre Henry was an obvious choice and sound engineer, Jacques Poullin, completed the sonic powerhouse. The group was renamed the Groupe de Musique Concrete. In 1951, RTF gave the trio access to one of the earliest purpose-build electroacoustic studios, furnishing it with state of the art equipment such as a morphophone and a phonogene, both designed by Poullin. The studio attracted composers such as Karlheinz Stockhausen and Edgard Varèse and in that same year Schaeffer and Henry produced and premiered the first opera concrète, "Orphèe 51". Pierre Henry began pursuing projects closer to his own heart, working with experimental filmmakers and choreographers like Maurice Béjart. In 1957, following a particularly prolonged absence on RTF duties, Schaeffer returned unhappy with the direction the group had taken and tabled an idea to revitalize both their approach as well as personnel. As a result, Henry and several other key members soon left. Schaeffer lay the foundations in 1958 for a new collective called Groupe de Recherches Musicales recruiting new members Iannis Xenakis, Henri Sauguet, Luc Ferrari and Michel Philippot as well as ushering in a new steady stream of musicians eager to study, including a young Jean Michel Jarre. Featuring the full versions of these seminal early works (abridged versions of which had previously appeared across two 7" singles on Disques BAM) the recordings presented here are the first fruits of this new alliance and served to lay the bedrock for the future of the Groupe de Recherches Musicales which would later count the likes of Ivo Malec, Philippe Carson, Romuald Vandelle, Edgardo Canton and François Bayle.
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CACK 008LP
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2014 release. As a central figure of one of Europe's most vibrant inter-communal music movements, François Tusques's involvement as a central figure in the French free jazz scene (alongside Barney Wilen, Jean-François Jenny-Clark, and Jacques Thollot) is as indispensable as it is synonymous. As the first release in a series of long-overdue reissues and vintage archival debuts, Cacophonic presents this presumed lost, previously unreleased studio session from 1967, which sees the cross-pollination of two of France's most exciting counter-culture families, combining the open music of Tusques and the moving image of experimental horror director Jean Rollin. This cinematic debut for both parties commenced in 1967 under the working title La Reine Des Vampires before being distributed and commonly (inaccurately) recognized as "France's first vampire film" under the title Viol Du Vampire. Staying faithful to the project's original title and intention, this dedicated audio release hears the original unedited performance in its original form before Rollin's sound editors got to work with their ruthless tape splicers, dialogue synchronization, and recycling tactics. La Reine Des Vampires features an all-star line-up of Barney Wilen, Jean-François Jenny-Clark, Bernard Guerin, and Eddie Gaumont -- assembled by Tusques in the same months that followed the important manifesto of the avant-garde that embossed the group's name on the French musical map. This advent collides at the exact point where Rollin (as an erotic writer and avant-garde theatre patron) first committed his filmic experiments to feature-length celluloid, proving this previously unheard artifact to be a significant landmark at the start of both a controversial cinematic legacy and a genuinely experimental domestic music career that immediately went on to magnetize the likes of Don Cherry, and Archie Shepp and Sunny Murray in the following year. Remastered from Tusques's very own studio master tapes and including an extra lost bonus track from his personal "work-in-progress" Ferrograph dubs, this LP not only includes the unedited soundtrack source material but compiles a number of high-quality studio demos originally turned down by Rollin in 1967. The approved themes found on the A-side of the record were also rearranged and edited for the soundtrack for Rollin's second feature film, La Vampire Nue (1970), without Tusques's prior consent, providing an extra twist in the tale and instantly giving this first-time release a technical "double soundtrack" status.
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CACK 005LP
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2014 release. Lucien Goethals was born in 1931 in Ghent, Belgium. He completed his musical education at the Royal Academy of Music in 1956 where he was awarded the highest accolades for advanced organ, history of music, and theoretic notions, after which he eventually pursued his studies of seriated music technique and electronic composition with G.M. Koenig. He was awarded further awards for composition in both his own country as well as abroad, and was a member of the renowned Spectra work group. In 1963 he was appointed to the post of producer of the BRT (Flemish division of the Belgian Broadcasting and Television System) and later a key producer in the division known as IPEM (Institute for psycho-acoustics and electronic music). From 1971 he taught musical analysis at the Music Academy of Ghent. Goethals was an exponent of the stricter direction in the aesthetics of contemporary music. His work is still recognized as a valuable contribution, on a global scale, to the fields of seriated and trans-aleatoric music of the past half century. His recorded achievements within experimental music include a dozen rare compositions for solo "magnetophonic" music and a set of works for combined orthodox instruments with magnétaphone. Outside of the electronic field, Goethals was also recognized for his chamber music, symphonic orchestration, cantata, and lied compositions. This compendium focuses on Lucien's magnetophonic work. Features a translation of the original track notes that accompanied the original limited Belgian pressing.
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CACK 007LP
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2016 repress of Cacophonic's 2013 reissue; originally released in 1955. One of the very earliest and most important examples of electronic tape music to be pressed on vinyl (alongside the Radiodiffusion-Télévision Française musique concrète compilations in France and Jim Fassett's comedic 1953 Strange to Your Ears novelty record), this privately pressed 1955 10" was released on a one-off label owned by businessman Gene Bruck to document a custom-made performance at the Museum of Modern Art in New York in 1952. This facsimile edition of this important LP archives remastered versions of the first recorded unison of Otto Luening and Vladimir Ussachevsky, a partnership that founded the Columbia-Princeton Electronic Music Center at Columbia University in 1959, which would later count İlhan Mimaroğlu, Wendy Carlos, Dariush Dolat-Shahi, and Alice Shields among its graduates. The October 28, 1952, performance showcased the debut of the seminal "Fantasy in Space," based on resampled flute recordings that were manipulated on magnetic tape to create an otherworldly melodic composition, stylistically begging comparison with the early recordings of Kraftwerk (made some 20 years later) and bringing a palatable and tuneful alternative to the stark avant-garde experiments of the pair's French counterparts. The mechanical construction of the track was even "performed" on primetime American television to celebrate this groundbreaking approach to modern music. The record's full program includes 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 purposes of this release Cacophonic have also included the seldom-heard 14-minute track "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 Luening himself in 1954 (employing Ussachevsky in an advisory capacity). CRI operated for 49 years, releasing records by Harry Partch, Alwin Nikolais, John Cage, and Alice Shields. Also included in 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.
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7"
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CACK 4506EP
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Rare, previously unreleased outtakes from electroacoustic pioneer and Synclavier developer Jon Appleton and experimental jazz outrider Don Cherry's controversial electronic jazz experiments, recorded during the sessions for their 1970 Human Music LP at the Bregman Electronic Music Studio at Dartmouth College, New Hampshire. Released with the blessing and encouragement of Appleton himself, this absolutely essential record combines the creative technology that directly coincided with the dawn of Bob Moog and Don Buchla's synthesizer revolution with the homecoming of outernational free jazz -- two strains that, in tandem, spearheaded America's most radical music developments in the subsequent two decades and beyond.
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2LP
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CACK 009LP
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Double LP version. The roots of electronic dance music by definition. An unlikely combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospectively unified by their commitment to the musical enhancement of 20th-century ballet and the evolution of modern dance. Presenting key exponents of the musique concrète and tape music movements alongside masters of the early electric sound synthesizers, as well as pre/anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements that found an improbable, sporadic, and vibrant creative outlet via one of Europe's proudest and most sacred cultural institutions. Featuring composers Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier, Remi Gassmann, Alwin Nikolais, and Karl-Birger Blomdahl alongside choreographers like Béjart, Balanchine, and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomenon and a global synergy that formed the true foundations of electronic dance music and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.
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CD
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CACK 009CD
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2014 release; mid-line-priced CD. The roots of electronic dance music by definition. An unlikely combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospectively unified by their commitment to the musical enhancement of 20th-century ballet and the evolution of modern dance. Presenting key exponents of the musique concrète and tape music movements alongside masters of the early electric sound synthesizers, as well as pre/anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements that found an improbable, sporadic, and vibrant creative outlet via one of Europe's proudest and most sacred cultural institutions. Featuring composers Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier, Remi Gassmann, Alwin Nikolais, and Karl-Birger Blomdahl alongside choreographers like Béjart, Balanchine, and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomenon and a global synergy that formed the true foundations of electronic dance music and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.
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CACK 002CD
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2013 release; mid-line pricing. Karel Goeyvaerts was born in Antwerp in 1923. After receiving a humanistic education in Antwerp, he took courses at the Lemmensinstituut in Mechelen, Belgium. From 1943 until 1947 he studied at the Royal Flemish Conservatoire of Antwerp. From 1947 until 1950 he studied composition with Darius Milhaud and music analysis with Olivier Messiaen and was a pupil of Maurice Martenot at the Conservatoire de Paris. In 1949 he was awarded the 2nd Prize for Composition and the Lili Boulanger Prize at the same college. He won the Halphen Prize in 1950. During the winter of 1950-'51, he wrote the "Sonata for two pianos." Because of its decisive and total stylistic novelty he designated this work "Opus 1," thus rejecting all of his former work. With this sonata he created a structural synthesis of the dodecaphonic system of Anton Webern and the teachings of Messiaen and laid the foundations for generalized "punctual" serialism. He demonstrated the application of this technique on the electronic medium in his compositions Nos. 4, 5, and 7. During the period from 1951-1956, he influenced -- directly, through personal contact and intensive correspondence -- the musical creativity of Karlheinz Stockhausen, whom he met during the summer courses of 1951 in Darmstadt. In 1953, Goeyvaerts and Stockhausen produced the first electronic music in the studio of the NWDR (Nordwestdeutscher Rundfunk) in Cologne. In 1970 the BRT (Belgian Radio and Television) appointed him as producer at the IPEM (Institute of Psychoacoustics and Electronic Music) in Ghent. In 1974 he took charge of the new music productions for BRT-3 in Brussels. Goeyvaerts received several awards, including the Koopal Prize in 1967 and the Visser-Neerlandia Prize in 1969. He also was given commissions by the BRT, the Festival of Flanders, and the NOS (Nederlandse Omroep Stichting). His works have been performed in several European countries, as well as Canada, the United States, and Japan, and at festivals of the ISCM (International Society for Contemporary Music), including Brussels 1950, Oslo 1953, Graz 1972, and Bonn 1977. This CD is the first collection of some of Goeyvaerts's ultra-rare vinyl releases, available here for the first time outside of their original vinyl editions.
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