It has taken over four very active years for the people behind the Finders Keepers label family to finally return to what we still consider to be one of our favourite vinyl projects. The ongoing Disposable Music library subscription series is a series which pools some of the best emotive, comprehensive, previously unavailable instrumental music from the unmarked archives of experimental artists within the expanding Finders Keepers family and presents it as a series of limited uniformed archival vinyl discs. Like all the most influential library music labels on the 60s, 70s and 80s the music from DiM is sourced, compiled and produced catering to the requirements of the film, television and radio industries but as the interest in thematic instrumental ‘picture music’ seep deeper into the record collector psyche these limited multi-purpose discs are naturally recommended for whichever creative application you see fit. Each disc combines two full musical programmes sourced from both vintage archives and new exclusive recordings by contemporary artists specially paired to compliment the individual musical sensibilities and mutual affection.
This time Disposable Music are proud to bring you metronomic jazz made for the Swiss cheese information board; wind synth music designed for planetariums; possessed pastoral mechanical folklore sounds; primitive electric organ sci-fi music; Spaghetti Western themes for Scandinavian fashion shows; drum machine music for household appliances; unused Polish detective theme tunes; Gallic dreamscapes for graveyard dates; mouthorgan music for mutants; Eastern street music field studies, and a selection of commercially unreleased tracks that have been recycled from French and American horror soundtracks, short-run TV ads, one-off radio programmes and educational science programmes. Having learned, enjoyed and expanded since the first run of DiM we are very excited to unleash this custom collection to your ever expanding music tastes.
It’s clear that each recording of the latest volume of Disposable Music stands up on its own merit as well as complimenting the previously released volume. Like any library series there is no ideal place to start but at www.finderskeepersrecords.com we’d like to offer a limited number of subscription places to secure the next five records before they are distributed via our usual networks. With unlimited entry to the archives belonging to names like Ciani, Spoerri, Rollin, Epple, Korzynski and Massey, Disposable Music have taken the best in unadulterated, underexposed and unattached mood music and given these homeless compositions a place, purpose and time to thrive.
Hommage Au Frommage is perhaps one of the best titles we have ever seen written on a dusty box of a quarter inch tape reel. However, without a crumb of irony the music that appears on this session also ranks highly in Finders Keepers list of archival triumphs. An early 70s conceptual jazz pop album combining dulcimers, harps, a Jew’s harp and what sounds like a tap dancer instantly earns itself its own protective niche shared only by certain vintage recordings by Vladimir Cosma and The Roundtable – but when accentuated by a heavy weight back beat and the added information that it was commissioned by the national Swiss Cheese Consortium this record commands further inspection and repeat listens. Starting with all the traits of a moody Morricone or Bruno Nicolai giallo soundtrack and breaking into a healthy cross section of modal jazz, tape manipulation, electronic grinds, Brazilian accordion and (dare we say it) b-boy break beats, Hommage Au Frommage by Swiss electronic jazz pioneer Bruno Spoerri (who else?) is a record quite unlike anything else in your record collection and knowing how hard some of you dig, that’s a challenge.
The music found on Graham Massey’s Hollingsville record was originally created for a twelve-part radio series on Resonance 104.4 FM . The series, Hollingsville, was conceived and presented by writer Ken Hollings and would focus each week on a different aspect of man’s historical relationship with technology. Informal discussions with a series of specially invited guests were accompanied by custom-built theme tunes by Massey, His approach was intentionally leaning toward the Bakelite and hot valve nostalgia of a some forgotten Expo or World’s Fair.
The resulting Hollingsville soundtrack exercises Massey’s authentic knowledge of original analogue machines in their rawest form and triumphantly draws comparisons with the likes of Henk Badings, Oscar Sala and Kid Balton from the pre-synth era of electric keyboards and tape manipulation. Enlisting the talents of long-running collaborator, opera singer Seaming To, Massey dons his seldom-used Massonix moniker and produces some of his best conceptual music yet which, by design, promises to withstand the tests of time and technological trend.