Liverpool International Festival of Psychedelia is Europe's leading festival of contemporary psychedelia. On the 25th and 26th of September, Liverpool will play host to some major psych artists including Spiritualized, The Heads, Factory Floor, Blanck Mass, Anton Newcombe, Jacco Gardner, Tess Parks, Lumerians, Indian Jewelry and many (many) more.

We're excited to announce that Finders Keepers will be celebrating their 10th anniversary by curating their own 'Hocus Focus' showcase at the festival. This will feature Jean Weaver’s new score for Japanese cult classic Belladonna of Sadness, DJ sets from Anton Newcombe of Brian Jonestown Massacre and of course, Andy Votel encapsulating the labels rich history.

To celebrate we caught up with co-founder Andy Votel to chat about his label. They've also provided us with a brilliant 'Suxo Plexo Muxo' mix which features Eastern European cinematic oddities, weird eye Giallo schlock, Parisian art house freak folk and a plethora underexposed and uncharted celluloid wonders from around the world. Check it out below.

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Congratulations on your first decade of Finders Keepers. How did it all begin?

Thanks. In reality, Finders Keepers is a lot older than 10 years. Firstly because most of our records are around 40 years old (some go back as far as the late 50's). But from our own perspective we've been doing this exact same thing since we were in our early teens. My own previous label Twisted Nerve is around 18 years old now and it introduced me to a lot of people who taught us how not to run a record label, it was only after then that Finders Keepers could respectably stand on its own feet and approach bygone artists with a genuine knowledge of how to revive their career. The name Finders Keepers came from a rap demo tape that myself and Boney Votel did when we were kids, but the label only came into fruition when Doug and Myself considered ourselves "adult" enough to rub shoulders with the people who we respect most in the world without letting them down.

Can you pick a theme that runs through all the Finders Keepers releases?

I like to think that no two Finders Keepers artists sound alike. Variety has always been a big thing for Finders Keepers. Even though we have a reputation of releasing collectible and rare records, we are anti-trophy and anti-trend and want our records to be surprising as opposed to comfortable. In a way, myself and Doug can be our own worst enemies for not continuing with some of the genres that have become popular later down the line, but we're a bit A.D.D in that respect. We need constant amusement and are comfortable with the fact that there is a hell of a lot of undiscovered music out there. A lot of our artists genuinely thought their music was going to change the world, so if I was to pick a word I'd have to say 'progressive'.

What's been your most memorable release so far?

Jean-Claude Vannier's first album. It was our first release and proved to us that we could do something that an entire industry had told us was not allowed.

With the variety of previously unheard artists or misunderstood music you release, is it somehow easier to think of Finders Keepers as more of a community of enthusiasts than a label?

I take that as a compliment although a major label executive might see that as an insult. Yes, it is a community, but I have to admit the community is a lot more streamlined and focused now. We are very self-sufficient and myself and Doug have become very telepathic in how we communicate. I think our records were once misunderstood, but it's our job to re-contextualise the music and place it in environments where it speaks the loudest.

What do you have planned to mark the 10th Anniversary?

Its been a strange year to be honest. The label has actually given us gifts that we never previously dreamed of. The Holy Mountain and Moomins records were very old projects that just arrived back at our door step like lost relatives on the eve of our birthday, so we hit 2015 as our busiest year yet. It was also very exciting to have such critical success with Jane Weavers album, which for all us, including Jane, has been a direct result of what we have achieved in the past 10 years; strategically, creatively, as a grown-up company. We are celebrating by working harder than ever.

You've released stuff from all over the world. What country is catching your eye (ears) at the moment?

Japan and Wales.

Last year at Liverpool Psych Fest you landed a barrage of uppercuts in your Anatolian Dynamite set. What is it about those lost Turkish psych records that so fires the imagination?

Turkey had normal sized fuzz peddles, but guitars (saz) as big as bears heads! That combination whet my appetite 15 years ago and I've never looked back. They also overdid the synths, and overdid the percussion, and overdid the sexy vocals... the Western music industry would have never let that happen. Luckily Turkey had its own industry and the Western vultures stayed away. On the whole The UK and US is too self-aware and too conservative - music is at it's best when it's perverse, theatrical and not afraid to lose its shit in public.

What do you look for when bringing a 'new-lost' artist or record to the public's attention?

Logistically I look for the human being first, but spiritually I do the same. We have worked with some artists who don't want to meet-up and don't want to talk about the past and do interviews, and the records have never made it past a second press. Our best artists might be in their late 60s but still act like excited puppies which makes everything worthwhile before we even sell one copy. Back in the days of Twisted Nerve I met a lot of puppies who acted like 60-year-old business men. We're here to enjoy the relationships and that energy always makes its way through to the person listening to the music 20 months or 20 years down the line.

Is there a particular gem that we should look out for in 2015?

Yes, Belladonna Of Sadness. An early semi x-rated Japanese anime film soundtrack that was based on an old French witchcraft / Feminist manifesto book and soundtracked by the godfather of Japrock Sato Masahiko who bought the sound of Bitches Brew (and Krautrock) to Japan in the late '60s. It never came out in Japan so was considered unreleased but a small run of copies came out in Italy which by default makes it one of the rarest Italian soundtracks. It's this kind of mutant convergence that makes a good Finders Keepers Record.

Finally, do you think you've achieved your tagline of 'making global music local'? Who benefits the most from this?

Well, if we are doing our 'job' correctly then it's all about a cultural exchange so both the artist and the listener are mutually benefitting. When we started there were still world music labels out there whose criteria was political and voyeuristic before they had even heard the music which put a huge cultural barrier between the artist and the imperialistic listener. We buy records from all over the world simply because we are hungry for new sounds, alien noises, Russian synths, Malian percussion, Tamil vocals, Scottish bagpipes and drum machines made in Stockport. There's no reason they shouldn't all be in the same room. Everyone is made to feel welcome - the artist and the listener.

Liverpool International Festival of Psychedelia takes place on 25th and 26th September. Day and weekend tickets are available here.