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Search Result for Genre SOUNDTRACK
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LP+CD
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FBS 005CD
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$281.50
PREORDER
RELEASE DATE: 2/11/2022
After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci. In this edition, Beat Records offer the score on CD in a deluxe hard paper box with the insane artwork by Graham Humphreys, both on the box and on the 40-page book; slim jewel case with a maxi inlay featuring the iconic photographic poster of the time and a crazy black-and-white artwork by Alexandros Pyromallis. Liner notes by Antonella Fulci, Fabio Frizzi, and Daniele De Gemini. Mastering by Enrico De Gemini. Includes LP; 180 gram vinyl in gatefold sleeve; includes printed inner sleeve; artwork printed in poster size; hand sculpted and painted 13cm resin bust of the iconic zombie of the gatefold cover.
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CD
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CDX 135CD
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$30.50
PREORDER
RELEASE DATE: 2/11/2022
After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci. CD version comes in a deluxe hardpaper box with the insane artwork by Graham Humphreys, both on the box and on the 40-pages book inside, slim jewel case with a maxi inlay featuring the iconic photographic poster of the time and a crazy black and white artwork by Alexandros Pyromallis. Liner notes by Antonella Fulci, Fabio Frizzi, and Daniele De Gemini.
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LP
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LPF 091LP
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$43.50
PREORDER
RELEASE DATE: 2/11/2022
LP version. White/green stripe; cover art by Alexandros Pyromallis. After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci.
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LP
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LPF 090LP
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$43.50
PREORDER
RELEASE DATE: 2/11/2022
LP version. White/green stripe; cover art by Graham Humphreys. After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci.
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PULSE 001LP
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$35.00
PREORDER
RELEASE DATE: 2/11/2022
For the first time ever, here is the soundtrack from the 1983 post-apocalyptic flick directed by Joe D'Amato, Endgame - Bronx Lotta Finale. A compelling Carlo Maria Cordio's mighty Vangelis-meets-John Carpenter score. With hangovers from previous giallo-based outings, Endgame's themes are more gentle and introspective than, say, Claudio Simonetti's muscular work for The New Barbarians and Hands of Steel but also, arguably, musically more diverse. In particular, the opening title track "Atomic Contamination" is genuinely chilling when set against the stock footage of a nuclear bomb going off. While liberally pinching the vibe of Blade Runner's more symphonic textures, Cordio's synthesizers also do bombast, melancholy and menace when required, whilst the pretty pieces for "Lilith" are like semi-precious jewels shining out of the murk and machismo. Carlo Maria Cordio made a brand-new recording of the intro for the original recordings for the intro "Atomic Contamination", being impossible to use because of the bad condition of the vintage magnetic tape, with the very same instruments he used 38 years ago especially for the LP. Produced by Guillaume Le Disez and Anthony Neale. On the front cover is the iconic artwork the movie is renowned for, and on the back cover, the alternative poster created by the great Renato Casaro. Entirely remastered by David Hachour for ColorSound Studio. Includes eight re-pro lobby cards from the film; 180 gram vinyl; gatefold sleeve.
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13CD Box
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CNSV 002-13CD
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$134.00
PREORDER
RELEASE DATE: 2/11/2022
Piero Umiliani is unquestionably one of the most consistent figures in terms of soundtrack music and library music worldwide. This precious 13CD box is dedicated to the period of greatest maturity and artistic freedom which coincides with the creation of his personal studio: the Sound Work Shop. The 82 square meter room is elaborated with a particular acoustic treatment suitable for multi-track recording. The instruments available were the best of world production; to these were numerous instruments from all over the globe thanks to his passion for travel. It is also equipped with the best of the most modern projection and slow-motion systems. Of the 13 albums included, spanning a period from 1971 to 1983, nine had never been reissued digitally; the transfer took place from the original tapes provided by the heirs who continue to take care of everything concerning the artist's life with the utmost attention. With the most bizarre pseudonyms we listen to the maestro confront himself with the most disparate genres: percussive and electronic experiments to drive sampling lovers crazy (CD1); the rock-prog-psych of The Braen's Machine, a group formed with Alessandro Alessandroni (CD 2, 3); the delicate melodies, lounge; groovy exotic (CD 4, 7, 11, 12), modern classical music (CD 5); experimental dramatic tensions with synth, bass and primitive percussion on a string orchestra carpet (CD 6); disco-funk-jazz (CD 8); sound exploration in psychic disorders dictated by the human condition (CD 9); pure Italian jazz (CD 10); experimental ambient with synths (CD 13). Albums include: Percussioni Ed Effetti Speciali (1972), Underground (1971), Temi Ritmici E Dinamici (1973), Nuove Arie Romantiche (1974), Musica Classica Per L'uomo D'oggi (1974), Mondo Inquieto (1974), Motivi Allegri E Distensivi (1978), Discomusic (1978), Tensione (1979), Film Concerto (1979), Panorama Italiano (1979), Album Di Viaggio (1981), and Suspence Elettronica (1983). Luxurious wooden box with paper CD covers, reproductions of the original LP; includes sequentially numbered booklet up to 500.
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LP
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LPF 092LP
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$46.50
PREORDER
RELEASE DATE: 2/11/2022
LP version. Gatefold sleeve. After two years of absence from Beat Records' catalog the label reveals a new edition of Fabio Frizzi's fans most beloved horror score, Zombi 2, with the American title of Zombie Flesh Eaters, a project Beat Records worked on for five years. Since ever paired with Un gatto nel cervello (1990), now finally alone in a version that is gifted with unreleased material which was recorded in a tape found in an old Ribot archive. One of the holy grails in Beat Records' catalog, since ever bitterly loved, because of its shortness: even if the older version featured a good portion of the score, it was largely incomplete. With the addition of the material transferred from this extra tape, and with the song "There's No Matter", which can be heard at the beginning of the movie, when the two protagonists investigate the sequestered ship, Beat Records can attest this is the definitive edition of this outstanding soundtrack which marks a significant style evolution of the maestro, aside the growth of his artistic relationship with Lucio Fulci.
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2CD
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DDJ 025DLX-CD
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$34.00
PREORDER
RELEASE DATE: 1/28/2022
A catalog such as Beat Records, with its roots in the '60s may have a difficult logistic. Beat Records changed many times head quarter up to moving to Via Filippo Nicolai 16 from the late '80s up to nowadays. Such a company catalog, sensibly grown during 55 years of life, was always needing more space and so, recently, the label decided to find a new place where to agglomerate various storages spread through Rome. What does all the above things have to do with They Call Him Trinity? A lot, while archiving some tapes in order to prepare our forthcoming transfer, the label found them. Six 24-track master tapes belonging to the original recording session. Priceless material stored in crates in a corner, still there to be archived since a preceding moving. A brief e-mail exchange with our co-publishers of Carosello, a meeting in Milan with Adriana Branchini and Dario Giovannini, to get their support and they proceeded with this recovery project. The first release of this score is dated January 1971, this 2021 December the 50th year will expire. With all due precautions Beat Records transferred the tapes and organized a remastering session in Trafalgar studios, Enrico De Gemini experience, responsible of West catalog, guided the recovery and restoration. Surprises weren't late, the recording was perfect, the crisp sound could be remastered in a brilliant stereo. One of the most beloved Western soundtracks of all time is going to live a second youth with a great dynamic, not saturated, the various ingredients and still tasting the mixed amazing resulting effect. And there is a lot of unreleased material, an amazing deguello version featuring a trumpet instead of the flugelhorn, a beautiful alternate version of "Di Fronte Ai Killers", of "Un Cowboy e Due Ragazze", and a lot of unreleased takes of "Trinity's Valley" in which Franco De Gemini harmonica is prominent. Mastering by Enrico De Gemini; graphic layout by Daniele De Gemini.
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LP
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DDJ 010DLX-LP
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$42.00
PREORDER
RELEASE DATE: 1/28/2022
LP version. 180 gram color vinyl. A catalog such as Beat Records, with its roots in the '60s may have a difficult logistic. Beat Records changed many times head quarter up to moving to Via Filippo Nicolai 16 from the late '80s up to nowadays. Such a company catalog, sensibly grown during 55 years of life, was always needing more space and so, recently, the label decided to find a new place where to agglomerate various storages spread through Rome. What does all the above things have to do with They Call Him Trinity? A lot, while archiving some tapes in order to prepare our forthcoming transfer, the label found them. Six 24-track master tapes belonging to the original recording session. Priceless material stored in crates in a corner, still there to be archived since a preceding moving. A brief e-mail exchange with our co-publishers of Carosello, a meeting in Milan with Adriana Branchini and Dario Giovannini, to get their support and they proceeded with this recovery project. The first release of this score is dated January 1971, this 2021 December the 50th year will expire. With all due precautions Beat Records transferred the tapes and organized a remastering session in Trafalgar studios, Enrico De Gemini experience, responsible of West catalog, guided the recovery and restoration. Surprises weren't late, the recording was perfect, the crisp sound could be remastered in a brilliant stereo. One of the most beloved Western soundtracks of all time is going to live a second youth with a great dynamic, not saturated, the various ingredients and still tasting the mixed amazing resulting effect. And there is a lot of unreleased material, an amazing deguello version featuring a trumpet instead of the flugelhorn, a beautiful alternate version of "Di Fronte Ai Killers", of "Un Cowboy e Due Ragazze", and a lot of unreleased takes of "Trinity's Valley" in which Franco De Gemini harmonica is prominent. Mastering by Enrico De Gemini; graphic layout by Daniele De Gemini.
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LP
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CSR 299LP
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$29.50
PREORDER
RELEASE DATE: 1/28/2022
Out-of-print for over 35 years, the official soundtrack to the cult 1984 film by Neil Jordan is finally available once again on vinyl format. The surreal and effective film -- a true gem of British Gothic fantasy horror -- has an equally atmospheric, breathtakingly beautiful, surreal and unsettling soundtrack, scored by George Fenton. The film itself, directed by Neil Jordan (The Crying Game, Breakfast On Pluto), and based on the screenplay by Angela Carter and Neil Jordan, is a modern allegorical adaptation of the classic Grimm fairy tale Little Red Riding Hood, symbolizing sexual awakening, duality and liberation. The stellar cast features Sarah Patterson, Angela Lansbury, Stephen Rea, David Warner, and Danielle Dax. Oscar-nominated/Emmy and BAFTA-winning composer George Fenton has created stunning scores for major films and television such as: Gandhi, Dangerous Liaisons, The Wind That Shakes The Barley, Frozen Planet and countless others over the last 40 years. 180 gram vinyl.
"There is a sense of awe and enchanted wonder enraptured in its fairy tale sound, swooping with cascading violins and dark mysterious undercurrents that bubble below the surface... The score flows effortlessly between its light and dark moments. Most importantly, moments of beauty are not lost to the sense of suspense and drama. Indeed, light always needs its companion of shadow, as the film suggests in the sexual awakening of the pure untainted innocence that is Rosaleen. This score perfectly demonstrates the beauty of the juxtaposition between the sounds of youth and the temptation of desire." --L. Hammond
"The film largely takes place in the dream world so I made this the home base for the orchestra. To a large extent the scoring in this area is conventional, perhaps a little impressionistic and hopefully reflects a curious but endearing world. This left me free to invent sounds for the stories within the dream world. I wanted to use a mixture of electronics and 'live' instruments, and after some experimenting, arrived at a line-up of three bass flutes, pan pipes, violins, one, two or three solo double basses, percussion and Synclavier II synthesizer." --George Fenton, (1984)
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CD
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IF 1068CD
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$13.50
PREORDER
RELEASE DATE: 1/28/2022
Sixteen musical vignettes of electrifying emotion at the crossroads of ambient, modern synthesizer productions and organic orchestral music experimentation, which tint French director Jacques Audiard's new feature film with the illuminated glow of a whole new generation. When Jacques Audiard contacted him, Rone was just a few weeks away from receiving the Cesar award for best film score for his very first soundtrack Night Ride, the highest honor in French film for a composer. Throughout his career, the French director has been able to surprise his audience by playing on the codes of "genre films", while remaining faithful to the aesthetics of "art film". His cinema is both profound and entertaining, sophisticated and accessible, dark and dreamlike. His new feature film deals with youth in general and their sexuality in particular in a way no one may have done before. The story is based on four young characters and their existential questionings, whose destinies intertwined against the backdrop of the Parisian "Olympiades" high rises in the 13th arrondissement. But time was already running out, as the film was set to be nominated for Cannes' Palm D'or at the rescheduled edition of the festival in July 2021. Between the releases of Rone & Friends (IF 1060CD/LP, 2021) and recent remixes, the producer decided to lock himself away in in his brand-new Isola Studio in Cancale, French Brittany. He also invested in a large screen on which he projected loops of the film and started manipulating his gear. "I had Miles Davis in mind and the way he composed 'Ascenseur pour l'échafaud' by improvising with his band while watching excerpts from the film." After a first conclusive test on three scenes of the film which allowed Rone to showcase the skills he had developed in composition in various musical fields, a relationship of trust developed between the musician and the director, which resulted in over 45 minutes of Rone's music used for the final cut. If the black-and-white aesthetic recalls the great hours of the "Nouvelle Vague", Rone's music gives a new layer to the film which fits resolutely with 2020's zeitgeist.
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LP
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IF 1068LP
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$28.00
PREORDER
RELEASE DATE: 1/28/2022
LP version. Sixteen musical vignettes of electrifying emotion at the crossroads of ambient, modern synthesizer productions and organic orchestral music experimentation, which tint French director Jacques Audiard's new feature film with the illuminated glow of a whole new generation. When Jacques Audiard contacted him, Rone was just a few weeks away from receiving the Cesar award for best film score for his very first soundtrack Night Ride, the highest honor in French film for a composer. Throughout his career, the French director has been able to surprise his audience by playing on the codes of "genre films", while remaining faithful to the aesthetics of "art film". His cinema is both profound and entertaining, sophisticated and accessible, dark and dreamlike. His new feature film deals with youth in general and their sexuality in particular in a way no one may have done before. The story is based on four young characters and their existential questionings, whose destinies intertwined against the backdrop of the Parisian "Olympiades" high rises in the 13th arrondissement. But time was already running out, as the film was set to be nominated for Cannes' Palm D'or at the rescheduled edition of the festival in July 2021. Between the releases of Rone & Friends (IF 1060CD/LP, 2021) and recent remixes, the producer decided to lock himself away in in his brand-new Isola Studio in Cancale, French Brittany. He also invested in a large screen on which he projected loops of the film and started manipulating his gear. "I had Miles Davis in mind and the way he composed 'Ascenseur pour l'échafaud' by improvising with his band while watching excerpts from the film." After a first conclusive test on three scenes of the film which allowed Rone to showcase the skills he had developed in composition in various musical fields, a relationship of trust developed between the musician and the director, which resulted in over 45 minutes of Rone's music used for the final cut. If the black-and-white aesthetic recalls the great hours of the "Nouvelle Vague", Rone's music gives a new layer to the film which fits resolutely with 2020's zeitgeist.
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CD
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CDCR 147CD
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$23.50
PREORDER
RELEASE DATE: 1/21/2022
Beat Records release the first absolute edition of the soundtrack composed by Vasco Vassil Kojucharov for the movie Byleth Il Demone Dell'incesto (1972). From Nomus foundation archive, from which Beat Records have taken a number of scores composed by the maestro, the label make available this nice soundtrack that features the presence of melodic cues and sonic masses close to experimentation, both genres in which the artist makes a display of his usual talent, this time scoring a gothic horror with some red lights. Liner notes by Alessandro Bratus, mastering by Enrico De Gemini, and graphic layout by Daniele De Gemini.
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CD
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BCM 9600CD
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$23.50
PREORDER
RELEASE DATE: 1/21/2022
Beat Records release on CD the original soundtrack composed by Ennio Morricone for the 1971 giallo movie Gli Occhi Freddi Della Paura (aka The Cold Eyes of Fear), directed by Enzo G. Castellari with a screenplay by Enzo G. Castellari, Leo Anchóriz and Tito Carpi. Photography by Antonio L. Ballesteros, editing by Vincenzo Tomassi, and starring Giovanna Ralli, Gianni Garko, Fernando Rey, Julián Mateos, Karin Schubert, Frank Wolff, Franco Marletta, Leonardo Scavino. The plot -- Peter Badel, the young son of a judge, arrives back home with his girlfriend Anna and is held captive by two criminals who'd been lying in wait after killing the servant. The older of the two criminals, who'd been sentenced by Peter's father to fifteen years in jail, plans to kill the judge when he returns home by blowing up the house with an explosive device. Peter and his girlfriend try everything in their power to communicate with the outside world, but their efforts are in vain. Desperate, the young man causes a short circuit that leaves the house in complete darkness. In the ensuing climactic fight scene, the two criminals and the girlfriend are killed, and Peter, the only survivor, battered and bleeding, awaits his father's return. The music -- Ennio Morricone composed a score of the experimental kind, conducted by Bruno Nicolai and performed by Gruppo di improvvisazione Nuova Consonanza. With just a few instruments performing a sort of conversation, the maestro effectively creates an avant-garde atmosphere, suspended and rarefied, alternating with other violent clashes of sound that provide the ideal background to the situation of pure terror in which the protagonists find themselves. For the making of this CD, the stereo master tapes of the original session were used, providing another discographic tribute to the musical art of Ennio Morricone and the cinematic art of director Enzo G. Castellari. Liner notes by Fabio Babini, mastering by Claudio Fuiano, and graphic layout by Daniele De Gemini.
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LP
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MPI 009LP
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$37.50
PREORDER
RELEASE DATE: 1/21/2022
Musica Per Immagini present a first time reissue of Piero Umiliani's Atmospheres, originally released in 1979. Atmospheres is one of his most interesting Umiliani albums, published in a limited edition in the mid-seventies. A period of musical confusion even though not for him, who had always been eclectic. The charming soundtracks for Luigi Scattini's documentaries were already behind him, as was the great orchestral jazz production: his career had already been long and full of professional satisfactions. The present time for the composer when recording Atmospheres consisted of the scores for a number of Italian comedies and, most all, a set of sonorizations. These appeared projected into the future, thanks to their avant-garde attitude and the electronic sounds which seemed to arrive from a parallel universe. The sixteen tracks of Atmospheres belong to this group of works which were not tied to specific cinema projects, where the composer's incredible imprint is at its height. In all this creative freedom it is clear how the titles of several pieces pointed to specific thematic suggestions, so that they could instantly be adopted by producers and documentary film editors. A choice that is not accidental. Just like that of Musica Per Immagini which continues to select hidden treasures from the rich catalog of the maestro. Remastered from the original tapes.
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CD
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WRWTFWW 048CD
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WRWTFWW Records announce the release of Kenji Kawai's complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime Patlabor 2: The Movie. Includes liner notes by the great Masaaki Hara. A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult anime and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. Patlabor 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai's minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn't hide hints of hope for a joyful future. Patlabor 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai's Ghost In The Shell soundtrack (WRWTFWW 017LP/LTD, 2017).
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LP
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WRWTFWW 048LTD
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LP version. 180 gram vinyl; gatefold sleeve. WRWTFWW Records announce the release of Kenji Kawai's complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime Patlabor 2: The Movie. Includes liner notes by the great Masaaki Hara. A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult anime and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. Patlabor 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai's minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn't hide hints of hope for a joyful future. Patlabor 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai's Ghost In The Shell soundtrack (WRWTFWW 017LP/LTD, 2017).
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2LP
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RBL 081BOX
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"To celebrate the 50th anniversary of the film, Rustblade is releasing the definitive Edition of the soundtrack to Dario Argento's thrilling/cult film Il Gatto A Nove Code (The Cat o 'Nine Tails), Ennio Morricone goes even further, creating a really dissonant and avant-garde sound with a disturbing tension. For sure one of the most important, obscure compositional apexes of maestro Morricone. Deluxe edition only 250 copies. Contains: yellow smoke vinyl + silver marble vinyl with unreleased tracks (first time on vinyl), two posters, insert, gatefold photo book."
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LP
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TDP 54068LP
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Trading Places present a reissue of Sandro Brugnolini's Fantabulous (La Donna, il Sesso e il Superuomo), originally released in 1968. Roman saxophonist and clarinetist Sandro Brugnolini began his long recording career in the Junior Dixieland Gang in the early 1950s and came to greater prominence as chief composer in the Modern Jazz Gang, awarded best original composition for his 'Arpo' at Italy's National Jazz Festival in 1958. Of the many film soundtracks he scored in the '60s, Fantabulous is the most legendary, Brugnolini bringing a jumble of mod jazz, psych-beat, freaky soul, and off-kilter pop into the mix, as an aural accompaniment to a film inspired by superheroes, secret agents, and swinging dames. One of the ultimate soundtrack rarities, this one is a must-have, far-out listening experience. 180 gram turquoise vinyl; edition of 500. Licensed from Beat Records.
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LP/CD/BOOK
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CY 001BCL
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Song Cycle Records present the release of Solaris (Original Soundtrack), a collector's edition box set, that includes the soundtrack realized by the great Russian composer Edward Artemiev for Andrey Tarkovsky's masterpiece film Solaris (1972). The box includes the soundtrack in two formats: 180 gram, high-quality virgin vinyl and CD. The release is also accompanied by an exclusive, hardcover photo book with unreleased images of the movie set and essays about music and cinema of the duo Artemiev/Tarkovsky.
The collaboration between Tarkovsky and Artemiev started in conjunction with the completion of Solaris when the director was seeking for a film score capable to give back and complete, through the sound, the meaningful images of the film. Back in the day, Artemiev was a member of the legendary Experimental Studio of Electronic Music in Moscow, a place of high experimentation in the field of the electronic music, in the context of which the ANS synthesizer was conceived and employed for the first time for music composition. Invented almost ten years before by Murzin, the ANS was used by Artemiev to create the special sound atmosphere that Tarkovsky was looking for. Artemiev and Tarkovsky's association will also extend to two other undisputed masterpieces of Tarkovsky, Mirror (1975) and Stalker (1979). A unique artistic joint-venture is that among the duo, in which the musician is seen as a sound organizer, more than a composer, within the process of giving form to a soundscape intertwined completely with the film in its unfolding: always essential and never to be experienced as an accessory element. What emerges here is how and at what degree for Tarkovsky the sound is part of his own existence. Made in collaboration with the Andrey Tarkovsky Institute, this box set is a compelling publication for everyone who wants to dive deep into the Tarkovsky's realm.
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CD
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BCM 9598CD
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Beat Records present on CD the original score by Mario Migliardi for the western Matalo! directed by Cesare Canevari in 1970. For the soundtrack of Matalo!, director Canevari decided to call a composer he had never worked with: Mario Migliardi. Thus, after Ferrio, Gian Piero Reverberi (for Una jena in cassaforte) and Armando Sciascia (Per un dollaro a Tucson si muore), the director begins a new collaboration with a composer who had done a lot for television, but little for cinema, with the exception of Duccio Tessari's La sfinge sorride prima di morire" and Mal's negligible musicarello Pensiero d'amore. It could therefore have been a risk, a sensational flop, but instead it was a stroke of genius, because Migliardi not only accepted Canevari's challenge but also veered dramatically towards a crazy, brilliant and psychedelic soundtrack, definitely ahead of its time. Why? Because instead of fishing from the sound of spaghetti Westerns and known references, Migliardi -- who was fifty years old at the time -- decided to take the rock and pop sounds in vogue at the end of the sixties, mixing Western and psychedelic, folk and electric guitars in a combination that still today, sounds incredibly modern. The Matalo! soundtrack is a forgotten little (big) gem that absolutely must be rescued and reconsidered, even within the path of cinema composition of the period. After entering the Western, Canevari in fact returned to Reverberi for Il romanzo di un giovane povero, shot four years later, while Migliardi would remain in the west with Klaus Kinski, first in Prega il morto e ammazza il vivo and then in Il venditore di morte. In fact, however, his work on Matalo! was sort of a dead end that remains so today, a brilliant venture from which one could probably go back, a soundtrack that not only remains standing without the images it comments upon, but that seems almost like a concept album halfway between prog, rock and echoes of contemporary "modern," between John Cage and Terry Riley. Also, pay attention to the voice you hear on the album: it is that of Giano Ton (or Giacomo Tosti), the singer and producer who in the sixties had recorded several 45 rpms and who later would also produce the Scottish band Middle Of The Road. Mastering by Claudio Fuiano; liner notes by Andrea Morandi; graphic layout by Daniele De Gemini; 12-page booklet.
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LP
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COUNTER 023LP
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The original Soundtrack to Greek-German director Nikias Chryssos's new feature, A Pure Place, scored by John Gürtler, with his studio partner Jan Miserre, and featuring a track by chameleonic British artist Shackleton. The script for A Pure Place had a dizzying effect on John Gürtler and Jan Miserre; their minds reeling with the possibilities. From Persian sheep bells, Chinese sheng, prepared trombone, quarter-tone piano, a beaten-up cembalo, hand percussion, and a room full of synthesizers, embryonic compositions and experiments came to life early on in the project. An electro-acoustic extravaganza, the soundtrack for A Pure Place takes a deep bow towards the many magnificent composers and scores from the late '60s and '70s where orchestral arrangements met with tape loops, psychedelia, and instruments from across the globe. Listening to that era of film music, anything seems possible. The minimalist tones of "Ritual Bells" set the dial to weird in the opening sequence of the movie, whilst "The Island" makes use of ambient vocals recorded through an oil drum, gently introducing one of the score's main themes with a distant quarter-tone cembalo. Acclaimed British artist Shackleton's eerie original version of "Fust's Song" was a tonal keystone for the entire soundtrack. Gürtler and Miserre translated his psychedelic electronic blueprint, layering acoustic instruments and bottom-heavy percussion in their "Paradox Paradise" production style. The vocals, written by Chryssos, and sung by the cast on set, capture the sonics of the actual crypt-like space where cult leader Fust addresses with his following. "A Glimpse of the Other Side" speaks of love and death in a '70s-indebted composition reflecting John and Jan's shared love for melancholic and suspenseful chord progressions. Meanwhile, the sparkling synths of "Athens" -- the children discovering neon-lit civilization after years confined on the island -- transplant you to an entirely different era. Greek artist Maroulita del Kol features heavily throughout -- her choir of vocals on 'Erotica' were recorded late at night in the studio foyer, capturing its unique tiled reflections and concrete reverb. On "Purification" Maroulita's voice guides us alongside a Moog bass drone, building to an ecstatic climax, whilst she also features in the film's disco-centric ending credits on "Gatoula Mou Mikri".
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7"
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FKSP 021EP
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Not content with liberating what many consider the rarest soundtrack on both the cut-throat Italian and Japanese collectors' markets (with the repress of the music to Eiichi Yamamoto's erotic-historic Pinky anime psych cinematic feature Belladonna Of Sadness), Finders Keepers Records return to the composer Masahiko Sato's bottomless well in an attempt to retrieve the elixir which enticed us in the first place. From a clutch of thirteen lost cues which never appeared on the mythical Italian-only soundtrack album, this limited 45rpm single finally combines the two elusive freak fuzz tracks aficionados unanimously agree to be the finest themes to feature on the film. Encompassing virtually all of the free jazz and screaming psych signatures found on Masahiko's own albums and collaborations, such as Amalgamation, Yamataifu and Rumour (all recorded around the same era), these two tracks also hear Sato experimenting with hard rock rhythms and Afro rock aesthetics devised to enhance the flamboyant and erratic folkloric storyboard of the film. Not scared to deploy radical 1970s studio devices like guitar fuzz pedals and keyboard ring modulators Masahiko literally pulls out all the stops with his organs, synths and pianos to deeply coat artist Kuni Fukai's most eye-popping scenes with his own sonic equivalent of hallucinogenic face melting mayhem. Complete with rhythm players and soloists from his associated bands The New Herd and The Soundbreakers these two tracks alone draw comparisons with the likes of Wolfgang Dauner and will certainly strike similarities to Miles Davis' Filmore/Bitches Brew period, but never without his own distinct Japanese jazz flavor, thus placing these tracks alongside other rare and unreleased psychedelic recordings such as J. A. Caesars music for the films of Shuji Terayama and Toshi Ichiyanagi and April Fools music for Yoshishige Yoshida's Eros Plus Massacre. Continued comparisons to Alain Goraguer's animation soundtrack for La Planete Sauvage can be attributed to Sato's use of Rhodes electric pianos, but as one of the first three people to import a Moog synthesizer to Japan (a key player on the collectable Electro Keyboard Orchestra), Sato's tracks on this 45 successfully convey his wash of electro enhanced layered noise that illustrates the films pivotal plague scene in which Fukai paints an unforgiving black sea over the world to avenge the honor of the films traumatized leading protagonist.
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FKSP 020EP
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Transparent bumper blue 7". Greg Kmiec's Xenon pinball machine was released in 1980 and marked a significant milestone in pinball technology and design. The expansion of microchip technology would provide new opportunities for sound designer and synth pioneer Suzanne Ciani, allowing for basic oscillator control and a wider scope for sampling capacity which could facilitate the higher frequencies of a female human voice and entirely reshape the concept of the machine in the process. By using state of the art Synclavier synthesizer technology and an invaluable experience in film scoring and record production Suzanne would devise a complete minimal music score for the machine, then dissect the piece into separate fragments that would be triggered throughout the game play adding an extra creative dimension in player inter-activity (potentially turning the participant into their own musical arranger). By incorporating her own infamous voice box (which had been the focus of a seminal David Letterman Show feature) Suzanne's combination of a harmonizer and a vocoder also provided the first-ever female identity to a pinball machine which in conjunction with the games ergonomic design and Paul Faris' figurative graphics (echoing the aesthetic of Rene Laloux and Roland Topor's La Planète Sauvage) Xenon was able to add a degree of subconscious sensuality to its performance, a feature previously unchartered in arcade development. This disc presents the full extent of Suzanne Ciani's groundbreaking musical effects for Xenon, in their isolated form, for the first time ever heard outside of the confines of the machine which recently earned the composer her own induction to the Pinball Expo Hall Of Fame.
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LP
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JBH 090LP
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Unreleased until now and super duper wow. Like British pastoral jam with killer (boom bap) drums, bass and percussion. Just dying for some huge hip-hop producer to come and piss all over it, in a good way. This record is the hidden monster, the one killer OST no one saw or heard. Bartleby the film is from 1970. Full color LP sleeve with Julian House artwork.
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