Musica Per Immagini is an independent record label, dedicated to obscure, rare and unreleased sounds from late '60s to mid '90s for cinema, radio and television.
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viewing 1 To 10 of 10 items
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MPI 012LP
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La Settima Donna (1978), also known as The Last House On The Beach, is a disturbing thriller directed by Franco Prosperi and set in a secluded cottage overlooking the Tyrrhenian sea, starring Florinda Bolkan, in the role of Sister Cristina, governess of five female students on a short vacation, rehearsing their Shakesperean end-of-year play. Roberto Pregadio's brilliant music is not surprisingly, functional and almost disconnected from the bloody images: there is no overwhelming sense of disturbance for the listener. The soundtrack of La Settima Donna was published only once, in CD format, attached to the rare DVD of the film, gaining new life on vinyl thanks to Musica Per Immagini. Some of the eleven tracks of the score are characterized by an easy listening mood and united by a psychedelic feel, in harmony with the progressive atmospheres found in albums such as A Saucerful Of Secrets (1968) and Meddle (1971) by Pink Floyd. However, the English band is not the only reference for the jazz pianist, who quotes a piece by Bryan Ferry, entrusting it to the voice of Ray Lovelock, one of the three kidnappers. After that, the Sicilian composer remodels an international hit by Donna Summer, background of the sequence in which the nun is forced to strip naked in front of her tormentors.
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LP
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MPI 011LP
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Reissue, originally released in 1972. Joel Vandroogenbroeck was an arranger, conductor, producer, and, above all, a unique multi-instrumentalist in the world of music. The Belgian artist was also famous for being the only permanent member of the group Brainticket and the main promoter of its creativity, often renewed with the contribution of exotic instruments. At the dawn of the Seventies, this versatile musician began a parallel life as a composer of singular music libraries tailored to comment documentary images. L'immagine del suono was one of them, originally released by Italy's Flirt Records and now reissued on vinyl by Musica Per Immagini for the first time. This album circulated, however, unnoticed in a limited number of copies among insiders, only rediscovered later by fans, thus raising Joel Vandroogenbroeck as a real pioneer of ambient and new age music. It is appropriate to consider the twelve short-lived pieces of L'immagine del suono as a sort of continuous and visionary experiment, with the addition of electronic gasps, a strong dose of inevitable psychedelia, fragments of synthesized jazz, all coming from experiences both internal and external, hallucinatory and hedonistic. All of this combined creates a mysterious and abstract hybrid. Sonic raw material is sculpted with artisanal care, at times twisted and cryptic, characterized by a transversal irony, to the point that the interference of rock elements in the course of the set divert the listener's attention and momentarily interrupt the flow of consciousness. L'immagine del suono is a concentrated example of the avant-garde, free from categorization of any kind, developed in a non-commercial key and, equally, is drawn from a direct line via what was previously expressed within the folds of the then contemporary works of Brainticket.
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MPI 010LP
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A commissar with his hands tied and a gentleman godfather. A gang of ruthless kidnappers and a couple of parents ready to pay any amount to hold their missing daughter again. The evocative backdrop of Lake Como and the rare beauty of Piero Piccioni's music. Fatevi Vivi, La Polizia Non Interverrà (1974), also known as Kidnap, is a detective story directed by Giovanni Fago, with actors of the caliber of Henry Silva, Gabriele Ferzetti and Philippe Leroy. The film draws inspiration from the many cases of kidnappings recorded during the seventies. The first vinyl edition of the soundtrack, edited by Musica Per Immagini, offers the listener a selection of his most significant tracks, carefully remastered, already released on CD. The soundtrack is a fabulous mix of lounge atmospheres, explosive action music, and mysterious moments from which the sound of tubular bells emerge, as in the bittersweet pentaphonic opener "Lovely Mood". Synthesis of a different mood from that adopted by his peers, exemplary in "Ambushers, "played by bass, guitar and piano, plus the string section in counterpoint. True hip-hop break. Within the depths of the tracklist, it is easy to identify the third axis of the project, The Persuaders, thanks to the irresistible rhythm of the brass. The Sicilian mafia motif is also distinctive, punctuated by the traditional sound of the Jew's harp. Another distinguishable aspect of Piero Piccioni's work is the wealth of themes. The composer goes beyond the model that provides for the creation of a main theme and a secondary theme with related variations, because he creates leitmotifs and musical figurations tailored to each of the salient situations and related protagonists.
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LP
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MPI 013LP
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Reissue, originally released in 1980. Timeless atmospheres, hypnotic sonorities, minimal arrangements. And a composer gifted with a never-ending passion for music, experimenter in his genetic code, innovator by vocation, at ease with various instruments in order to forge avant-garde themes. Piero Umiliani was already forward in building completely new sounds in the late seventies. Tra Scienza e Fantascienza finds his alter ego Moggi experimenting with alternative grooves, electronic music, jazz tunes, and soundtrack motifs. One of the most interesting music libraries in the Italian composer's discography, reissued with a new remastering by Musica Per Immagini, is in full harmony with its title.
Notes and images of a dystopian future according to Piero Umiliani: "Science fiction has opened up our eyes to a variety of scenarios, possible or impossible, sometimes with a happy ending, sometimes apocalyptic, at times familiarly near, more often disarmingly far away, and always capable of inspiring our imagination. For the histrionic artist it took, perhaps, less of a cosmic leap to create this masterpiece. Centered on the cover, a strange creature with only one eye, its hands on a beaker containing a mysterious red liquid. To its right, a symbolic circle is imprinted on a sandy surface, and three bizarre constructions, similar to the volumetric flasks found in a laboratory, of differing heights and shapes. There is a strange blue planet in the distance."
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LP
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MPI 008LP
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Sono Stato Un Agente CIA (1978), also known as Covert Action, is a twilight film directed by Romolo Guerrieri and set in Greece, starring David Janssen, in the role of a former Central Intelligence Agency agent who became a writer of incendiary books on prostitution and drug trafficking, flanked by Maurizio Merli, a colleague in possession of some compromising tapes, sentimentally linked to the romance novel character played by the seductive Corinne Cléry. The two are involved in a murky game: the stars and stripes secret services intend to eliminate those who could spread the dangerous content of the military plan designed to stem the advance of communism, to be implemented through the assassination of government officials. It's not among the most famous crime stories. It's not even a real action movie. Sono Stato Un Agente CIA benefits, however, from the admirable compositional talent of Stelvio Cipriani. His soundtrack, released for the first time in full vinyl version, reveals an unpredictable versatility. His "classic" style expressed in the course of the scores for previous "poliziotteschi" is enriched here with disco suggestions and Hellenic exoticisms. The writing on the staff of the Roman composer is effective and empathetic in commenting on every fold of the dark and violent story. A simple and catchy theme, even danceable. The atmospheric situations with guitars and synthesizers. Some funk echoes, tension peaks, melancholy notes. The constants of success.
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LP
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MPI 007LP
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Musica Per Immagini release Ugo Busoni's Valvole, originally released in 1975. Ugo Busoni's Valvole is a classic example of the so-called library music records released -- between the end of the '60s and up to the '90s -- in Italy as in the rest of the world, in order to provide "background music" to be used in the editing of news broadcasts, radio and newsreels. These were records made by highly experienced composers and musicians who, in a very short time and with limited or non-existent budgets, had to make music to be synchronized to images. For obvious reasons, they had to be tracks of short duration, characterized by a certain didactic "formalism" that allowed an immediate choice for their main use. The titles given to the compositions had to recall a specific topic or setting that would make the choice of technicians easy for synchronization. "Tokyo", "Uscita Da Scuola", "Raid", "Polvere Cosmica", "Su Una Nuvola", "Controspionaggio" and "Starne" are, not surprisingly, some of the titles of the tracks of this album published more than forty years ago by Nuova Idea. Sounds from the far east, folky and rock guitars, psychedelic rhythms, avant-garde tunes, cosmic echoes and much more are some of the elements of one of the most indecipherable records of that historical period, reissued for the first time on vinyl by Musica Per Immagini with a brand-new artwork.
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LP
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MPI 004LP
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Musica Per Immagini present the first vinyl release of Detto Mariano's Delitto Al Ristorante Cinese, the second original soundtrack in the so-called "delitti" series. It's another classic iteration of the crime-comedy films that came out of the partnership between director Bruno Corbucci and actor Tomas Milian, a special connection that had started with the great success of Squadra Antiscippo (1976) and was followed by eleven more pictures, all centered on the character of Nico Giraldi, a former criminal who, while having become a cop, was unwilling to give up his in your face attitude and the Roman slang of the city's thieves. The score by the Italian composer is a mix of sounds characterized by a unique investigation of musical timbre. Nine tracks that cross the entire sound spectrum: electronic pulses, funk rhythms, jazz, and Mediterranean sounds, and some oriental atmospheres.
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LP
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MPI 003LP
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Abstract Forms is a selection of rare as yet unreleased in any physical format Sandro Brugnolini recordings from the late '80s and early '90s. The sixteen electronic tracks were produced for television background use or synchronization and, thanks to their great intensity and suspense, are still perfect to be scored in any number of thriller sequences, connecting smooth jazz memoirs filtered with machines overplayed on videogame sounding backgrounds. The majority of these experiments are not only characterized by their use of electronic instruments, as dictated with the requirements of the time, they also have a specific rhythmic inventiveness that gives them their identity. One more time, the Italian brilliant composer follows his strong drive in drawing inspiration from what technology can offer him.
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2LP
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MPI 002LP
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One of Piero Piccioni's best contributions for the seveth art. Recorded for the homonymous documentary (1974) by Folco Quilici and Carlo Alberto Pinelli, looking for some people who reject civilization to withdraw in nature and peace, Il Dio Sotto La Pelle was released for the first time in 2000, quickly becoming one of the most sought-after records by many collectors and fans. Musica Per Immagini and Sonor Music Editions release a renewed edition of Il Dio Sotto La Pelle, where jazz, exotic and lounge music and psychedelia are mixed in an admirable way: introduced by the dreamy voice of Catherine Howe for "It's Possible", Piero Piccioni's organ gives you fragments of a dazzling splendor such as "Night To Come" or "Give Love A Chance", while "Inventions" and "Katmandu" handed down to the posterity the guitarist vein of the opera, demonstration of the period of great creativity crossed by the Italian composers, capable of filtering their traditional and classical action with some rock elements. Il Dio Sotto La Pelle is available again as double-LP album with tracks remastered by Claudio Fuiano from first generation master tapes and sequenced by Lorenzo Fabrizi. Also including twelve unreleased gems, new graphics inspired by the original posters. Designed by Luca Barcellona and Marco Ferretti's liner notes.
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LP
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MPI 001LP
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The Earth and the sky are the only entities that unite past, present, and future. The man has always scrutinized the immensity of the space above him. Night after night, linking the bright stars together, the ancient populations of our planet imagined they could translate their myths and religious beliefs into the constellations, ordering today's eighty-eight and calculating with incredible precision, despite the meager tools available, both time and cosmic cycles. From the proliferation of superstitions to the establish of the sciences, the journey has been long and sometimes problematic. The space only still "imagined" with naked eyes, or observed with rudimentary telescopes, has slowly become "conquerable" and, since the '60s of the last century, at the center of an international competition between the two superpowers, the United States and the Soviet Union. From the first satellite launched into orbit at the man's landing on the Moon, successful facts have multiplied. Many artists, at any latitude or longitude, tried to "confront" themselves with spatial themes. The composer Giuliano Sorgini is among them. Some tracks of this unreleased album composed in 1973 represent, in fact, an attempt to fill with notes the distances that separate man from infinity, through "itineraries" that do not indicate a precise destination such as, for example, "Upwards", "Outer", and "Thought". Others, instead, describe events that are impossible to be seized, such as "Death Of A Comet", breathtaking landscapes to observe as you float in the air like astronauts tied to the "umbilical cord" of their own spaceship, just think of "Into The Space Immensity" and "Sweet Trance", even human and non-human presences, with the opener "Man In The Space" and the romantic "Ufo" as further demonstrations of the artist's genius. Each track tells what is possible, although invisible to many. Creativity compensates for reality. The sounds of Giuliano Sorgini delicately invest the listener, favoring his immersion in a third dimension, in which elements of classical and electronic music, both with a strong communicative character, are merged and continually mixed up, between echoes and reverberations in the background. The prolonged repetition of tones and the almost imperceptible timbral variations don't hinder the harmonic weaving, explained by piano and flute, or the obscure psychedelic solutions adopted by the composer resulting from an appropriate use of the first synthesizers.
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