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CD
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AVM 066CD
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The Room, Fenster's fourth album and their first release on Altin Village & Mine, marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, The Room serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop. Fenster is Elias Hock, Jonathan Jarzyna, Lucas Ufo, and JJ Weihl. Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts. The songs were tracked live in a house where the band ate, slept, and played together. They were intent on finding and locking into a human groove, one open to imperfection, while still maintaining tightness among them. They wanted to make the songs feel alive, as if the listener were present in the room with them. The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air. By the time we reach the second chorus, it has exploded into a space far away from the planet's gravitational pull. The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, but also a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own. This playfulness is especially vibrant in songs like "Rhythm A" and "Haha Lol", which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Thus, the whole process of making a record is about capturing a moment in time. This is the record they made at this point in time, all together, in a room.
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12"
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ARCS 007EP
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The Berlin-based duo of Alex Tsiridis and Hüseyin Evirgen release new work recorded alongside DJ Nobu, Tensal, and Lady Starlight via their own Arcing Seas imprint. Leaning towards the more heady, high-octane end of the genre -- the three track EP showcases the duo''s natural affinity for collaboration, maintaining Evirgen & Tsiridis's characteristic finish and attention to detail, whilst providing ample space for the guests to properly color the work.
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BLU-RAY
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AV 142BR
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"A haunting and dreamlike gothic horror/giallo hybrid, Death Smiles On A Murderer is a compelling early work from the legendary sleaze and horror film director Joe D'Amato (Anthropophagus, Emanuelle In America), here billed under his real name Aristide Massaccesi. Set in Austria in the early 1900s, Death Smiles On A Murderer stars Ewa Aulin, (Candy, Death Laid an Egg) as Greta, a beautiful young woman abused by her brother Franz (Luciano Rossi, Death Walks In High Heels, The Conformist) and left to die in childbirth by her illicit lover, the aristocrat Dr. von Ravensbrück (Giacomo Rossi Stuart, Kill, Baby... Kill!). Bereft with grief, Franz reanimates his dead sister using a formula engraved on an ancient Incan medallion. Greta then returns as an undead avenging angel, reaping revenge on the Ravensbrück family and her manically possessive brother. Presented here in a stunning 2K restoration, D'Amato's film is a stately and surreal supernatural mystery which benefits from an achingly mournful score by Berto Pisano, several shocking scenes of gore, and a typically sinister performance from Klaus Kinski as a morbid doctor."
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LP
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BANG 118LP
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Bang! Records present What Would I Know?, the posthumous album from Brian Hooper. The release of this album is bittersweet; on one hand it is a happy and proud moment, while on the other, it feels deeply sad that this is the posthumous album of much-admired artist Brian Hooper. Entering into the album, can one imagine a new album from Brian Henry Hooper (The Beasts of Bourbon, Kim Salmon and the Surrealists, Rowland S. Howard) with Gareth Liddiard of The Drones? What does it sound like? Picture Syd Barrett lost in Australia and you've got it! This is a truly personal and magical album, full of identity and openly exposing the genius of Brian Hooper. Features liner texts courtesy of Kim Salmon.
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LP
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BANG 120LP
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Here it is! Bored!'s very first release from 1988, Get Off My Wah-Wah And... Suck This!. Originally released in 1988, only 300 copies in cassette format were manufactured... and needless to mention they reach impossible prices in the second-hand market. It is now released on vinyl, remastered and with extensive liner notes and previously not-seen photography. Brutality, feedback, sonic abuse... a total pleasure for this legendary Australian band fans worldwide. Includes poster. Edition of 500.
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LP
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BANG 122LP
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Sonic's Rendezvous Band were Detroit '70s legends that included Fred "Sonic" Smith of The MC5 and Scott Asheton of The Stooges. In 1978 Sonic's Rendezvous Band recorded only two studio tracks which are in this LP, including the mighty "City Slang" plus other tracks recorded live in Detroit in 1978 with excellent sound quality. A total must-have for all fans of The Stooges and The MC5 as well as Bored!, Radio Birdman, The New Christs, The Hellacopters, etc. This album has been previously released under the name Too Much Crack. Released under license from Easy Action Records.
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2CD
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BEC 5543696
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Arguably one of the most acclaimed and loved bands of the past 20 years, by both fans and their musical peers alike, The Beta Band formed in St. Andrews, Scotland, in 1996. Their unique musical and aesthetic approach to everything they did set them far apart from their musical contemporaries. Together for a relatively short period of time, the three albums and three EPs they released between 1996 and 2004 would nonetheless help define them as one of the most exciting and cherished bands of their generation. After acquiring the Beta Band's catalog last year, Because Music will reissue their releases. Alongside The Three EPs (20th Anniversary Remaster) (BEC 5543617), they start with the double-CD, The Best Of The Beta Band. The release compiles all their best hits and includes a live show recorded at the Shepherd's Bush Empire (London) in 2004.
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7"
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BC 062-7
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"With the announcement of their long awaited, highly anticipated debut full length release, 79.5 drops a new and revamped version of their underground classic 'Boy Don't Be Afraid'. Producer Leon Michels took it back in the studio and made it into a proper two stepper, slowed it down a touch, and added percussion and Wurly. The result is another sure shot side for the dance floor from one of New York City's most adored underground acts. Like many of the girl group classics, 'Boy Don't Be Afraid' is a song about love. But beyond that, it is a song about being, being hopeful, being romantic, being brave. A romantic stance and a declaration of love through melody. The B Side, 'I Stay, You Stay' is a beautiful number about meeting in the middle and a testament to a woman's intuition."
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LP
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BLUME 012LP
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Repressed. Through a remarkable and singular body of work, over the course of the last decade, the composer and percussionist Sarah Hennies has slowly emerged as one of the definitive voices of her generation. Initially coming to focus as a member of Austin's experimental music scene during the early 2000s, before relocating to upstate New York, with a delicate, clattering grace, she has continuously offered vision, conceptual armature, crucial understanding for the contemporary proximity of avant-garde, and experimental practice. Entirely of her moment, she defies what we know and expect, owing allegiance to none. Hennies has been darting around the edges of modern composition for years, but that world has never been an entirely comfortable fit, nor is it the best framework and context within which to approach her work. She is better understood in the proximity of figures like Jim O'Rourke, a creator of a countercultural music, which incorporates everything, while owing loyalty to none. Hennies could equally be framed with composers like Steve Reich, Arthur Russell, Julius Eastman, and Mary Jane Leach, all of whom struggled to create more inclusive musical hybrids, attacking the institutions as they stood. As these figures once were, Hennies's position within the contemporary landscape is challenging and requires work to understand. Her music isn't always what it seems. What is unquestionable is that it is entirely of this moment and not a product of appropriation or pastiche. Comprised of two site-specific compositions -- "Foragers" and "Embedded Environments" -- recorded in a silo in Buffalo, New York, these recordings are a crowning moment within the long arc of Hennies's practice. Each work is composed for a quartet of percussionists -- Jason Bauers, Tim Feeney, and Bob Fullex, with Hennies contributing on vibraphone and percussion. While "Foragers" and "Embedded Environments" are products of Hennies's quest for elemental meaning and relationships within sound -- those which lay beyond traditional understandings of structure, beat, and tone, here there is a third and unfamiliar actor in play: the space itself. Activated by the silo for which they were composed, Hennies's broken, staggering rhythms and resonances are offered new freedom through a seductive Trojan horse, pushing them toward even more complex and jarring depths. "Foragers" and "Embedded Environments" delves into a realm of ideas, proximity, and place, offering a new vision for our sonic present, and what may be to come. Edition of 300.
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CD
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BB 304CD
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After twenty years of Kammerflimmer Kollektief, with ten albums thus far, the Karlsruhe combo here guide their listeners through seven pieces in which a listening space emerges at the intersection of improvisation and composition, a space where certitude slips out of reach, oscillating furiously between cut-up and palimpsest before it disappears altogether. There Are Actions Which We Have Neglected And Which Never Cease To Call Us is one for the fearless, wordlessly conjuring up enchanted places in the richest of tones, simultaneously confronting its listeners with magic which captivates, and the realization that they may never be released from its spell. Mirror images come into view, images of ourselves driven away, tormented by feelings of guilt, frozen in powerlessness, even when you believe you are still moving. The wetlands of the Upper Rhine plain, Cuernavaca in the Mexican highlands, a southern California stretch of Pacific coast, the Baltic Coast in Mecklenburg; haunted places, scenes of melancholy, repeatedly searching for acts of liberation. This may not be the record to set you free, but it offers a soundtrack for a melancholic state. One thing is clear when it comes to the Kammerflimmer Kollektief: regardless of any interpretive traps snapping shut, here is something which cannot be voiced; whichever labels are stuck on the Karlsruhe collective, they all feel patently unsatisfactory. Like all music, their music can neither be narrowed down to concepts nor fixed semantically. It cannot be organized as language, yet it is no more pre-conceptual in its existence. These carefully unconsidered atheist jam supplications lead you into the darkest corners of your souls, out of the night and into the night. The bass of Johannes Frisch creaks and hums, evolving into barely discernible undergrowth with a life of its own, yet becoming the foundation of everything, a basso continuo, constantly leading into nothingness. Heike Aumüller's harmonium is elementally a wind which has much to tell us about life, but even more about what tortures us, leaves you restless, while Thomas Weber's whirring guitars and gadgets drag us into a wondrously reverberating space of special effects. Amidst all the excitement which awaits you on this short journey, it is worth remembering that as the shaman hangs out his magic roots to dry in the morning as preparation for the ritual ecstasy of the evening, so the Kollektief follow an everyday principle in their own ritual.
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CAL 001LP
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Cal Comunicaciones/Discos Eternos present a reissue of Los Destellos' self-titled first album, originally released in 1968. Los Destellos created and initiated what is known as Peruvian cumbia. The band mixes tropical music with rock and the use of electric instruments and drums, achieving successes like "El Avipon", "Guajira Sicodelica", or "La Ardillita" (years after recorded by Colombian groups). All cuts are instrumentals that are fused with guitars, heirs of psychedelic rock and native sounds of the Peruvian jungle. With this reissue, a valuable piece of musical archeology is recovered. This musical group was impeccably formed and directed by Enrique Delgado. So that everyone has the opportunity to enjoy, dance, and rejoice with Los Destellos, the incomparable joy of this set has twelve great and momentous dancing rhythms. Very tasty cumbias, danceable melodies, recorded with the highest technique and full of flavor. Los Destellos managed to capture with their self-titled album, true sonic hymns that stand out for their freshness and powerful guitars, with different tropical rhythms like guaracha, guajira, descarga, bolero, and cumbia achieving an untiring source of originality. The authentic ambassadors of the Peruvian cumbia.
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CAL 003LP
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Cal Comunicaciones/Discos Eternos present a reissue of Los Destellos' En Orbita, originally released in 1969. This hundred-percent modern group has invaded the musical environment with many tropical versions that are received with great enthusiasm and applause by all audiences. With En Orbita, Los Destellos mix tropical music with the rhythm of guajiras, paseíto, and the boogaloo sabor, highlighting one of their greatest instrumental successes: "Para Elisa", an original theme by Beethoven, was included in Pedro Almodovar's film The Passenger Lovers. Cumbias with "Cucaracha", "Cumbia Del Desierto", and "Virgencita" continuing on a path that was captivating, experimental, and novel for the time.
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LP
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CALC 001LP
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Gold colored vinyl version. Cal Comunicaciones/Discos Eternos present a reissue of Los Destellos' self-titled first album, originally released in 1968. Los Destellos created and initiated what is known as Peruvian cumbia. The band mixes tropical music with rock and the use of electric instruments and drums, achieving successes like "El Avipon", "Guajira Sicodelica", or "La Ardillita" (years after recorded by Colombian groups). All cuts are instrumentals that are fused with guitars, heirs of psychedelic rock and native sounds of the Peruvian jungle. With this reissue, a valuable piece of musical archeology is recovered. This musical group was impeccably formed and directed by Enrique Delgado. So that everyone has the opportunity to enjoy, dance, and rejoice with Los Destellos, the incomparable joy of this set has twelve great and momentous dancing rhythms. Very tasty cumbias, danceable melodies, recorded with the highest technique and full of flavor. Los Destellos managed to capture with their self-titled album, true sonic hymns that stand out for their freshness and powerful guitars, with different tropical rhythms like guaracha, guajira, descarga, bolero, and cumbia achieving an untiring source of originality. The authentic ambassadors of the Peruvian cumbia.
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CALC 003LP
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Silver vinyl version. Cal Comunicaciones/Discos Eternos present a reissue of Los Destellos' En Orbita, originally released in 1969. This hundred-percent modern group has invaded the musical environment with many tropical versions that are received with great enthusiasm and applause by all audiences. With En Orbita, Los Destellos mix tropical music with the rhythm of guajiras, paseíto, and the boogaloo sabor, highlighting one of their greatest instrumental successes: "Para Elisa", an original theme by Beethoven, was included in Pedro Almodovar's film The Passenger Lovers. Cumbias with "Cucaracha", "Cumbia Del Desierto", and "Virgencita" continue on a path that was captivating, experimental, and novel for the time.
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LP
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CSR 263LP
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LP version. Includes download card. Cold Spring Records present the complete recording of A Slow Fade To Total Transparency. Recorded on August 24th, 1983 at the Air Gallery in London, UK. Personnel for the performance: John Balance (Coil), John Gosling (Zos Kia), Marc Almond (Soft Cell), and live mix by Peter Christopherson (Coil, Throbbing Gristle). Features: "How To Destroy Angels", the complete 23-minute piece; "How To Destroy Angels (Zos Kia Remix)", a nine-minute, unheard remix by John Gosling; and "Baptism Of Fire", an unreleased recording of Zos Kia/Coil at Recession Studios, London, England on October 12, 1983. Liner notes by Michel Faber (Under The Skin (2000), The Crimson Petal And The White). All audio, previously unreleased, has been remastered from the original tapes and is exclusive to this release.
Michel Faber: "Imagine how out-of-step with the dominant culture Coil were when they unveiled themselves in the Air Gallery to perform A Slow Fade To Total Transparency. Subtitled: How To Destroy Angels, the music -- a backing track prepared by John Balance, John Gosling and Peter Christopherson -- bears only scant resemblance to the How To Destroy Angels 12" that Coil would release as their debut vinyl the following year. Instead of the meditative ritual gongs of the 12", what we hear here is a restless, queasy melange of industrial noise, its eerie whistles the perfect backdrop for Marc Almond as he recites a bitter tirade against an ex-lover."
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CD
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COMP 516CD
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After their sensational debut album Oracle in 2017 (COMP 499CD/LP), the German jazz supergroup Web Web follow with an amazing new album, Dance Of The Demons. Their second full-length is a furious dance with the demons -- from positive spirit soul jazz "Land Of The Arum Flower", while the melody reminding to Ethiopian jazz of the '60s, to the mad, outstanding "Sandia", or beautiful weird "Safar" Web Web have had an intense year, they've played dozens of live concerts, where they proved their professionalism, closeness, power and spirituality once more. As a nice but ideal step, Web Web were thrilled to invite the well-known singer and gembri-player Majid Bekkas from Rabat, Morocco, who joined the group into the studio. Tony Lakatos was working with Majid and Joachim Kühn in the last years, also Roberto Di Gioia played with Majid and Klaus Doldinger. This brilliant musician with his North-African roots enriches the rough and bluntly concept of Web Web jazz. In "Maroc Blues", a solo performance by Majid Bekkas, you can hear the warm vibrant gembri, an instrument like an upright bass or lute with three strings. Majid's marvelous voice, which, reflecting the centuries-old tradition of the Berber tribes, perfectly underpins the great improvisation and spirituality of Web Web. Majid Bekkas is one of the most famous musician and representative of Gnawa music, which has its domicile in the south of Sahara. Majid Bekkas studied at the Conservatory For Music & Dance in Rabat, while playing since 1975 classical acoustic guitar and oud. For example, he played with Archie Shepp, Louis Sclavis, Peter Brötzmann, Hamid Drake, and lot of others in the world of jazz and world music. Dance Of The Demons (as well as the debut Oracle) was recorded live in Munich, engineered by Jan Krause (Beanfield, Poets Of Rhythm), produced by Roberto Di Gioia and Michael Reinboth. Web Web are: Roberto Di Gioia - piano, synth, percussion; Tony Lakatos - tenor and soprano saxophone; Christian von Kaphengst - upright bass; Peter Gall - drums.
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COMP 516LP
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LP version. After their sensational debut album Oracle in 2017 (COMP 499CD/LP), the German jazz supergroup Web Web follow with an amazing new album, Dance Of The Demons. Their second full-length is a furious dance with the demons -- from positive spirit soul jazz "Land Of The Arum Flower", while the melody reminding to Ethiopian jazz of the '60s, to the mad, outstanding "Sandia", or beautiful weird "Safar" Web Web have had an intense year, they've played dozens of live concerts, where they proved their professionalism, closeness, power and spirituality once more. As a nice but ideal step, Web Web were thrilled to invite the well-known singer and gembri-player Majid Bekkas from Rabat, Morocco, who joined the group into the studio. Tony Lakatos was working with Majid and Joachim Kühn in the last years, also Roberto Di Gioia played with Majid and Klaus Doldinger. This brilliant musician with his North-African roots enriches the rough and bluntly concept of Web Web jazz. In "Maroc Blues", a solo performance by Majid Bekkas, you can hear the warm vibrant gembri, an instrument like an upright bass or lute with three strings. Majid's marvelous voice, which, reflecting the centuries-old tradition of the Berber tribes, perfectly underpins the great improvisation and spirituality of Web Web. Majid Bekkas is one of the most famous musician and representative of Gnawa music, which has its domicile in the south of Sahara. Majid Bekkas studied at the Conservatory For Music & Dance in Rabat, while playing since 1975 classical acoustic guitar and oud. For example, he played with Archie Shepp, Louis Sclavis, Peter Brötzmann, Hamid Drake, and lot of others in the world of jazz and world music. Dance Of The Demons (as well as the debut Oracle) was recorded live in Munich, engineered by Jan Krause (Beanfield, Poets Of Rhythm), produced by Roberto Di Gioia and Michael Reinboth. Web Web are: Roberto Di Gioia - piano, synth, percussion; Tony Lakatos - tenor and soprano saxophone; Christian von Kaphengst - upright bass; Peter Gall - drums.
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12"
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ORKL 011EP
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Die Orakel presents two Edward reinterpretations of new age-ambient excursions by German composer Rolf Trostel, originally recorded in 1982.
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2CD
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DPDM 002CD
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2012 release. Digitmovies release for the first time ever on a double-CD set Mario Nascimbene's complete original soundtrack for the movie Uomini E Lupi ("Men And Wolves"), directed by Giuseppe De Santis in 1956. In a town of Abruzzo all the best hunters meet for a race of wolf hunting. The winner's prize is twenty thousand liras. Giovanni arrives with his beautiful wife Teresa and hopes to capture a specimen alive which can then be sold to a zoo. Ricuccio pretends to be a "luparo" (wolf hunter), but he's a blowhard mostly interested in winning the girls. Giovanni's death and the descent of a pack of wolves that threatens the village will change everything. It has been reported that the shooting occurred near the village of Scanno. In several recent screenings of the film in the towns of Scanno, people remembered that the shooting had occurred on this site in 1956. It has also been reported by several reliable sources that the original length of the film was 3,300 meters, but the production insisted on a length which should not exceed 2,800 meters. De Santis refused each cut and left the work. Then editing, music, and mixing were not controlled by the director anymore who -- unsuccessfully -- tried to remove his name from the movie credits. Mario Nascimbene had already collaborated with the filmmaker before. Mario Nascimbene (1913-2002) is undoubtedly one of the greatest international names in film music, creator of experimental sounds with the invention of his prodigious "Mixerama", the first Italian composer who was able to cross the golden gates of Hollywood in 1954 for the movie La Contessa Scalza ("The Barefoot Contessa"). Uomini E Lupi is an extremely dramatic symphonic score which also includes popular instrumental themes for harmonica and guitar and with mixed choir. The author wanted to create a "sound design" with the steps of wolves in the snow, like a savage, tribal tam-tam, of a rebellious nature which melds with a traditional symphonic orchestra beautifully conducted by Franco Ferrara. For this double-CD, Digitmovies have used the master tapes in mono of the recording sessions from 1956 well preserved until today which allowed the label to use every note recorded, including alternate versions, choral pieces, and pieces with solo male voice.
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DPDM 004CD
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2013 release. Digitmovies, with the collaboration of Sugar Group, make available this premiere release of the complete score as a tribute to the musical genius of Miklós Rózsa. To realize this ambitious project, Digitmovies utilized a first-generation, full-stereo master tape of the original LP soundtrack album, augmented by first-generation stereo masters (preserved in the Sugar Music archives). In addition to the fifteen tracks from the album presentation (released in France on Pema Music and reissued on CD in Italy, Japan, and the United States) Digitmovies' CD includes, as bonus tracks, all the remaining cues from the master tapes. With the assistance of Doug Raynes from The Miklós Rózsa Society, Digitmovies wanted to produce a deluxe edition digipack that would pay homage not only to the wonderful musical artistry of the legendary Miklós Rózsa but to the great director Alain Resnais and a film that has left its mark on the history of international cinema. Providence was a multi-award winner at the 1978 César Awards, including Best Music, Best Film, and Best Director. Sir John Gielgud also won the New York Film Critics Circle Award for Best Actor.
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DPDM 007CD
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2013 release. Digitmovies, in collaboration with Gruppo Sugar, releases on CD, Carlo Rustichelli's complete original soundtrack for the movie Signore E Signori ("The Birds, The Bees And The Italians"), directed in 1965 by Pietro Germi. The film, set in a small town in the region of Veneto, is divided into three episodes where the frame story is set among a circle of friends. The first of these tells of the fake impotence of a sly womanizer who confided his troubles to a friend who is also a doctor. The doctor doesn't resist the temptation to spread the delicious novelty everywhere, but then he has to regret it: the false confidence had only been made for the simple reason that he should divert his jealous eyes from his young and dizzy wife. The second episode stars a modest bank clerk, plagued by an unbearable wife and dreams of a new life with a willing cashier in a bar. The man's wife is very skillful in creating a scandal so that, in addition to losing his lover, her husband finds himself without a job and resignedly returns to the detested family. In the third episode a girl from the countryside goes down to town to do some shopping. She stumbles upon some local playboys who profit from her. The father denounces them as the girl is still a minor. The scandal spreads like wildfire: people and resources are put into action to quell the rumor. At the end the parent of the girl, persuaded by a large sum and the personal sacrifice of the wife of one of the accused, withdraws the complaint. For Digitmovies CD, first generation mono master tapes of the recording session were used that allowed the label, in addition to re-creating the album of that time, to find out about 25 minutes of unreleased material. Carlo Rustichelli wrote an OST for a small ensemble with lounge flavor featuring an allegretto theme in a circus and amusement park style, a perfect background to the gossip of the protagonists, which is frequently reprised and alternated with lounge music, and a romantic love theme which can also be found among the unreleased material. In the original masters we have also discovered two rare stereo versions of the main theme and love theme. A proper rescue and preservation as an homage to the Italian silver age.
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DPDM 012CD
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2013 release. Digitmovies publish, for the first time on CD, George Fabor's original soundtrack for the comedy Poveri Ma Belli ("Poor But Beautiful"), directed in 1957 by Dino Risi. In a house located in one of the oldest districts of Rome, live two young bullies, Romulus and Salvatore, boasters and braggarts, not work lovers, intent on finding easy love. Romulus is the lifeguard at a beach on the Tiber and Salvatore is a record store assistant. The two are close friends and their families are also tied. Not far from their home, a workshop is opened by a tailor who has a beautiful daughter, Giovanna. The two young men court the girl, who works in her father's workshop and does not dislike their advances. The two are very different in temperament: Romulus is jovial and playful, while Salvatore is slightly bitter and jealous. Each of them sees himself as the chosen one, when in actual fact Giovanna is in doubt and is unable to decide. At the end, she resolves to promise herself to Salvatore, but when Romulus pretends to kill himself through the disappointment of losing her, things go back to how they were before, until Giovanna meets a previous boyfriend, with whom she is still in love. Romulus and Salvatore are disappointed, but do hesitate to console themselves: each of the two survives the crisis, each one courting the sister of the other. At the time, an album with thirteen songs and a 45 EP with five selections were released. For Digitmovies' CD, the label had access not only to the master of the extremely rare original album, but also to the recording session in mono (the reels have been preserved in excellent condition after 56 years), which allowed them to include also the whole OST in the film version, since for the 33rpm, the composer Fabor had created an assembly of various takes, with the aim of offering a better listening experience. The author created an orchestral OST that honors the city of Rome and its people, alternating a melodious main theme with a pleasant popular atmosphere and dance tunes such as mambo and rock 'n' roll. This CD is intended as a sincere tribute to the golden age of Italian cinema and as a truly rare OST to be enjoyed by all film buffs and music lovers across the world.
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2CD
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DPDM 016CD
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Digitmovies releases, on a double-CD set, Franco Mannino's original soundtracks from Luchino Visconti's movies Ludwig and Morte A Venezia ("Death In Venice"). This edition include three inedit tracks from the movie Ludwig. For the film Ludwig Visconti chose a classic soundtrack, inserting classical music songs by Richard Wagner, Jacques Offenbach, Robert Schumann, and Frank Mendelssohn. He also had the composer Franco Mannino create the transcriptions for the piano, orchestra, and other instruments for some songs by the above-mentioned composers. For the film Death In Venice, Visconti chose a classic type soundtrack, inserting pieces of classical music by Gustav Mahler, Modesto Mussorgsky, Ludwig van Beethoven, and Armando Gil. He also had the composer Franco Mannino create the transcriptions for the piano, orchestra, and other instruments for some songs by the above-mentioned composers. Franco Mannino (1924-2005) was an opera composer and orchestra conductor who made adaptations of the most notable composers of classical music. As a soundtrack composer he won the David di Donatello award for the music from The Innocent ("L'innocente") by Visconti. Together they also created the music for Ludwig, Death In Venice, Bellissima, and Conversation Piece. His other soundtracks include Woman Of Rome ("La Romana") by Luigi Zampa, Beatrice Cenci by Lucio Fulci, Lust Of The Vampire ("I Vampiri") by Mario Bava and Riccardo Freda, and Identikit by Giuseppe Patroni Griffi.
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2CD
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DPDM 017CD
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2007 release. Digitmovies present the first reissue in digipack format of the CD dedicated to the important international musician Miklós Rózsa releasing in a double-CD of the full stereo original motion picture score from the 1962 movie Sodom And Gomorrah, directed by Robert Aldrich (and Sergio Leone as second unit director). This double-disc set also celebrates the 52nd anniversary of the movie and its musical score. Miklós Rózsa's name is closely linked to hundreds of scores for romantic and dramatic cinema exploding effectively during the golden age of Hollywood. Miklós Rózsa's score was recorded in the studio "A" of RCA in Rome in June 1962. Rózsa has always been a researcher specialized in world music history. In the case of Sodom And Gomorrah he had performed deep research into Yemeni and Babylonian Jewish music so as to create the dances and prayer songs for choir in their original language. Thence the orchestral themes of pure fantasy are combined with motifs that have antique origins. For what concerns the OST discography of Sodom And Gomorrah, this score has been issued on 33rpm long-playing record by RCA in different countries all over the world. The first CD release of this OST in mono sound was issued on Cambria then the original American LP was reissued on the CD by BMG in stereo. The first complete and stereo version was issued in 1986 on a double-LP set. The realization of Digitmovies' double-CD was made possible -- once again -- thanks to the generous help of C.A.M. authorizing this reissue of this memorable OST including the six rare bonus tracks discovered on the original session master tapes: five alternative choral pieces and a Jewish dance piece that were recorded during the 1962 session but not used in the final version of the movie. Despite careful digital restoration and remastering some anomalies pre-existing on the original sources remain.
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CD
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DPDM 018CD
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2014 release. Digitmovies release Carlo Rustichelli's complete original soundtrack for the film Alfredo, Alfredo. After already exploring the musical side of the films by Pietro Germi and the complete OSTs by Carlo Rustichelli for the films Seduced And Abandoned ("Sedotta E Abbandonata"), Divorce Italian Style ("Divorzio All'Italiana), and The Birds, The Bees, And The Italians ("Signore E Signori"), it is now Alfredo, Alfredo's turn. At the time, CAM had released an LP in Italy and in Japan with 20 tracks. Then in 1993 it was released for the first time on CD with extra tracks, but with the sound filtered in Dolby Surround. For Digitmovies' CD, the label used the stereo master tapes from the original album (without Dolby) and they discovered around 21 extra minutes of material. Directed in 1972 by Pietro Germi, Alfredo, Alfredo starred Dustin Hoffman, Stefania Sandrelli, Carla Gravina, Saro Urzì, Duilio Del Prete, Enzo Cannavale. Alfredo (Hoffman) works in a bank and is in love with a pharmacist named Mariarosa (Sandrelli). With the help of a friend (Del Prete), he is able to start a relationship with Mariarosa and eventually marry her. But Mariarosa's tendency to be possessive reaches extremes and causes Alfredo to lose his friend, his father, and his independence. When she becomes pregnant, she sends Alfredo to sleep in the basement, but at least in this way he's able to get back his freedom. During one of his nightly wanderings outside, Alfredo meets Carolina (Gravina), a nice girl who is willing to love him without any constraints. She becomes his lover and he runs to her when he finds out Mariarosa's pregnancy was only the result her hysteria. The idea of returning to his previous hell throws him into despair. He becomes a supporter of legalizing divorce and when this happens, his marriage is legally dissolved. Now that he is free again, Carolina puts pressure on him to marry her. Once again Alfredo finds himself tangled up in matrimonial ties. The entire film is told using flashbacks to a courtroom. The film won the David di Donatello prize in 1973 for best film.
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