Mad About Records present the first worldwide reissue of Hareton Salvanini’s soundtrack for Xavana, Uma Ilha Do Amo, originally released in 1981. Rare Brazilian album of the obscure film Xavana, Uma Ilha do Amor mixes elements of jazz, bossa nova, and psych. Hareton Salvanini creates a record full of groovy guitars, refined strings, and delicate orchestral sounds. Polish film maker Zygmunt Sulistrowski pioneered the format of shooting low-budget soft porn on exotic locations. In this case, Brazilian arranger and writer Hareton Salvanini was commissioned to deliver this soundtrack. No wonder many consider him a lesser-known Arthur Verocai. Salvanini creates a record full of groovy guitars and percussions that could rival with the best of KPM or Chappell library LPs. Deluxe reissue in thick carton cover; obi.
Be With Records present a reissue of Victor Cavini’s Japan, originally released in 1983. The first Be With foray into the archives of revered German library institution Selected Sound is one of Be With’s favorites on the label. Rare and sought-after for many years now, this is one of those cult library LPs that never turn up. With Daibutsu the giant Buddha of Kamakura’s presence gracing the hefty front cover, this is a record bursting with dope samples for adventurous producers: it’s koto-funk madness! Victor Cavini was the library music pseudonym of prolific German composer and musician Gerhard Trede. He was known for exploring instruments and styles from around the world (he played over 50 different instruments himself) and Japan is his collection of 14 musical sketches painted with traditional Japanese wind and string instruments. These are the sounds of traditional Japanese folk music re-interpreted through Western ears, with the occasional contemporary twist. Contemporary for 1983, of course. These “Pictures Of Japan” are hypnotic, sometimes frantic, but always beautiful. The first twelve tracks offer airy explorations of koto and flute, with other strings and percussion being added and then given their own space. Indeed “Pictures Of Japan XII” is just drums. And then “Pictures Of Japan XIII” seems to come out of nowhere. But the subtle sleaze of its full band sound still doesn’t quite prepare you for the towering climax of “Pictures Of Japan XIV”. This is Japan’s undoubted standout piece, completely and wonderfully at odds with the rest of the album. It’s the reason this has become such a must-have record. It keeps the traditional Japanese instruments but combines them with shuffling funk breaks, electric bass high in the mix and a Godzilla-sized psychedelic fuzz guitar sound that might actually be a traditional reed flute pushed to its limits. Recalling both Rino de Filippi’s 1973 album Oriente Oggi (CNLP 042LP) and Giancarlo Barigozzi’s Oriente also from 1973, the track’s a real head-nod groove for b-boys and b-girls alike that sounds straight out of a late-70s Yakuza film. Indeed, if you were told The RZA or Onra had cooked this up in the lab this century, you’d be convinced. It’s crazy that this dates from 1983. Audio remastered for vinyl by Be With regular Simon Francis. Richard Robinson has handled the careful restoration of the original Selected Sound sleeve.
Music On Vinyl presents Ennio Morricone Themes, a wonderful and unique collection of the greatest music ‘The Maestro’ composed for movies over the past 70 years, divided into different Themes. Each Theme centers on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. Western is the first in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. It contains a selection of defining Morricone songs, featured in legendary (Spaghetti-) Western movies like “Once Upon A Time In The West”, “A Fistful of Dollars”, “The Good, the Bad and the Ugly”, “A Pistol for Ringo”, “The Return of Ringo” and many more, selected on 2 LPs. Available February 28th as a limited edition of 3,000 individually numbered copies on gun-smoke colored (transparent with black marbled) vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano.
Introducing Eric Bowr’s third installment to the Broken Lamps music catalog. Like its predecessor Kaleidoscope, Metropolis continues its journey through 70s production music by experimenting with sounds reminiscent to British music libraries like KPM, Chappell and De Wolfe. While maintaining a feel for retro urban counterculture, the album weaves its way through various film genres like Crime Drama, Eurospy,Exploitation and more! By combining bass driven rhythms and funk horns with organ fueled 60s surf tones, Metropolis transports you to the “odd corners” of a vintage film set with an atmosphere soaked in nostalgia. Consider this record to be the soundtrack to your next need-to-know-only mission or late night rendezvous. Brought to you on 180 gram vinyl by Electric Nerve Music in association with Two Headed Dog.
Two obscure soundtracks for equally obscure films directed by Euro-sex maestro Jess Franco – laid out here back to back on a single set! La Comtesse Noire has music that moves slowly, but with a nicely slinky vibe – and a fair bit of wordless female vocals that are maybe in an Edda Dell’Orso style, but also have some warmer currents too – almost jazzy at times, echoed by some jazzy paino work on one track – which makes a very surprising sound for a movie like this! Titles include “La Mort A La Bouche”, “Eromantic Jazz”, “Eromantic Lounge”, “Eromantic Piano”, “Vox Intima”, and “La Comtesse Noire”. Des Frissons Sur La Peau follows with more great wordless vocals – but also maybe has more piano lines in the lead, too – echoing a very nice main melody that’s both sad-tinged and sexy – a nicely creepy blend! Titles include the funky “Viree Nocturne”, plus a few variations on the “Des Frissons” theme – and some bonus material from the sessions.
WRWTFWW Records announce the first ever vinyl release of Tom Raybould’s award-winning movie soundtrack for excellent AI-themed sci-fi thriller The Machine (2013). Undoubtedly one of the greatest (and most overlooked) movie scores of the 2010s, The Machine finds its influences in the works of John Carpenter, Vangelis, Brad Fiedel, and Tangerine Dream, but presents its own unique twist, one that cleverly evokes the thin line between man and machine that haunts the whole film. Cold and tenacious rhythms suggest mechanical killer instincts, brooding synths crystallize the fear of an AI-controlled future, but the warm and gentle sounds of guitar and piano ease the tension and bring hope of humanity. From its menacing introduction to its tender ending, Tom Raybould’s masterwork ingenuously blends ambient, electronic, neoclassical, and synth wave to recontextualize and upgrade the classic ’80s sci-fi movie score template, holding its own against mammoth soundtracks like Blade Runner (1982) or The Terminator (1984). Truly. Cold with a touch of humanity like the perfect machine, Tom Raybould’s movie score won the BAFTA Cymru award for Best Original Music in 2013. LP housed in a glow-in-the-dark sleeve. “Tom Raybould’s Music For The Machine Is Amazing” –Bloody Disgusting
Waxwork Records is proud to present SORCERER Original Motion Picture Soundtrack by Tangerine Dream. Directed by William Friedkin (The Exorcist, Cruising) and starring Roy Scheider, Sorcerer is a 1977 intense, existential thriller that follows four outcasts from varied backgrounds that meet in a South American village. They are then assigned to transport cargos of aged, poorly kept dynamite that is so unstable that it is sweating its dangerous basic ingredient, nitroglycerin. The mounting expense to make the film required the involvement of two major studios, and production was troubled with its various filming locations in multiple countries, often times within dangerous rainforests and raging rivers. Sorcerer was a commercial failure and this has long been attributed to the George Lucas’s Star Wars which was released one month earlier, instantly becoming a pop-culture phenomenon and forever changing how Hollywood movies were made. Sorcerer has enjoyed a critical re-evaluation and is now widely considered to be a cinematic masterpiece.
The film’s music by German Krautrock and electronic group Tangerine Dream features the band’s first film score. Before the explosion of electronic and synthesizer based film scoring prevalent in the 1980’s in movies such as Blade Runner and The Terminator, and before the explosive modern day interest and revival of successful synth-scored TV series’ and movies such as Stranger Things and Drive, the music to Sorcerer by Tangerine Dream is a wildly influential blueprint and example of how movie scoring could be approached. Director William Friedkin instinctively sensed this during a chance encounter while witnessing a secret Tangerine Dream concert deep within the German Black Forest in an abandoned Church in the mid 1970’s.
Set in the year 2019 in Neo-Tokyo, the world is still recovering from the ravages of World War III. One night, teen delinquent Kaneda has his biker gang hurtle through the busy city. Kaneda’s friend, Tetsuo, is seriously injured during an accident and is taken to an army hospital. There the military notice Tetsuo’s potential psychic power, so they transfer Tetsuo to a secret government laboratory to awakening his latent abilities. When Kaneda gets involved in an antigovernment guerrilla movement, he encounters Kei, a member of the revolutionaries, and learns that the goal of the fighters is to infiltrate a secret laboratory – the very one where Tetuso is being held. The experiments to awaken Tetsuo’s powers are a terrifying success as he begins to wield psychic energy he cannot control – reminiscent of the emergence of the legendary esper boy “Akira”, which triggered World War III. The stage set, a fierce battle begins between Kaneda, Kei, the army and Tetsuo with the destiny of Earth at stake.
The symphonic music to AKIRA was composed by Dr. Shoji Yamashiro, head of the beloved Japanese musical collective Geinoh Yamashirogumi, and performed by the group. Rerecorded and remastered using the most advanced audio techniques available, this release of the unforgettable score of AKIRA is peerless in quality and audio fidelity.
Waxwork Records is thrilled to announce the debut release of DON’T GO IN THE HOUSE Original Motion Picture Soundtrack. Available for the very first time in any format, the complete soundtrack by composer Richard Einhorn (Shock Waves, The Prowler) come to vinyl as a deluxe double LP package. DON’T GO IN THE HOUSE is a 1979 American slasher / psychological horror movie that follows the character Donald Kohler who was abused by his mother starting from an early age. Donald become obsessed with fire, and after his mother’s death, he begins a killing spree by abducting women, taking them home, and burning them alive. The film is a chilling and gruesome grindhouse favorite that was regularly screened on the infamous early 1980’s 42nd Street movie theater strip in NYC.
The soundtrack by Richard Einhorn features the composer’s known minimal electronic scoring style which implements early, analog synthesizers fused with dissonant, haunting sound design. Waxwork’s debut soundtrack release to DON’T GO IN THE HOUSE features the complete film music composed by Richard Einhorn, and also includes additional and unused music scored for the film by Einhorn that has is previously unreleased. All sourced from the original 1979 master tapes.
Album features include 2xLP 180 gram “Steel and Smoke” colored vinyl, new art by Marc Schoenbach, deluxe packaging, old style gatefold jackets with satin coating, and re-mastered audio from the original analog master tapes.
Waxwork Records is proud to present FRIDAY THE 13TH PART VI: JASON LIVES Original Motion Picture Soundtrack by Harry Manfredini! Available for the very first time on vinyl, and sourced from the original 1986 master tapes, Waxwork is thrilled to release the long awaited soundtrack to the fan favorite installment of the Friday The 13th Franchise. The film follows Jason Voorhees who, after accidentally being ressurrected, stalks yet another group of camp counselors. This version of Jason, a now undead and more supernatural version of the character, would become the standard depiction of the masked slasher for the rest of the series.
The score by Friday The 13th veteran composer, Harry Manfredini, features his biggest and most bombastic score to date in the series. Working with a full orchestra and with the budget to include updated sound design and electronic work, Manfredini takes the franchises music to new heights before his hiatus from the series, returning years later to score Parts 9 (Jason Goes To Hell) and 10 (Jason X).
Pressed to 180 gram Electric Purple vinyl, and with all new artwork by Ghoulish Gary Pullin, the score to JASON LIVES is housed in deluxe packaging and is ready to terrorize your turntable!
Tiger Lab Vinyl is proud to present the full score to the classic 80s anime, DEMON CITY SHINJUKU by Motokazu Shinoda. This is the first time the score is available in any format.
DEMON CITY SHINJUKU was a staple for anime newbies during the Japanamiation era. This OVA aired weekly during the Sci-Fi channel’s Saturday Anime feature in the 90s, and became a classic gateway film for anime and horror fans alike.
Until now, the score has been stored—unreleased—in the Japan Home Video archives. Tiger Lab Vinyl worked with Japan Home Video to bring Mr. Shinoda’s beautiful synth score to the public. Remastered for vinyl, this is the first time the score, along with all its cues in entirety, can be heard.
Mondo and Cut Narrative are proud to present the original score to Rian Johnson’s 2019 whodunit KNIVES OUT.
Nathan Johnson is Rian’s long time collaborator (BRICK, THE BROTHERS BLOOM, LOOPER) and a master of genre – able to deftly pivot from the chaotic noise of the future LOOPER to the classic orchestral strings and stings needed to underscore this New England murder-mystery.
This vinyl release features three bonus tracks not available anywhere else. This 2X 180 Gram vinyl set is housed in a beautiful package designed by Jay Shaw, featuring a die-cut window and containing one of nine randomly inserted “Suspect” cards.
The mighty HTRK follow-up their recent Venus in Leo album with Over The Rainbow, their debut soundtrack for Jeremy Piexoto’s 2019 Scientology documentary. A rare and unexpected all-instrumental showreel by the shoegaze pop duo, their suite of original music is testament to a haunting soul that’s long lurked under the hood of their singular, hugely evocative sound. Effectively a sort of dream come true for HTRK’s legion disciples, the soundtrack strips away their signature vocals and drum machines in a commission to fit the mood of Piexoto’s feature — a film that seeks to better understand Scientology through a range of perspectives, from psychologists to former members. HTRK use their considerable knack for conjuring haunting, heavy-lidded feels and ohrwurm hooks to map the mood, deploying a trademark, incisive sense of detachment that colors the film’s intersection of real beliefs and ideas of Scientology as a sect. In the absence of Jonnine Standish’s vocals and Nigel Yang’s 808 boom, HTRK’s musick is pared to its essence of synths, guitars and electronics and painted in hazy, illusive strokes from a palette of smudged pastels mutual to both South California and the band’s native Australia. The result is a 13 part mosaic tiling hazy blue cues with aqueous ambient pads and baroque themes, playing out like the atmospheric strokes to LA noir in a way that silhouettes the film’s probing narrative and rhetoric and also reflects its fascination with American culture and the supernatural in a similar way to Eno’s ambient classics or Lynch flicks and their scores. Ultimately Over The Rainbow is an instant play-it-again entry to HTRK’s catalog, one that supplies a sort of crystal ball window onto their practice and most subtly illuminates the duo’s masterful control of tonal sensitivity and floating, chamber-like composition. RIYL: classic ambient music from the likes of Pinkcourtesyphone, Gigi Masin, AFX, Eno. Mastered and cut by Rashad Becker at Dubplate & Mastering, Berlin. Sleeve printed on matt laminate card stock; Edition of 500.
‘OPW’ is the debut album and bespoke sample library from musician and composer Oliver Patrice Weder.
Oliver Patrice Weder’s unique musicality has been heavily inspired and shaped by living and travelling through different places and cultures including Brazil, Africa and the USA, as well as his experiences making a home in various European countries.
Oliver discovered his love of keyboards after hearing the sound of Ray Manzarek (The Doors), and spent his formative years playing classical and jazz piano in the rainy foothills of the Alps. After recording and touring across Europe with various bands including psychedelic rock band Time for T, he studied at Valencia’s Berklee College of Music where he established his passion for film music. As well as composing for the BBC, Oliver is lead composer at Spitfire Audio in London. In 2017, Oliver co-scored the feature film ‘The Haunted’ and made a vlog style series Inside the Score with Spitfire Audio, documenting the entire process — from meeting the director, to seeing the film shown at various international film festivals.
Oliver’s deeply personal debut LP, ‘OPW’, took shape across Europe, between Switzerland, UK, Spain and Holland, where he lived and spent time writing and recording this intimate and powerful musical journey. It fuses a rich and unique blend of acoustic instruments and rhythms with electronic elements — from piano, Wurlitzer, experimental strings from the London Contemporary Orchestra, flugelhorn and drum machines through to spoon solos, occasional gritty synths and percussion found in the favelas of Rio de Janeiro — adding flavour and colour throughout.
Waxwork Records is proud to present MANIAC Original Netflix Series Soundtrack by Dan Romer. Starring Jonah Hill and Emma Stone, MANIAC is a 2018 psychological dark sci-fi series that follows two strangers who connect during a mind-bending pharmaceutical trial.
The soundtrack by Oscar nominated composer Dan Romer is an orchestral and electronic hybrid with incredible production and diverging sounds. Playful electronics alternate between fast moving and ambient synth work. Chasing percussion transitions seamlessly with dramatic, lush strings. The soundtrack to MANIAC is a textural playground that caters to any listener. Like the series, the soundtrack is cerebral, emotionally provoking, and hypnotic.
Waxwork Records had the pleasure of creating a deluxe 2xLP soundtrack package to MANIAC featuring 180 gram neon yellow and pink vinyl, old style gatefold jackets with overall UV gloss coating, printed inserts, and design by Aesthetic Apparatus.
Featuring music by Takatsugu Muramatsu (MARY AND THE WITCH’S FLOWER), Yasutaka Nakata, Masanori Shimada and a catchy original theme song by Kaela Kimura.
Mondo, in partnership with Studio Ponoc, is proud to present the premiere vinyl pressing of the soundtrack to Volume 1 of their short film anthology series PONOC SHORT FILM THEATER titled MODEST HEROES.
Featuring three equally brilliant short films (KANINI & KANINO, LIFE AIN’T GONNA LOSE, and INVISIBLE) each unique in their animation style and tone – each film has its own approach to music. Featuring music by Takatsugu Muramatsu (MARY AND THE WITCH’S FLOWER), Yasutaka Nakata, Masanori Shimada and a catchy original theme song by Kaela Kimura.
BACK IN PRINT! US pressing. An exact repro vinyl reissue of the score to the AIP biker movie from 1969, adding a beaty, easy listening feel to your funk. The score’s killer track is the breakbeat classic ‘Hot Wind’!
Nine Inch Nails’ Trent Reznor and Atticus Ross continue their prolific scoring career, this time for Netflix’s psychological action thriller Bird Box.
The latest in a series of films that focus on sensory deprivation (see also: A Quiet Place and Altered States), the film has become a full viral sensation, with 26 million viewers streaming the title within its first seven days on the platform reports Nielson.
As Reznor and Ross have explained on their website, the 66-minute album is labelled as the “abridged” version of the score:
“We created a significant amount of music and conceptual sound for Bird Box, a lot of which never made it to your ears in the final version of the film. We’ve decided to present you with this version of the soundtrack record that represents what Bird Box is to us. We hope you enjoy.
Limited edition LP version on red marble vinyl, housed in a gatefold sleeve with insert. “The original soundtrack for the cult film, Lucifer Rising, by Underground filmmaker Kenneth Anger. Composed by Bobby BeauSoleil who is joined in the performances by his prison band, The Freedom Orchestra, recorded 1975-1979 at Tracy Prison. The music of Lucifer Rising is closely linked with the occult elements with dark psychedelic mystical sounds. Bobby composed electronic sounds interspersed with interesting slow trumpet fanfares, keyboard wizardry and fine guitar solos. For sure one of influential soundtracks ever and one of the most important psychedelic ambient album of music history. Magical & essential. Artwork by Malleus.”
Midsommar is the sophomore film written and directed by Ari Aster (Hereditary). Starring Florence Pugh and Jack Reynor, the film follows a struggling couple traveling to Sweden to visit their friend’s rural hometown for its fabled midsummer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.
As in Hereditary music plays a central role in Midsommar. Composer Bobby Krlic (aka The Haxan Cloak) has crafted a gorgeous score that elevates the film to a new level. He also produced all the diegetic music played by the members of the community in the film. Instead of your usual horror score, Bobby Krlic developed beautiful and harmonious compositions that complement the on the surface beauty of the Swedish rural setting while underlying the subtle and terrifying truth that hides in the shadow throughout the film.
Reissue of Breath Of Danger (Themes), originally released in 1974. They say: “A selection of suspense underscores and drama blackcloths which vary in intensity and cover a wide range of suspense and drama situations”. Be With Records say: A breaky, funky library great masquerading as a horror score. Oh, and the cover art is amazing. Breath Of Danger was originally released in 1974, and rounded up a killer ensemble cast of library legends including Alan Hawkshaw, Brian Bennett, Alan Parker, David Lindup, Kenny Salmon, Barry Morgan, and Ray Cooper. Lindup’s opener “Cold Sweat” sounds like hip-hop-friendly mode Axelrod and, indeed, was brilliantly sampled by Kool Keith for his Dr. Dooom project. Alan Hawkshaw and Brian Bennett’s “The Manipulator” sounds like it arrived straight out of the same sessions as their legendary Synthesizer & Percussion LP from the same year. Over on the B-side Alan Parker’s “Psychosis” is a moving and beautifully restrained funk-guitar/cello/harp workout. Stunning. Kenny Salmon’s “Flying Squad” is a sleazy, flute-enhanced gem and the album closes with “Voodoo”, a seventy-second riot of sound and color from the dynamic drumming-percussion duo of Barry Morgan and Ray Cooper. Sonically, there’s a widescreen vitality in all these tracks thanks to the driving rhythms, vibrant horn sections and blazing guitar work. It renders Breath Of Danger — 45 years old — truly ageless. The Themes series is known for having particularly striking sleeves, which was unusual for library records at the time, and Breath Of Danger’s scraps of comic-book crazy make for one of the most eye-catching. As with all of Be With Records’ other Themes reissues, the audio for Breath Of Danger comes from the original analog tapes and has been remastered for vinyl by Simon Francis. Sleeve reproduction duties by Richard Robinson, the current custodian of KPM’s brand identity. 180 gram vinyl.
Reissue of Peter Lüdemann and Pit Troja’s The Now Generation (Percussive Underscores), originally released in 1983. They say: “Documentary and industrial underlays for current themes of modern life”. Be With Records say: Mind-blowing, percussion-heavy, Afro-tinged, cosmic-disco library bomb. An absolutely outstanding record from 1983 and definitely one of the hardest to find on the collectable German library label, Coloursound. The Now Generation (Percussive Underscores) is comfortably one of the very best library records full stop. The record comes galloping out the gate with a pair of rapid synthy-Euro disco bombs — the title-track and “Panama” — before slowing down to a woozy pace on “Inorganic Matter”. “African Nightclub” sounds like it reads, and is a particular favorite of Prins Thomas. Indeed, it was used to great effect on his seminal “Cosmo Galactic Prism” mix for Eskimo back in 2007. It’s followed by the dark, druggy, slow motion industrial groove of “Grease Plant” before “Southerly” lifts the tempo to close out side A with its Latin funk strut of bells and melancholic keys. For some listeners, though, it’ll be all about the opener to side B: “Mechanical Heart”. Seven minutes of building, mid-tempo disco-funk joy, deceptively explosive, club-ready gear for body and soul. The back cover dryly describes the track as “Guitar and percussion, light industrial underlay”. Hmmm. How about, “after finally emerging from a particularly heavy week jamming in a sunless, lawless German warehouse, Chic warily press record on a wayward, illicit instrumental for basement gatherings”. Just wait for those drums at the three-minute mark… The beatless ambience and menacing stabs of the proto-electro “Chemical Threat” follows, before the open drums and incredible fills of the metronomic “Steady Going” and fantastically monotonous funk breaks of “Nepal Trek” round out this sensational set. This is a library masterpiece in no uncertain terms, full of synth funk, Afro beats, exotica, leftfield madness, dancefloor dynamite, and all-around greatness. As with Be With Records’ KPM and Themes reissues, the audio for The Now Generation comes from the original analog tapes and has been remastered for vinyl by Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory. 140 gram vinyl.
Reissue of Visual Impact, originally released at 1976. They say: “Descriptive scores for scenes of visual impact”. Be With Records say: Arguably the single greatest album in KPM history. An ensemble piece of staggeringly heavy works from none other than Brian Bennett, John Scott, Steve Gray, Jim Lawless, and Johnny Pearson. Visual Impact includes the insanely ace “Nuplex” by Brian Bennett, a nagging, sweeping, punchy funk piece that exists in a world of its own. If you don’t know, get to know — the record’s worth getting for this track alone. The same goes for the beautifully paced, string-drenched, horn-fed LP opener “Canaveral Scape”, courtesy of John Scott. Truly sublime. Other highlights on the A-side include Bennett’s easy, bass-heavy jazz groover “Sequence Of Events” and the spare, building, undercover funk of Steve Gray’s aptly-named “Low Profile”. The B-side is straight-up fantastic. The percussive, vibey exotica of Jim Lawless’s “Keeping Pace” is followed by five tracks of slick, weighty funk breaks from Johnny Pearson. Check the pure groove of “Jaguar” with its head-nod drum break intro, the creeping piano-strings combo and… er… giant neck-snapping breaks of “Giant’s Causeway”, the speaker-smashing progressive bass groove of “Fugitive”, the tense “Rock Climb” and the sheer heft of “Heavy Load”. Library largeness. If that isn’t enough, John Scott’s incessant “Flight Of The Phoenix” ends the session, brilliantly pilfered by M.O.P. for their much-loved “We Run New York”. Originally released in 1976 but wonderfully timeless, Visual Impact is a rare example of a library record that’s genuinely great listen from start to finish. As with all of Be With Records’ KPM reissues, the audio for Visual Impact comes from the original analog tape and has been remastered for vinyl by Simon Francis. Sleeve reproduction duties by Richard Robinson, the current custodian of KPM’s brand identity. 180 gram vinyl.
Reissue of The All American Powerhouse (Themes), originally released in 1976. They say: “Driving brass and sax ensemble over funky rhythm section, playing tracks of various feel and style”. Be With Records say: From the Lincoln Continental that memorably adorns the cover to the tranquil funk contained within, this glowing ode to the grooving force of 70s American soul music is ice cool all over. With brilliant contributions from the Three Key Alans (Hawkshaw, Parker, Tew) as well as Mike Moran, Les Hurdle, and Keith Roberts, this is driving music for only the vibeiest cats. Originally released in 1976, The All American Powerhouse is one of the very best of the Themes library releases. It’s killer. A feast of dramatic jazz, horizontal, melodic funk, and bouncing sunshine-y West-Coast feels throughout, there also lurks an intense injection of the Blaxploitation sound. Understandable, given the subject matter and year it was released. Highlights include Alan Parker’s confident, horn-heavy wah-wah-fueled album-opener “Sweeny Todd”, Hawkshaw’s graceful “Getaway” glide and dramatic, breathless “Speed Run”, Mike Moran’s loose, organ-driven propulsive B-Boy classic “The Pick-Up” and Keith Roberts’s percussive tour de force “Overide” that closes out the LP. Yet, perhaps the most significant track here is Les Hurdle’s long-adored “Soul Train”. A grooving, bass-heavy library classic, it’s all swirling strings, stabbing horns, heavy open drums and melodic funk-rock guitars. Add in the funky clavinet, and the combination works beautifully. As with all of Be With Records’ other Themes reissues, the audio for The All American Powerhouse comes from the original analog tapes and has been remastered for vinyl by Simon Francis. Sleeve reproduction duties over by Richard Robinson, the current custodian of KPM’s brand identity. 180 gram vinyl.
Reissue of The Hunter (Drama Suite) / Adventure Story, originally released in 1975. They say: “Composite themes and incidental cues for dramatic application”. Be With Records say: Well, it’s definitely dramatic. No wonder this LP was mined by a multitude of ’70s and ’80s crime shows. Much like Beat Incidental, this true gem includes a raft of enjoyable sub-ten second incidental cues alongside satisfyingly stretched out, hard-knocking sleuth-funk. The Hunter (Drama Suite) / Adventure Story is a real library-head’s library album. You’ll be treated to some of the best works of no less than five different heavyweights of the genre: drummer Brian Bennett, guitarist Clive Hicks (of The Gentle Rain), saxophonist Duncan Lamont, rock bassist Dave Richmond, and keyboard session giant Steve Gray. Something of a dream line-up, they each contributed stellar efforts to create one of the most sought-after of the legendary KPM albums. Both sides of this LP are dripping with insidious grooves and dramatic spy-score themes, bursting with heavy guitars, swirling flutes, creeping piano-funk, and drum breaks galore. Originally released in 1975, it’s clear that these library heroes were heavily influenced by the tough funk and street soul sonics emerging from the cutting-edge Blaxploitation soundtracks. Dave Richmond’s taut swagger and wah-wah guitar licks of “Nightwatch”, Steve Gray’s sleazy horn and clav-funk on the A-side opener “Theme For A Hunter” and Brian Bennett’s rolling strut of “The Investigator” are just three of the highlights here. That last one being sampled by Jeff Jank under his Captain Funkaho guise on “My 2600” for Stones Throw back in 1999. As with all of Be With Records’ KPM re-issues, the audio for The Hunter (Drama Suite) / Adventure Story comes from the original analog tapes and has been remastered by Simon Francis. Sleeve reproduction duties by Richard Robinson, the current custodian of KPM’s brand identity. 180 gram vinyl.
This time he’s soundtracking a very intriguing vehicle for Adam Sandler, who’s stepped outside of the usual goof roles to play Howie Bling, a jewellery dealer in a big American city. Like the Safdie brother’s engrossingly classic yet modern style of storytelling, Lopatin’s soundtrack is fittingly reminiscent of classic late ‘70s and ‘80s synth scores but feels up to date, especially in pieces such as the pulsating technoid theme ‘School Play’ and the tweaky tones of ‘Fuck You Howard’, and all peppered with dialogue from the film.
Le Tres Groove Club present a reissue of Jacky Giordano’s IM 24, also known as Organ, originally released in 1977. An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music. He is the one behind the amazing label Freesound — Schifters (1974), Philopsis (1975) , Challenger (1974) — but as well on Montparnasse 2000 with Pop In Devil’s Train (reissued on Le Très Groove Club, LTGC 001LP), on Timing (with Timing N°1 and Timing N°5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, and reissued as well on Le Très Groove Club, LTGC 002LP), or Black Devil’s Disco Club (1978) whose paternity is still disputed between him and Bernard Fêvre. Jacky Giordano wasn’t an altar boy, far from it, and will have sadly been more known for his troubles with his troubles with justice than for his music. This is his work for the label l’Illustration Musicale (IM) which can now be re-discovered thanks to this new reissue on Le Très Groove Club. Organ (IM 24), as its name suggests, is a tribute to this instrument and all the genius of Giordano, mixing the instrument with bass synthesizers and Rhodes to create grooves tinged with melancholy. A club in the suburbs half empty on a Sunday evening, a grey sky on the esplanade of La Defense, the soundtrack of a B-grade crime movie –this is where Jacky Giordano takes you with Organ and his already cult tracks (“Interrogation Point”, “Project Problematic”, “Owls Night”) for those who had the chance to get their paws on an original pressing of this record.
TENEBRE is the 1982 Giallo masterpiece from Director Dario Argento. Although his frequent musical collaborators Goblin had disbanded while he was filming, Argento managed to convince three members of the group to reform and record the score to TENEBRE. Claudio Simonetti, Fabio Pignatelli & Massimo Morante re-assembled in their studio and managed to deliver one of the greatest soundtracks of the 80s, Simonetti brought with him his love of Italio disco and the mixture of solid disco grooves and their intense, tight Prog Rock stylings is nothing short of astonishing. The lead track is a vocoder lead freakout that mixes disco, rock with church organs, and screeching synth leads and that pretty much sets the tone for the entire record. TENEBRE is far more electronic based than the majority of the bands scores for Argento and it really shines alongside other classic such as SUSPIRIA and DEEP RED.
This release gathers for the first time on vinyl the most famous musical themes from Tim Burton’s movies. Most of them are composed by Tim Burton’s favourite composer (Danny Elfman), and some by Howard Shore and Stephen Sondheim.
The songs are drawn from the cult film that launched Johnny Depp’s career: “Edward Scissorhands”, to his latest masterpiece: “Alice’s Adventures in Wonderland”.
The collaboration between Tim Burton and Danny Elfman is one of the most successful of Hollywood. This duo has allowed to convey this distinctive imagery created by the former Walt Disney cartoonist, who has become, today, the undisputed master of fantasy and strangeness.
Danny Elfman (also known for the famous Simpsons’ generic/film credits) remains the composer who, better than anyone, has been able to transcribe the universe both dark and fairy of his favourite director. His music draws its inspiration from Edgar Allan Poe’s novel, German expressionism and from the Hammer’s cult movies.
This vinyl offers an hour of music to immerse yourself into Tim Burton’s phantasmagoric universe: from the hypnotic and quirky theme of Willy Wonka (Charlie and the Chocolate Factory) to the disturbing atmosphere of Gotham City (Batman). This album pays tribute to both Tim Burton’s cinematographic work and Danny Elfman’s musical genius.
For the third HELLRAISER film, Randy Miller replaced Christopher Young for music duties, expanding on the already established themes of both HELLRAISER & HELLBOUND his score is dark, sombre and laden with doomy atmospheres. An excellent score to round out the original Hellraiser trilogy. HELLRAISER III comes complete with a gold foil slipcase that has room to house both HELLRAISER & HELLRAISER II designed by Matt Ryan Tobin.
Christopher Young returns to score the sequel to Hellraiser with arguably his most terrifying score to date.
HELLBOUND is absolutely terrifying, fusing a large orchestra, a choir and electronics. Young manages to expand on the original score to deliver something much larger in scope and harkening back to the golden age of horror scores. A master of his craft, his work here is incredible with many layers to unravel, which reward on multiple listens.
This is the very first collection from one of the most influential figures of the contemporary music scene, Max Richter. The 4LP set features works from Richter’s influential solo albums (including Sleep, The Blue Notebooks, Infra, Vivaldi Recomposed) as well as his film and television soundtracks, including his Emmy nominated music for Taboo, Black Mirror, My Brilliant Friend, and The Leftovers (available for the first time on the Yellow Label).
Like his buddy and occasional collaborator Quentin Tarantino, Robert Rodriguez is one of those film directors whose movies always come with incredible soundtracks. But it’s tough to top the array of music he assembled for his gun ‘n’ guitar-slinging western Desperado, the 1995 sequel to his breakthrough debut El Mariachi. Not only was the Desperado score composed and performed by the L.A. bands Los Lobos (whose performance of “Mariachi Suite” won a Grammy for Best Pop Instrumental Performance) and Tito and Tarantula (memorably seen the following year as the house band at the Titty Twister in Rodriguez’s From Dusk Till Dawn), but it also boasted contributions from Dire Straits, Link Wray, Carlos Santana, and the Latin Playboys among other artists. A blend of ranchera, Chicano, and garage rock, it’s the perfect accompaniment for the blood-soaked imagery of the film…and for this, the first vinyl release of the soundtrack, we at Real Gone Music have created the perfect visual accompaniment as well. For the gatefold jacket housing our 2 X LP set, we commissioned Illustrator Matt Ryan Tobin to create one-of-a-kind, never-to-be-reprinted illustrated artwork, a lyrical yet lurid tableau that was approved not just by Robert Rodriguez but also by all four actors depicted (Antonio Banderas, Salma Hayek, Steve Buscemi, and Joaquim de Almeida). Inside the gatefold, we designed two 4-color inner sleeves offering production stills from the film, and pressed up 2500 copies in sultry “Blood & Gunpowder” vinyl. This pressing is exclusive for RSD Black Friday, and, again, both the jacket and the colored vinyl will never be reprinted…this might be the most collectible release we have ever created!
Le Tres Groove Club present a reissue of Jacky Giordano’s IM 26, also known as Organ Plus, originally released in 1978. An aura of mystery hangs over Jacky Giordano, a studio musician who has mostly worked for library music. He is the one behind the amazing label Freesound — Schifters (1974), Philopsis (1975) , Challenger (1974) — but as well on Montparnasse 2000 with Pop In Devil’s Train (reissued on Le Très Groove Club, LTGC 001LP), on Timing (with Timing N°1 and Timing N°5, under the nickname Jacky Nodaro), on Musax with Boucles Rythmiques (under the nickname Joachim Sherylee, and reissued as well on Le Très Groove Club, LTGC 002LP), or Black Devil’s Disco Club (1978) whose paternity is still disputed between him and Bernard Fêvre. Jacky Giordano wasn’t an altar boy, far from it, and will have sadly been more known for his troubles with his troubles with justice than for his music. This is his work for the label l’Illustration Musicale (IM) which can now be re-discovered thanks to this new reissue on Le Très Groove Club. Organ Plus (IM 26) is the sequel to Organ (IM 24), also reissued by Le Tres Groove Club (LTGC 003LP). The title is misleading here, organ not being a preponderant part of the record which honors the Fender Rhodes, string machine, bass synth, and clavinet. “Be Careful”, “Riffologic”, “Twillight”: Jacky Giordano offers slow tempo jazz funk without losing the melancholy and lo-fi groove that make his tracks immediately recognizable regardless of the record label or alias.
A limited edition picture disc release of the Crumb soundtrack featuring the art of Robert Crumb, pressed to only 1000 units worldwide.
To celebrate the 25th anniversary of the release of the documentary Crumb, Cinema Paradiso Recordings are proud to announce that they will be releasing the soundtrack to the film for the first time ever on vinyl. Featuring the film’s director, Terry Zwigoff’s selection of tracks from the 1994 film, the vinyl opens with Robert Crumb’s musings on music, “When I listen to old music it’s one of the few times I actually have kind of a love of humanity. You hear the best part of the soul of the common people you know, their way of expressing their connection to eternity or whatever you want to call it. Modern music doesn’t have that and it’s a calamitous loss that people can’t express themselves that way any more you know.”
The soundtrack features jazz and ragtime pieces mostly performed by David Boeddinghaus on Piano with Craig Ventresco on guitar. To launch the release Cinema Paradiso Recordings are presenting an immersive screening of the documentary film Crumb and Ghost World – also directed by Terry Zwigoff. Both Robert Crumb and Terry Zwigoff will be doing a joint Q&A at The Troxy on September 28th, and will also be playing live as part of “R. Crumb’s Hollywood Four” alongside Craig Ventresco and David Boeddinghaus. “R. Crumb’s Hollywood Four” features Robert Crumb on Mandolin, Terry Zwigoff on Cello, Craig Ventresco on guitar and David Boeddinghaus on piano.
MADMAN is the classic ’80s slasher movie that tells the tale of Madman Marz. A group gather round a fire to trade scary stories, and one of the stories is about Madman Marz, who killed his entire family with an axe but was never found. It’s not long before Madman Marz is back and terrorizing the kids in camp in all manner of horrific ways. And while it follows the traditional tropes of early ’80s slashers, what sets MADMAN apart from all the other slashers of that time period is the direction, the cinematography, and the music; all are assured and help lift MADMAN above nearly all the films from this time period.
The score by Steve Horelick is absolute early synth heaven, using all manner of analog synths to create layers of sound that really have stood the test of time. Available here for the first time in any format, you can not only enjoy the synth score, but also all the songs included in the soundtrack written by producer and co-creator Gary Sales! All music is taken from the original 35mm negative and has been painstakingly transferred by Gary Sales, edited by Death Waltz’s Spencer Hickman, and mastered by James Plotkin.