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Search Result for Genre SOUNDTRACK
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LP
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WWSLP 084LP
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$31.50
PREORDER
RELEASE DATE: 11/22/2024
LP version. Wewantsounds presents the sought-after soundtrack for cult 1980 French film Clara Et Les Chics Types, featuring Isabelle Adjani, Daniel Auteuil, and the Splendid troupe actors. The jazz-funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc, has never been reissued since 1980. Remastered from the original master tapes, the release includes two never-released bonus tracks and a four-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion. A gifted singer songwriter, Jonasz had had a few hits in the '70s and had also teamed up with Gabriel Yared to write a couple of albums for Francoise Hardy, Musique Saoule (1978) and Gin Tonic (1979). This was the background that saw the film Clara Et Les Chics Types come together. The brainchild of famed screenwriter Jean-Loup Dabadie who had risen to fame screenwriting smash hits for directors Claude Sautet and Yves Robert in the '70s, the bittersweet comedy followed a group of friends who have an amateur group dealing with the vicissitudes of everyday life at the dawn of the '80s. For the soundtrack, Michel Jonasz was hired and gathered some of the best session musicians including drummer Manu Katché (in one of his first sessions) and bassist Sylvin Marc (who had recorded a couple of albums for Jef Gilson's Palm label in the early '70s). Together they weaved a mainly instrumental blend of jazz funk, reggae, and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD. Teaming up with the artist and Warner Music France, Wewantsounds has dug out the original master tapes to reissue the album including two bonus tracks. The audio has been remastered by Colorsound in Paris.
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WWSCD 084CD
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$16.00
PREORDER
RELEASE DATE: 11/22/2024
Wewantsounds presents the sought-after soundtrack for cult 1980 French film Clara Et Les Chics Types, featuring Isabelle Adjani, Daniel Auteuil, and the Splendid troupe actors. The jazz-funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc, has never been reissued since 1980. Remastered from the original master tapes, the release includes two never-released bonus tracks and a four-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion. A gifted singer songwriter, Jonasz had had a few hits in the '70s and had also teamed up with Gabriel Yared to write a couple of albums for Francoise Hardy, Musique Saoule (1978) and Gin Tonic (1979). This was the background that saw the film Clara Et Les Chics Types come together. The brainchild of famed screenwriter Jean-Loup Dabadie who had risen to fame screenwriting smash hits for directors Claude Sautet and Yves Robert in the '70s, the bittersweet comedy followed a group of friends who have an amateur group dealing with the vicissitudes of everyday life at the dawn of the '80s. For the soundtrack, Michel Jonasz was hired and gathered some of the best session musicians including drummer Manu Katché (in one of his first sessions) and bassist Sylvin Marc (who had recorded a couple of albums for Jef Gilson's Palm label in the early '70s). Together they weaved a mainly instrumental blend of jazz funk, reggae, and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD. Teaming up with the artist and Warner Music France, Wewantsounds has dug out the original master tapes to reissue the album including two bonus tracks. The audio has been remastered by Colorsound in Paris.
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CD
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BCM 9619CD
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$22.50
PREORDER
RELEASE DATE: 11/8/2024
Beat Records presents this reissue on CD of the original soundtrack by Nora Orlandi for the classic Western Johnny Yuma, directed in 1966 by Romolo Guerrieri. At the time of the film's release, RCA released only a 45-rpm single with the two mono tracks "Johnny Yuma" and "That Silent Man," sung by The Wilder Brothers (John Ireson and Wayn Parham). In 1968, another single was released in Japan (where the film was a huge success) on the Victor SS-1741 label, featuring the song performed by The Wilder Brothers and the instrumental version on the B-side. This CD is a reissue of the long out-of-print CD issued in 2009. In addition to the tracks mixed in stereo, this CD contains the entire soundtrack taken from the mono masters of the original sessions, for a total duration of 74:49. Nora Orlandi composed an epic and dramatic score, conducted by the well-known Robby Poitevin. The main theme, "Johnny Yuma' (a country ballad sung by The Wilder Brothers), is introduced in the opening credits and reprised in the movie. The Wilder Brothers also perform the heroic song "That Silent Man." Exceptional soloists on this beautiful soundtrack include 4+4 by Nora Orlandi and the magnificent harmonica of Franco De Gemini. Mastering and liner notes by Claudio Fuiano, graphic layout by Daniele De Gemini.
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SR 562LP
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$28.00
PREORDER
RELEASE DATE: 11/8/2024
The first ever publication of the original soundtrack composed by Alain Pierre for the Belgian cult film Vase de noces, directed by Thierry Zeno in 1974. Limited edition of 400 copies with screen-printed sleeve. Vase de Noces wasn't released in Belgium. The only distribution Thierry's films might have accessed here was the "Swedish distribution," a code for distribution around adult movie theaters. Films by major directors such as Bergman or Polanski were released this way. In memory of Alain Pierre (1948-2024).
"Vase de noces was made with very little money. Thierry used 16mm reversal film, utilizing the ends of reels he obtained from friends who worked as TV cameramen. Similarly, I salvaged magnetic tape from my workplace, the Équipe sound studio. Film professionals looked down on him because he filmed everything on his own, without relying on technicians. The remarks became even more disparaging when they saw the quality of the result. Thierry shot this film gradually, just getting by, progressing intermittently, but he had a precise idea and memory of the framing and sequences. He really did a great job, as if he had the entire edit in mind from the start. The first shot had to be the right one. He showed me the film sequence by sequence when the editing was over. This was how he worked, and that's why it took him so long getting the right splices, the right light, etc. Thierry handled the framing and the lighting himself. His black-and-white work is unique; he operated within constraints, which is how creativity often flourishes. Thierry had a story in mind, and in the end, he achieved exactly what he wanted. The performance of actor Dominique Garny, for instance, and his aptitude -- it helped a lot. They spent hours together in the cold, in the mud. As the shooting progressed, I suggested samples of sounds obtained from my machine. This was what he wanted: bottle sounds. There isn't a single direct sound in the film -- it's all dubbed. I never distinguished music from the rest of the soundtrack. The idea of a 'sound object' never left me, and I've always kept that direction in mind when composing. One day, Thierry stopped by while I was working on a documentary about Saint Augustine, for which I was using a tune by Monteverdi. He told me about a certain sequence from his film, and I had the feeling that this music would work wonderfully with that sequence if I slowed it down to the extreme, to the point that it would be unrecognizable. Very rudimentary special effects. I had manipulated music sung by castrati this way for O Sidarta (FKR 107LP), and he liked it. My suggestion was accepted." -- Alain Pierre
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LP
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LPF 096LP
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$40.00
PREORDER
RELEASE DATE: 11/8/2024
Walter Rizzati's soundtrack to Italo Zingarelli's Io sto con gli ippopotami ("I'm for the Hippopotamus"). This album, dedicated to the memory of Italo Zingarelli, is presented on 180-gram colored vinyl. Mastering by Enrico De Gemini, graphic layout by Daniele De Gemini.
"Shot in Africa in the late '70s, Io sto con gli ippopotami (aka "I'm for the Hippopotamus"), is a movie that in my imagination is just like Italo: humorously menacing and bulky, protective, awesome and sweet, a description that also fits the mascot of this delicious film, the hippopotamus. In this movie we feel the presence of its producer/director's poetry, often handed down with great passion and cheerfulness through his cinema. It's a simple message of love for nature, respect for the weaker and the duty to intervene when they are subjected to abuse. Everything is presented with disarming simplicity, as powerful as it is beautiful. You must confess that you were moved when Terence Hill, toward the end of the movie, delights himself with his friend-of-a-thousand- adventures Bud Spencer by watching the flight of the animals from Mr. Ormond's boat to the wonderful notes of 'Freedom,' where [the] harmonica together with the melody infuses the scene with an almost maternal sweetness. Well, we are all in debt to this big guy for his kind message and the clean, sparkling, soft and amusing sincerity that dwells there, among the lines of his cinema, apparently devoted to simple entertainment but so wonderfully deep and full of feeling." -Beat Records
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LP
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VIERNULV 008LP
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$31.50
PREORDER
RELEASE DATE: 11/8/2024
Through emotive ambient textures, granular synths, and field recordings, Rousay reimagines the Slovak animated fairy tale with a brand-new score. The Bloody Lady stands as a stunning masterpiece of Slovak animation. This album features the reimagined score Rousay wrote for Viktor Kubal's 1980 eponymous animated film. Kubal (1923-1997), a pioneering Slovak animator, is considered one of the most influential animation filmmakers of the 20th century. Known as a singular artist who challenges conventions in experimental and ambient music forms, Rousay crafted the score in her home studio immediately after moving to LA over the course of 2023. The inaugural performance, a screening of the film accompanied by Rousay performing the score live, took place at Videodroom/Film Fest Gent 2023 in Ghent, Belgium. The project has since been developed into an 11-track album with alternating themes that evoke the film's atmosphere while standing on its own as a distinct sonic work. The Bloody Lady is released via VIERNULVIER Records, the label known for its audiovisual collaborations with artists like Miaux, Hieroglyphic Being, and Mattias De Craene. The record comes with an extensive booklet including liner notes.
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CD
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PL 184CD
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$25.00
PREORDER
RELEASE DATE: 11/1/2024
Jim Coleman's NOW WAVE - Glowing: Beth B Exhibition features collected tracks that represent the sonic component of the "NOW WAVE - Glowing" exhibition by Beth B. This 2024 exhibition appeared at Silent Green in Berlin, featuring several live performances. Coleman collaborated with a stellar group of musicians and artists: Annie Bandez (Little Annie), Robert O. Leaver (This Wilderness, Birdthrower), Phil Puleo (Swans, Cop Shoot Cop), Jared Louche, Kirsten McCord, Paul Wallfisch, Vincent Dubuis, Nick Flynn, Evelyn Frantti, No Anger, Louise Hoffmeister, and Bliss Blood. The fusion of text, music, filmic image material, and performance create an immersive experience that is captivating and entertaining, but also confronts existential questions of human coexistence. The universal stories of the artists confront perceptions and assumptions concerning heartache, disability, mental illness, and addiction alongside the visceral music by Jim Coleman. Voicing the unheard and seeing the unseen are themes that have run through Beth B's films, art, and installation work with an eye to creating dialogue, community, and a place for self-knowledge and acceptance.
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LP
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SONIG 094LP
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$28.50
PREORDER
RELEASE DATE: 10/25/2024
In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog's fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band's favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London's Southbank Center knowing that Herzog would have never approved a new score. Filmed in 1971, Fata Morgana is perhaps not one of Herzog's best-known works, but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile. The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place -- in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle. The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player for the final section of the film. Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot -- causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed.
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LP
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ITR 394LP
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$24.00
PREORDER
RELEASE DATE: 10/18/2024
"The Lost Record is the underground rock and roll exploitation sci-fi film of this time. Starring Pauline Jorry and featuring appearances and contributions from Henry Rollins, Emmett Kelly, Michelle Mae, Paul Zone, Howie Pyro, Kid Congo, Crush, Automatic Band, and scores of other underground notables, The Lost Record -- directed and produced by Ian F. Svenonius and Alexandra Cabral -- is a film set in a murky indeterminate future/past world where one record, The #1 Record, holds sway over society. In this world The #1 Record is unavoidable and ubiquitous; pumped out nonstop on the airwaves, intercom, and television with its irresistible and infectious message of totalitarian consumer control. The status quo is challenged when a protagonist -- played by Pauline Jorry -- a worker on an art assembly line, stumbles on another record at a junk-shop which is neglected, lost, and unplayed. Called The Lost Record, it suggests another way to live; another set of values. Enchanted, she begins to play it for others, much to the consternation of the authorities. Can/will it challenge the #1 Record? And what will happen if it succeeds? Based conceptually on the Escape-ism song of the same name, the soundtrack features a beautiful original score by Alex Minoff (of Golden, Extra Golden and Weird War fame) plus music by Emmett Kelly, Escape-ism, The Make Up, plus sound blurbs from this singularly poignant, funny, and affecting film which has won citations and notices at Belgrade's Kinoskop festival, Indie Lisboa, and the Chicago Underground Film Festival among others."
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LP
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CP 004LP
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Crafted by UK-based Italian composer Alessandro Baldessari, Dario Argento PANICO is the Original Motion Picture Soundtrack for the documentary retrospective and intimate portrait of Italian giallo master Dario Argento. Premiering at the prestigious 2023 Venice Film Festival, this evocative soundtrack immerses listeners in a diverse array of styles, conveying a rich spectrum of emotions and enhancing the narrative arc of the film. The soundtrack was commissioned by Giada Mazzoleni, film producer and head of Paguro Film. The collaboration between Alessandro Baldessari and director Simone Scafidi started with a conversation, during which Simone articulated his vision for the documentary and invited Alessandro to explore the theme of the doppelganger. Written and recorded between 2022 and 2023, Baldessari's compositions preceded much of the filming process, enabling him to craft a musical narrative that offers a distinctive perspective. The music serves as a parallel reflection on the film's themes -- duality, love, grief, family dynamics, anxiety, suicide, and, notably, panic - profoundly enriching the storytelling experience. Baldessari's meticulous approach to composition is evident in the soundtrack's cohesion, achieved through recurring melodic and rhythmic motifs, rather than using a single sound palette. A notable example is the use of Dario Argento's name transformed in a musical motif and subtly integrated into the piano pieces that underscore many pivotal scenes. The soundtrack features a diverse range of tracks, from the pulsating energy of "Panico Titles" to the tender introspection of "Suicide and Memories" and the haunting melodies of "Ominous Doppelganger." Notably, the film ends on the notes of the entirely string-based composition "Partenza," offering a stirring conclusion to the sonic journey. The album includes two bonus tracks and the track "Tre," from Baldessari's previous work, Nostalghia. The music has been written, played, and mixed by Baldessari, who, for his first full-length film, wanted to curate every aspect of the soundtrack.
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LP
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MOVATM 422LP
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$37.00
PREORDER
RELEASE DATE: 10/11/2024
"The 2024 biographical drama film Back To Black explores the life of the iconic talent Amy Winehouse, played by Marisa Abela. The biopic is directed by Sam Taylor-Johnson and written by Matt Greenhalgh. Nick Cave and Warren Ellis crafted the evocative soundtrack for the documentary Back to Black, which chronicles the rise and impact of Amy Winehouse. Their composition is a haunting yet soulful homage, blending melancholic strings and ambient soundscapes to mirror Winehouse's turbulent journey and profound artistry. The duo's music underscores the film's emotional depth, capturing both the rawness of Winehouse's struggles and the brilliance of her musical legacy. The music of Black To Black is cut on 45 RPM and is available on black vinyl and includes 4-page booklet with liner notes by director Sam Taylor-Johnson."
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2CD
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RBL 094CD
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$26.00
PREORDER
RELEASE DATE: 10/4/2024
"The ultimate and definitive anthology of Goblin and Claudio Simonetti covers 45 years of this talented musician's work. Contains the iconic Soundtracks of Horror Films by Dario Argento, George Romero, Lamberto Bava, as well as some rare and unreleased songs. Double CD in a special deluxe digipack."
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LP
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WHYT 086LP
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$28.00
PREORDER
RELEASE DATE: 10/4/2024
Artist, composer and producer James William Blades' score Pare De Sufrir is presented via AD 93. Pare De Sufrir (translating to 'End of Suffering') is the official soundtrack to A.G Rojas' film of the same title. Spanish-born, Southern California-raised filmmaker AG Rojas is known for creating videos and working with the likes of Jamie xx, Gil Scott Heron, Kamasi Washington, Spiritualized, and Mitski. Rojas' sensitive eye and subjectivity has brought him from the world of music videos to creating his first independent film: a 48-minute featurette following three people as they navigate the liminal space between life and the afterlife in an attempt to heal themselves and each other. Rojas reached out to Blades after coming across his score for Keeping Time (dir. Darol Olu Kae). An intimate and unusual process unfolded. Rojas explained to Blades the personal narrative of the film, the two sharing unfurling conversations on the nature of loss and the human spirit. But Blades did not watch the film and instead worked on instinct to build out a conception of how the score would unfold, shaping its operatic, textural and granular tone. Blades went on to record the score in full, with orchestra and choir, without going back to Rojas for feedback, aware that he was taking a complete risk. The score's pull is reflective of the process of grief itself, how its moods and memories oscillate up and down into the past and lost futures, Blades hitting all those spaces with diverse and stretching notes. The piano holds the memories of Blades and Rojas' grandmothers, who both had out-of-tune pianos sitting in an empty room. The Silogo-De-Oro choir sing throughout, reminiscent of the broken phonetics of grief, the build-up and release of tension and the inability to articulate complete sound or words. The harmony stabilizes and then becomes distant, taking the griever away from the lushness of life and into the realms of loss, death and dream-like realities, as mirrored in Rojas' layered vignettes. As the score closes, the harmonies become richer and fuller, marking a return to life. Understanding the power of sound to both respond to and drive narrative, Blades' score weaves together field recordings, half-remembered conversations, choral movements, string arrangements and electronic fragments into a nuanced and evocative whole.
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CD
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RBL 090CD
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$23.00
PREORDER
RELEASE DATE: 10/4/2024
"Finaly on CD! Stage Fright (Italian: Deliria) is a cult 1987 Italian slasher film directed by Michael Soavi (Cemetary Man, The Church). The soundtrack is composed by Simon Boswell (Santa Sangre/Hardware/Demons 2). The soundtrack is a classical roots rub shoulders with the distinctive 'thrashy' sound of '70s English punk music, dreamy synth landscapes and the programmed rhythms of the indie dance music that he produced so much of in the '80s. Altogether, this enabled him to compose a score that was very contemporary, hypnotic, scary and, when needed, both beautiful and aggressive. Limited deluxe digipack CD."
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LP
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PD 041LP
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In 1969, both Anthony and David were at the start of their respective careers and both were inspired by the ideas of the avant-garde and the new technologies becoming available to them. David experimented with the various techniques being explored in the medium of film making and Anthony tested the limits of what could be done with tape recorders. It was an open and co-operative exploration. The results of their first collaboration was the film Mare's Tail -- an unusually long 2:30 hour film of non-linear multi layered audio visual collage filmed in a wide variety of locations interspersed with texts coming from readings and talks, Kabalistic texts, recorded phone calls, loops, children's voices and other found material. The musical dimension is mainly supplied by various struck objects/noise/feedback/field recordings and samples. There are instruments too and listeners even get treated to a small section of what was to become a Slapp Happy tune. The blurry dreamscape/nightmare that slowly unfolds is laden with late '60s delirium. The original master tapes are long gone and all that remains is the audio track on existing copies of the film and various bits of the makeup tapes, most of which were used (but some not), in the final cut. The low grade 16mm audio track (a degraded source to begin with) is further worn with age, subsequent duplication and repeated screenings. It all adds to the haze -- a quality that David would have most likely approved. Edition of 500 numbered copies.
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LP
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V 28021LP
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$23.50
PREORDER
RELEASE DATE: 9/27/2024
The strength of the Akira soundtrack lies in its unique blend of traditional Japanese instruments and futuristic electronic sounds. Shoji Yamashiro weaves together an eclectic mix of influences, creating a sonic landscape that mirrors the dystopian and cyberpunk themes of the movie. The use of traditional chants, taiko drums, and Shakuhachi flutes alongside electronic synthesizers and orchestral elements generates a hauntingly mesmerizing atmosphere that perfectly complements the visuals on screen. The composer also drew from the chants of Noh, traditional Japanese theater. Combined with polyrhythmic drum machine beats and synths tuned to gamelan microtonal scales, these styles give a sense of ritualistic tension to the dystopian world of Akira.
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LP
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ACOLOUR 040LP
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A Colourful Storm presents Effroyables Jardins, a soundtrack composed by Zbigniew Preisner for Jean Becker's eponymous film. Given limited distribution during its initial release, the soundtrack's luster has only strengthened and it is now considered a lost gem of contemporary chamber composition. An understated triumph of the oeuvre of Preisner, who closely collaborated with Polish director Krzysztof Kieślowski and was responsible for the film scores of Dekalog, The Double Life of Véronique, and the Three Colours trilogy. Effroyable Jardins marks Preisner's post-Kieslowski era of solo composition, shifting from devotional harmonies into a beautifully restrained style of neo-Romanticism. It is his second soundtrack for Jean Becker, following Francis Ford Coppola's commission for The Secret Garden, the César-winning Élisa, and Edoardo Ponte's Between Strangers. Its leitmotif -- a delicate, sparse melody for piano and organ, appears only during the opening sequence and, like Preisner's most powerful soundtracks, takes on a life of its own. Compositions for violin, harp and percussion are interspersed with haunting variations on a theme and a masterful use of silence. His music haunts the grieving Julie in Blue, soundtracks Valentine's epiphany in Red, and evokes the sublimity of moments in everyday life.
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LP
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MOVATM 422C-LP
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"The 2024 biographical drama film Back To Black explores the life of the iconic talent Amy Winehouse, played by Marisa Abela. The biopic is directed by Sam Taylor-Johnson and written by Matt Greenhalgh. Nick Cave and Warren Ellis crafted the evocative soundtrack for the biopic Back To Black, which chronicles the rise and impact of Amy Winehouse. Their composition is a haunting yet soulful homage, blending melancholic strings and ambient soundscapes to mirror Winehouse's turbulent journey and profound artistry. The duo's music underscores the film's emotional depth, capturing both the rawness of Winehouse's struggles and the brilliance of her musical legacy. The original score of Black To Black is cut on 45 RPM and is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl and includes 4-page booklet with liner notes by director Sam Taylor-Johnson."
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LP
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RBL 088-4LP
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"Claudio Simonetti's Goblin celebrates a new prog rock version of this famous soundtrack. The terrifying and atmospheric experience of Dario Argento's films comes from the merging of gorgeously crafted visuals with a soul tingling auditory experience. Once heard, Goblin's scores are never quite forgotten. Suspiria is no exception, characterized by its synth heavy sound, carillons, yells and sighs, Suspiria is perhaps Argento's most celebrated film and a classic of horror subgenre in its own right. A surreal masterpiece from Dario Argento with a pounding score from cult prog rockers Goblin, Suspiria will leave you battered and breathless! Deluxe limited purple vinyl plus insert. 499 copies."
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CD
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CDCR 151CD
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Beat Records presents the unreleased original motion picture soundtrack composed by Renato Serio for the movie Il Ginecologo Della Mutua, a movie in the sexy comedy genre directed by great Joe D'Amato with brilliant Renzo Montagnani in the cast along with good actors of the period such as Massimo Serato, Paola Senatore, and Daniela Doria. The score composed by Maestro Serio, collaborator and friend of immortal Armando Trovajoli, color the plot in a sparkling way and sees the collaboration with the latter thanks to the presence of two cues, "Remembering" and "Tema per Luciana," aside "Gotta Get Rich Quick," composed with four hands. Up to nowadays just available on an extended play which featured two cues from the movie' score of "Quando c'era lui caro lei," now complete on CD with 50 minutes of music, a 12-page illustrated booklet edited by Daniele De Gemini, mastering by Enrico De Gemini, liner notes by Fabio Babini and Renato Massaccesi, nephew of Great Aristide.
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12"
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BEC 5613915
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Chiroptera is the soundtrack to Acte 2: Retour à la Caverne, a creation by JR with Thomas Bangalter, and choregraphed by Damien Jalet, performed in Paris in front of the Opéra de Paris (Opéra Garnier) on November 12th, 2023 by more than 150 dancers. 180-gram, limited-edition black vinyl.
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LP
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THRILL 617X-LP
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Clear color vinyl version. "Thrasher is the soundtrack to a virtual reality video game about a creature that has a life cycle that traverses different psychedelic realities. Thrasher was composed and performed by Brian Gibson, bassist of Lightning Bolt. It is the follow up to the acclaimed best-selling game and soundtrack Thumper. The central character in Thrasher is a giant centipede like creature, so Gibson employed a lot of melodic sequences that resonated well with its segments moving through space. Says Gibson: 'I grew up playing some of the earliest video games, Pac-Man, Space Invaders on an Atari 2600. Due to the limitations of those graphics, they were extremely abstract games compared to today's games which are just trying to simulate reality in the highest possible detail. I prefer games that make their own reality. I'd like to be transported as far from this one as possible, like Pac-Man, when you play it, it's obvious what you are supposed to do, it makes its own sense.' The soundtrack has the drive you might expect knowing Gibson's work in Lightning Bolt combined with complex melodic structures that are absolutely irresistible. In addition to bucking the hyperreality trend in gameplay, Gibson's DIY ethos and warehouse culture roots permeate the entire soundtrack. He says it best: 'Thumper has that combination of psychedelic and iconic that takes me back to the Fort Thunder days. Thrasher is a further exploration into some of those motifs.'"
"Did you really expect a game made by a member of notorious power duo Lightning Bolt to be anything less than a punishing hell ride?" --FACT
"A masterpiece." --Brooklyn Vegan
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MANA 020LP
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"Sublime ethereal minimalism from Hiroyuki Onogawa on this retrospective compilation album for Mana, the first dedicated release and remaster of his soundtrack compositions. The album August in the Water: Music for Film 1995-2005 plots a decade of Onogawa's compositions for films by the renowned filmmaker Gakuryū Ishii (formally known as Sogo Ishii). This retrospective publication, sequenced into an album by Onogawa himself, spans a fertile period of collaboration with Ishii, through soundtracks for three remarkable films: August in the Water (1995), Labyrinth of Dreams (1997), and Mirrored Mind (2005). Each feels texturally and sensually linked with the spiritual, ambient, dreamlike quality that lingers in Onogawa's music. The sound Onogawa conjures for these films is elegant and patient, often minimal or essential in form, but saturated in a poetic emotion and atmosphere that feels strange and otherworldly, touched by the metaphysical in subtle ways. Boundaries are crossed between New Age and science fiction, locating a blissfulness, melancholy and paranoia within the same spectrum, and moving toward an enchanting sense of mood and color. New listeners might hear links to Mark Snow's compositional work for the X-Files and Millennium, or other celebrated future-facing and future-fearing Japanese anime or cyberpunk. Onogawa's music adds great depth and tenor to the sensory experience of the films themselves, but it stands just as strongly as a listening experience on its own terms, a virtuosic example of ambient that changes in hue when turned in the light. Remarkably, and in similar circumstances to Ishii, Onogawa's work has never been widely available outside of (always highly enthusiastic) underground fan posts, usually sourced from extremely limited and private CDs limited to Japan. This retrospective seeks to remedy that, and hopes to achieve recognition for Onogawa as one of the great composers of the last three decades. Onogawa continues to work in film, both in the creation of soundtracks, and now as a producer and director. He composed the music for Koji Fukada's Harmonium (2016), which won the Jury Prize in the Un Certain Regard section at the Cannes Film Festival, as well as for Fukada's A Girl Missing (2019)."
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THRILL 617LP
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"Thrasher is the soundtrack to a virtual reality video game about a creature that has a life cycle that traverses different psychedelic realities. Thrasher was composed and performed by Brian Gibson, bassist of Lightning Bolt. It is the follow up to the acclaimed best-selling game and soundtrack Thumper. The central character in Thrasher is a giant centipede like creature, so Gibson employed a lot of melodic sequences that resonated well with its segments moving through space. Says Gibson: 'I grew up playing some of the earliest video games, Pac-Man, Space Invaders on an Atari 2600. Due to the limitations of those graphics, they were extremely abstract games compared to today's games which are just trying to simulate reality in the highest possible detail. I prefer games that make their own reality. I'd like to be transported as far from this one as possible, like Pac-Man, when you play it, it's obvious what you are supposed to do, it makes its own sense.' The soundtrack has the drive you might expect knowing Gibson's work in Lightning Bolt combined with complex melodic structures that are absolutely irresistible. In addition to bucking the hyperreality trend in gameplay, Gibson's DIY ethos and warehouse culture roots permeate the entire soundtrack. He says it best: 'Thumper has that combination of psychedelic and iconic that takes me back to the Fort Thunder days. Thrasher is a further exploration into some of those motifs.'"
"Did you really expect a game made by a member of notorious power duo Lightning Bolt to be anything less than a punishing hell ride?" --FACT
"A masterpiece." --Brooklyn Vegan
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MPI 014LP
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Ti Ho Sposato Per Allegria (1967) is a comedy directed by Luciano Salce, taken from the theatrical play of the same name (1965) by Natalia Ginzburg. A lawyer from a good family, serious, accustomed to a calm and regular life who got married to a indolent and dazed girl with a difficult past a month after meeting her at a party. The story has become a minor classic with each new representation. On both stage and screen the themes of everyday life, and the more complex and existential ones, are addressed. The subtle irony of the work relies on recounting problematic events in a carefree tone: realities such as abortion, death, separation and the couple's incommunicability are underplayed with naturalness. The funny events of the film are commented on by Piero Piccioni's music, published for the first time on vinyl by Musica Per Immagini, with a harmonious tracklist. For this first orchestra rehearsal with the director, which will be followed by other important soundtracks, the composer makes an effective and elegant synthesis: on the one hand he reworks moods and aesthetic intuitions of some previous and happy experiences, while on the other he identifies and anticipates the first bars of that unmistakable sound between bossa nova, funk and lounge nuances that will characterize almost all the production of the '70s. In fact, the Turin-native artist simplifies in a positive sense the articulated harmonic structures that have always distinguished his authorial figure -- where the so-called jazz features are to be considered more than central in the musical texture, as prominent elements of the harmonic syntax -- and he tries a melodic reduction that will make the compositions more-catchy or memorized, but not easier for this. Lightness of spirit and rarefied elegance are the keys of this new Dionysian world.
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