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CNMM 004LP
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The five-volume project by the guitarist/founder of Calibro 35 continues. Massimo Martellotta, after having dedicated himself to the synths, the prepared piano (CNMM 002LP, 2018), and the symphonic orchestrations (CNMM 003LP, 2018), address the fourth chapter of the One Man Sessions series to the guitar with minimal drum grooves and analog brushstrokes. The title Underwater immediately clarifies the dreamy atmosphere and surfacing the passion for soundtracks and library music with experimentation, accompanying the listener on an amniotic journey amid the feeling of abandonment and vigilance that it is when you dive.
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CNST 710LP
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USA title: Love And Energy / Sex Machine 2037 A.D. Cinedelic Records present a reissue of Fred Bongusto's soundtrack for Conviene Far Bene L'Amore, originally released by Fonit Cetra International in 1975. In the future, the world's oil supply has finally been exhausted, causing a massive energy crisis. In a search for alternative sources of energy, a scientist invents a machine that can harness the energy expended during sexual intercourse and transfer it into electrical power. Conviene Far Bene L'Amore is a 1975 film written and directed by Pasquale Festa Campanile, a film adaptation of his novel of the same name. It is an erotic comedy with science-fiction elements that is parodying the theories of Wilhelm Reich -- the author of The Function Of The Orgasm (1927) -- in which satire and fantapolitica are mixed. The original LP with the music of Fred Bongusto, arranged and directed masterfully by Josè Mascolo, is now a cult object for the lovers of Italian melodic soundtracks with bossa nova and jazz and for the samples used by many rappers. Bongusto often combines the synth for the melody with the orchestral ground; an unmistakable and very personal solution also used the year before for the Malizia ("Malicious") soundtrack which was a great success.
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CNMM 003LP
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The five-album solo project One Man Sessions by Massimo Martellotta, continues after the synthesizers of One Man Sessions Volume 1: Sintesi (2018) and the mellow prepared piano and drum grooves of One Man Sessions Volume 2: Unprepared Piano (CNMM 002LP, 2018). With One Man Session Volume 3: One Man Orchestra , there is another change; it is indeed a full-fledged orchestral album, conceived with the film music composers of the 1950s in mind, Bernard Hermann et al. One Man Session Volume 3: One Man Orchestra , in which Martellotta engages in writing for an orchestra of a retro mold, is set in his world with an absolutely personal and current twist. Each instrument is played and tracked in real time, including the computer, which is this time a valid assistant in the simulation of some of the used timbres, intended as a real instrument in the middle of real ones. Sumptuous arches, crackling tympanums, and sinuous woods find space to dialog with lounge organ and percussion invented like the music paper itself, rubbed to keep time on some of the themes. Once again the composer surprises us and displaces us, using all his resources as multi-instrumentalist and mixing languages, venturing into worlds far away from each other. On One Man Session Volume 3: One Man Orchestra one is light years from the world summoned on One Man Sessions Volume 1: Sintesi and yet one always finds a distinctive and recognizable feature that makes all the volumes of the complete work coherent. Realized, like the other volumes, in complete solitude, the album reveals knowledge of all-round musical material and a strong taste for the melody. "Oppio" is reminiscent of the darker Ennio Morricone or Jonny Greenwood from Radiohead and is a counterpart to the opening song "Il Cappotto" , a perfect title track that quotes and closely reworks a John Williams composition. On other pieces, in episodes more rhythmic, and sometimes romantic, one finds a passion for Jon Brion and timeless melodies. One Man Session Volume 3: One Man Orchestra is an album to listen from the beginning to the end, following the emotional story told like that of a film, of which one sometimes has the impression of seeing the images, waiting to immerse themselves in the abyss evoked by the forthcoming fourth volume.
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CNMM 002LP
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After the oneiric journey through synthesizers on Volume 1, entitled Synthesis (2018), Massimo Martellotta (founding member of Calibro 35) returns with the second volume of One Man Sessions exploring the tonal possibilities of the classical instrument par excellence: the piano. The instrument is at the center of the scene, and the prepared piano in the manner of John Cage is here decontextualized and freely "In/Prepared" and reinvented in a very personal way, placing objects of common use on the strings themselves to obtain unprecedented timbres. Starting from its nature as a percussion instrument, the piano is hit, caressed, blocked with rubbers or left to resonate on the capsule of a microphone, or else pinched like a harp or a cymbalon, while it fires with the battery, the vibraphone or the mellotron. In Unprepared Piano, the music moves from more classical compositions, quoting Chopin and Satie (the opening piece "Come Un Notturno") to introspective drones ("Risonanza") to songs that hybridize the languages, delineating immediate melodies and openings in balance between the absolute modernity of Nils Frahm, the moving color imagery of Bad Plus (for example in "Sostenuto") and the minimalism of Penguin Café Orchestra ("Nécessaire Per Fanciulli"). All this once again held together by an evocative, current and always recognizable conductor. An album where the piano is the protagonist then, but the dialogue with the other instruments is continuous, fluid, and you will often forget that behind every instrument there is only one person.
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CNST 709LP
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Cinedelic Records present a reissue of Piero Umiliani's sound track for the 1981 film Bollenti Spiriti. Bollenti Spiriti is a film by Giorgio Capitani, one of the most prolific directors of the Italian sexy comedy genre, starring Johnny Dorelli and Gloria Guida. Maestro Piero Umiliani recorded the soundtrack in his innovative Suono Work-Shop Studios in Rome, fusing his love for jazz -- a genre that since the '50s has been a leading figure in Europe -- and his unmistakable arrangements. Cinedelic Records reprints it here for the first time in a limited numbered edition.
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2LP
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CNTS 001-2LP
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Trees Speak is an experimental rock band that transcend mainstream influences by incorporating elements of avant-garde, neo-psychedelic, minimalism, art, and electronic -- along with violin-bowed guitar, Theremin, and a glut of effects pedals, and it's an ear-bending rush of lush soundscape. Trees Speak -- as much a sound laboratory as a rock and roll band -- is the musical venture of acclaimed visual artist musician Daniel Martin Diaz (formerly of Blind Divine and Crystal Radio). For the debut double-LP, Trees Speak is joined by Michael Glidewell (Black Sun Ensemble), Gabriel Sullivan (XIXA, Giant Sand), Connor Gallaher (Myrrors, Cobra Family Picnic), Damian Diaz (Human Error), and Julius Schlosburg (Jeron White Acoustic Trio). The studio itself should also take top billing, because in the tradition of krautrockers Can and Bitches Brew-era Miles Davis (1970), the band takes its winding, incandescent motoric rock and roll improvisations and edits them into coherent compositions using the mixing desk after recording. And that's where the sound lab half of the equation appears. The end result is flowing and droning ambient proto-punk reminiscent of fellow travelers NEU!, Stereolab, , and Cluster -- translucent jams for a virtual autobahn. Trees Speak on the album: "Our intention is to create music with an unrehearsed minimalist approach performing simple beats, riffs, and sequences that take one inward. We attempt create a sonic environment to set one's mind free and to become aware of the nuances of tone, melody, and structure. We organize our recording equipment with the same approach, in a transparent manner. Our recorded performances are never rehearsed. Our belief is that a brilliant rehearsal is a lost opportunity to capture a magical moment. We are chasing the mystery of music and tone. We let the musical performance sculpt its own destiny and create imperfect perfection. Our tool of creation is the anxiety one feels when they are unrehearsed or prepared for a performance. We believe this approach brings us closer to the authentic self. The result is genuine music without an agenda that captures the unfiltered spirit." Recorded live in one room with no overdubs or repairs, only using edits to create arrangements. All tracks were written over a five-day period at Sacred Machine Studio and Dust & Stone Studio. Mastered by LOUD (United Kingdom). Clear vinyl; Includes 12" double-sided print, 5x5" postcards, and two stickers. Edition of 250.
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CNST 708LP
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Directed by Patrice Romme, The Devil's Nightmare (1971) was an Italian-Belgian production and featured main performers Jean Servais alongside a sensual Erika Blanc; also noteworthy is the disturbing presence of the graceful and filiform silhouette of Daniel Emilfork in the role of Satan. The film's components are typical of the Euro-horror genre of the time: a gothic castle, eroticism, and bloody murders -- all in a spectral and dense photograph. It is the music of maestro Alessandro Alessandroni, who needs no introduction, to indelibly mark the listener, starting with the hypnotic, psychedelic opening theme to which the harpsichord and his faithful Fender Stratocaster add the acid and fuzz, overlapping the silly wordless vocals of his companion Giulia De Mutiis. In the ranking of the 100 Best Horror Soundtracks, compiled by FACT Magazine, The Devil's Nightmare is ranked ninth. First time on vinyl; Edition of 500 (hand-numbered).
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CNST 707LP
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A Bay Of Blood (1971) is a film directed by Mario Bava, known for explicitly inspiring the Friday The 13th saga as well as for being the forerunner of the slasher genre, is undoubtedly one of the most inspirational masters of horror cinema. His magical use of camera zoom, off-field, and out-of-focus, and cynical and crude death set pieces, make it a masterpiece in which every scene exudes very personal and expressive poetry. Stelvio Cipriani's score, which develops a rich sequence of different themes and genres, and all accented by the evocative melodies and excellent orchestrations of the maestro, is brilliantly supported by the excellent rhythm performance of Enzo Restuccia on drums and Mandrake Som on the tumba and bongos. It is the voodoo-style percussion and violin that introduces the splendid original theme played by the maestro himself who plays piano, celestial, spinetta, harpsichord, and organ in the arc of the soundtrack. All in all, 21 tracks that make up the score: "Evelyn Theme", the bossa nova "Due Amanti", the dramatic and psychedelic "Un Cadavere Nel Lago", the Italian-style samba of "Giovani e Liberi", "Shake Giradischi", whose title is well representative, the tension the pursuit of "Inseguimento E Uccisione", the abstraction of "Ritrovamento Dei Cadaveri", and so many others. First time on vinyl; Edition of 500 (hand-numbered).
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CNLP 055LP
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LP version. The Tuscany big band La Band Del Brasiliano is back for their second studio album, Vol. 2, following Vol. 1 released in 2013. The band draw on the retro tradition of Italian easy listening, funk, and sexy comedy, presenting a set rich in sung songs and with a large number of original tracks compared to Vol. 1, as well as with the contribution of bows, percussions, and a complete brass section. In Vol. 2, you can locate three lines: One that develops the soul beat of the band, shamelessly retro in the musical and textual approach: mostly captured in straightforward songs, like "Impossibile", "Hey Ragazzo", and "Preparati Bambina", are a blend of rock n' roll and raw soul, with the two voices of Serena Altavilla (Solki, Mariposa, Calibro 35) and Davide Arnetoli. The other is a romantic soul, tied to passion and jealousy, that is expressed best in the almost noir atmosphere of the triptych "Un'ora In Più", "Il Tema Della Gelosia", and "Anna - La Domenica". But even in "La Verità" the story of emancipation and freedom is present, with musical veins from spy story. The third line is funk and eroticism, as in "Ti Voglio", the favorite Italian disco song of the band which anticipates the release of the album as a whole -- the sulfur "Eclisse Twist" from Antonioni's masterpiece, "Giovani Di Nulla" and "92° Minuto", conceived as imaginary characters of TV programs.
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CNCD 055CD
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The Tuscany big band La Band Del Brasiliano is back for their second studio album, Vol. 2, following Vol. 1 released in 2013. The band draw on the retro tradition of Italian easy listening, funk, and sexy comedy, presenting a set rich in sung songs and with a large number of original tracks compared to Vol. 1, as well as with the contribution of bows, percussions, and a complete brass section. In Vol. 2, you can locate three lines: One that develops the soul beat of the band, shamelessly retro in the musical and textual approach: mostly captured in straightforward songs, like "Impossibile", "Hey Ragazzo", and "Preparati Bambina", are a blend of rock n' roll and raw soul, with the two voices of Serena Altavilla (Solki, Mariposa, Calibro 35) and Davide Arnetoli. The other is a romantic soul, tied to passion and jealousy, that is expressed best in the almost noir atmosphere of the triptych "Un'ora In Più", "Il Tema Della Gelosia", and "Anna - La Domenica". But even in "La Verità" the story of emancipation and freedom is present, with musical veins from spy story. The third line is funk and eroticism, as in "Ti Voglio", the favorite Italian disco song of the band which anticipates the release of the album as a whole -- the sulfur "Eclisse Twist" from Antonioni's masterpiece, "Giovani Di Nulla" and "92° Minuto", conceived as imaginary characters of TV programs.
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CNPL 806LP
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Cinedelic Records present the first ever reissue of the sought after album Fourth Sensation, originally released in 1970. The band was formed by Ares Tavolazzi (I Giganti, Area) -- who later was an active session musician as well as being a leading figure in the Italian jazz scene, accompanying Gil Evans, Steve Lacy, Max Roach, Lee Konitz, Phil Woods, Enrico Rava, Stefano Bollani, Franco D'Andrea, and many others -- on guitar, Ellade Bandini on drums, keyboardist Vince Tempera -- who, a few years later formed the progressive supergroup Il Volo with Mario Lavezzi and Alberto Radius and, in the late '70s, composed a myriad of memorable TV and cartoon themes --, and Angelo Vaggi on bass. Musically, the project is precisely within the context of the year it was released, which coincided in Italy with the decline of the beat and the advent of the underground and psychedelic movements; in the Italian scene it inaugurated a trend of records of this type such as The Underground Set (1970), Blue Phantom's 1971 album Distortions (KIS 4029CD), The Psycheground Group's Psychedelic And Underground Music (1971), Silvano Chimenti's Droga (1972) and others, still objects of worship by collectors worldwide. The composers of the songs are known to library music lovers, namely they are Stefano Torossi, Giuliano Sorgini, Massimo Catalano, and Sandro Brugnolini. Musically, it is undeniable the technical skill of the four interpreters in the ten tracks here, all curiously titled with the names of women, they are alternately a mix of acid blues, soul jazz, funk, and psychedelia, with the Hammond organ of Tempera in the foreground. Comes in a solid cardboard cover.
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CNST 706LP
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After 40 years since its theatrical release in 1977, presented here for the first time on vinyl is the phenomenal soundtrack for Il Gatto Dagli Occhi Di Giada, also known as Watch Me When I Kill, directed by Antonio Bido, director of The Bloodstained Shadow (1978). This top-notch score is undeniably catchy, yet has its creepy moments. The film's score was created by a supergroup specifically formed for this project and consisted of Adriano Monteduro (vocals and guitar; known for his 1974 record in which he was accompanied by prog band Reale Accademia Di Musica), Glauco Borelli (bass, already in Alberomotore), the well-known composer Mauro Lusini, and Gianfranco Coletta who, besides being one of the pioneers of Italian psychedelia with Chetro and Co., was also a founding member of the Banco del Mutuo Soccorso. They chose the name Trans Europa Express with direct reference to Kraftwerk, who released their seminal record with the same title a few months prior that same year. Watch Me When I Kill certainly has the compositional techniques and instrumentation related to Italian prog, but only less attentive and interested listeners might dismiss it as mere "Goblin-esque": eerie sound interludes, percussion, carillon, piano pieces, distorted and mystical screams, old tunes in a gramophone style, moments of (seemingly) tranquility and rock. The cyclical repetition and varied vaguely Goblin-ian guitar, cadenced by a pressing bass (which occasionally resembles that of Pink Floyd's "One of These Days"), and a spectral and creepy scat vocal gives the listener pleasant moments of both fear and hypnotic tension. Includes two bonus tracks. The LP comes packaged in a heavy cardboard cover with hollow cat eyes and a yellow inner-sleeve with photos from the set provided by director Antonio Bido.
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CNLP 054LP
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Cinedelic Records present a reissue of Bruno Nicolai's Tempo Sospeso, originally released in 1975. Bruno Nicolai was a leading figure in the world of Italian soundtracks although he is primarily known for being the most important of Ennio Morricone's collaborators and his orchestra conductor in the period of Morricone's greatest productions in the '60s and '70s. But Nicolai's solo works are certainly not of lesser artistic relevance. Tempo Sospeso ("Suspended Time") is one of the most representative albums in the sense that it was produced by Nicolai in 1975 without any filters or restrictions, in the period of his greatest artistic maturity. The style of his thriller soundtracks of the time, such as 1971's The Night Evelyn Came Out Of The Grave, 1972's The Red Queen Kills Seven Times (RED 209LP) and Your Vice Is A Locked Room And Only I Have The Key, and 1975's Eyeball (RED 225C-LP), is evident here, as well as the vibe of the "electrified" western, thanks largely to the acid fuzz guitar of Alessandro Alessandroni. The instrumentation is varied and the maestro plays piano, harpsichord, organ, and synth. What is presented here is library music that is definitely above average. The new graphic design of this edition was created by Daniel Martin Diaz from Tucson, Arizona, known for his symbolist works that have been published in The LA Times, NY Times, Juxtapoz, High Fructose, and Low Rider Magazine, as well as four of his own art books. Inside the LP is a postcard/photo of maestro Nicolai, a portrait in front of his Moog. Comes in a solid cardboard cover.
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CNGOD 101LP
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LP version. Glossy cover. Dome La Muerte E.X.P. is the new project of Dome La Muerte, aka Domenico Petrosino. Cult character and guru of Italian rock n' roll, Dome was a founding member in 1979 of the Italian precursors of hardcore-punk, CCM (Cheetah Chrome Motherfuckers). In the '80s, he was in the band Not Moving and then, in the following decade, he played in Hush and he composed tracks that ended up in the Italian cyberpunk science fiction film directed by Gabriele Salvatores, Nirvana (1997). To understand his caliber, he has shared the stage with The Clash, Nick Cave And The Bad Seeds, Johnny Thunders's Heartbreakers, The Fuzztones and Iggy Pop. This new project is the son of his first solo recording experience Poems For Renegades (2011), which contained a highly psychedelic-folk matrix; they were thrown as the first seeds for Lazy Sunny Day (or more briefly, LSD), produced by Cinedelic and Godown records. Lazy Sunny Day, unlike Poems For Renegades, was recorded and arranged with a band, E.X.P.. The sound is mostly instrumental and it's lysergically inspired by spaghetti western soundtracks, the beat generation, India, the hippie movement, and expansion of consciousness, comes with a deep respect and admiration to the culture and spirituality of Native Americans. The formation of E.X.P., with Dome La Muerte on guitar and vocals, includes: Luca Valdambrini (organ, guitar, backing vocals) from Surfer Joe And His Boss Combo and Pam And Pipelines, where he also played bass and contributed backing vocals as Alessandro Quaglierini, and Emiliano Giuliani (drums) formerly of Liars and a member of the original line-up of The Diggers. Also features: Lu Silver - harp on "L.S.D. (Little Sun Dose)"; Cristina Rovini - flute on "Amsterdam 66". "Sick City" was written by Charles Manson; "Eternal Door" was written by Not Moving.
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CNGOD 101CD
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Dome La Muerte E.X.P. is the new project of Dome La Muerte, aka Domenico Petrosino. Cult character and guru of Italian rock n' roll, Dome was a founding member in 1979 of the Italian precursors of hardcore-punk, CCM (Cheetah Chrome Motherfuckers). In the '80s, he was in the band Not Moving and then, in the following decade, he played in Hush and he composed tracks that ended up in the Italian cyberpunk science fiction film directed by Gabriele Salvatores, Nirvana (1997). To understand his caliber, he has shared the stage with The Clash, Nick Cave And The Bad Seeds, Johnny Thunders's Heartbreakers, The Fuzztones and Iggy Pop. This new project is the son of his first solo recording experience Poems For Renegades (2011), which contained a highly psychedelic-folk matrix; they were thrown as the first seeds for Lazy Sunny Day (or more briefly, LSD), produced by Cinedelic and Godown records. Lazy Sunny Day, unlike Poems For Renegades, was recorded and arranged with a band, E.X.P.. The sound is mostly instrumental and it's lysergically inspired by spaghetti western soundtracks, the beat generation, India, the hippie movement, and expansion of consciousness, comes with a deep respect and admiration to the culture and spirituality of Native Americans. The formation of E.X.P., with Dome La Muerte on guitar and vocals, includes: Luca Valdambrini (organ, guitar, backing vocals) from Surfer Joe And His Boss Combo and Pam And Pipelines, where he also played bass and contributed backing vocals as Alessandro Quaglierini, and Emiliano Giuliani (drums) formerly of Liars and a member of the original line-up of The Diggers. Also features: Lu Silver - harp on "L.S.D. (Little Sun Dose)"; Cristina Rovini - flute on "Amsterdam 66". "Sick City" was written by Charles Manson; "Eternal Door" was written by Not Moving.
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CNPL 805LP
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Cinedelic Records present the first-ever reissue of Ramasandiran Somusundaram's Skinny Woman, originally released in 1974. Skinny Woman is the only solo album by Indian percussionist Ramasandiran Somusundaram, a former member of Bambibanda E Melodie (post-Garybaldi band of Bambi Fossati), Maya, and New Trolls' Atomic System (1973). Produced and played along with a large portion of New Trolls - the De Scalzi brothers, Gianni Belleno, and Giorgio Usai - Skinny Woman is an absolute anomaly of an album that mixes hard-funk and rock, supported by the incisive extraordinary rhythms of Indian music, all wrapped in an exploitation feel. The A side is a true funky party, starting with the funk-rock title track. But by the second track, "I Am Afraid Of Loosing You", the album takes a more experimental turn, with clavinet, Hammond organ, lo-fi brass, and a bizarre use of voices incredibly similar to Frank Zappa's The Mothers Of Invention. The Zappa reference continues into the next track, "Everybody", which starts with a distorted bass riff in a George Clinton style. Then you get to "Electronic Heart", a rhythmic bomb with a long insane flute solo - by the unmistakable Vittorio De Scalzi - in a Roland Kirk/Ian Anderson style. The B side is more psychedelic and meditative, mixing Oriental tinges and the American west coast into a very peaceful Hindu atmosphere. Skinny Woman is a funky, percussive orgy with flute. Features the bonus track "Contrabbando Di Fagioli" ("Smuggling of Beans"), previously available only in a very rare 7", originally released in 1973; Includes download card; Edition of 500.
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CNST 705LP
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After 45 years, comes the soundtrack, from the original master tapes, of the truly mad and weird exploitation euro-erotic-horror cult movie filmed in 1971 (but released only in 1973) by Renato Polselli (Ralph Brown). Incomprehensible and inconceivable beyond the reach of the human intellect, Riti, Magie Nere E Segrete Orge Nel Trecento (The Reincarnation Of Isabel) shows a cult of pseudo-Satanists in tight red jumpsuit and black cape requiring the blood and eyes of seven virgins in order to resurrect the corpse of the persecuted witch Isabella (Rita Calderoni), who was impaled and burned at the stake some 500 years ago. A precious nonsensical gem, with nervous zooming, nude women's breasts in a colorful scenery, and an overly cryptic storyline; loony. The soundtrack composed and produced by Gianfranco Reverberi (well known for his sample on Gnarls Barkley's "Crazy") encapsulates, in its fifteen total tracks (including the two released at the time), all typical sound elements of the "scary music" of the seventies but with a hard lysergic touch of madness, experimentation and psychedelia. Female vocals give out agonizing and distressing groans, tribal African rhythmic, turned-over words, plucked stings of the piano, baroque elements and lot of effects makes this soundtrack a cult object, not even to mention the obsessive care of the packaging. Comes in a gatefold, heavy thick cover; front cover design by Michele Targonato with embossed flames. Bi-color red-blue vinyl; Includes download code; Edition of 666 (numbered).
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CNST 704LP
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Cinedelic Records present a reissue of Ennio Morricone's soundtrack for the 1968 film Eat It (Mangiala). Even if you find the film Eat It, a film bit too weak-willed of social satire and advertising, the first and last of director Francesco Casaretti, you cannot miss out on the soundtrack from the two-time Academy Award winner Ennio Morricone, composed during his most prolific and experimental period, available for the first time from original master tapes. Morricone wrote a score that is, as always, brilliant, conducted by Bruno Nicolai with the choir I Cantori Moderni di Alessandro Alessandroni. The tracks range between danceable, a known nursery rhyme, classical motifs, romantic, a touch of bossa nova, all of which embrace all the psychological and environmental nuances of alienation and paradox that marks the plot of the film. There are also disturbing and abstract experimentalisms that make this soundtrack unique. Particularly in "Quinta Variazione / Africami" with the fuzzy guitar by Alessandroni, and "Settima Variazione" with its three dreamy amazing underwater variants and ending with "Eat It", in the same version as the highly collected 45rpm that came out at the time and is, until now, the only existing track on vinyl from this score - a legendary cult object and sought out for the killer heavy drum by Vincenzo Restuccia and distorted psychedelic Fender Stratocaster of Alessandro Alessandroni. Highly rigid hand-glued Cinedelic cover, with a folder insert of four facades with photos from the movie.
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CNAY 102-3LP
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Cinedelic Records present a reissue of Egisto Macchi's Il Deserto, originally released in 1974. This incredible double album recorded in 1974 is truly an astounding experimental mystical trip to the desert. It is the rarest avant-garde music library by Egisto Macchi (founding member of Gruppo di Improvvisazione Nuova Consonanza) and surely one of the most interesting and intriguing experimental albums. This reissue presented here comes with the original, longer uncut tunes from the master tapes.
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CNLP 037LP
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Cinedelic Records present a reissue of Giuliano Sorgini's Under Pompelmo, originally released in 1973. The legendary killer psych funk album Under Pompelmo is the most "cult" album by Giuliano Sorgini. It sees Sorgini mix beat, prog, funk and psychedelia. It is one of the most sought Italian rare groove delights in the world. Sorgini also produced Zoo Folle (1974) and The Living Dead At The Manchester Morgue (1974). The wonderful cover art by Sandro Symeony has been faithfully reproduced from the original.
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CNST 701LP
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Restocked, lower pricing. Cinedelic Records present a reissue of Luis Enriquez Bacalov's soundtrack for L'amica, originally released in 1969. L'amica is an intriguing Alberto Lattuada film starring Lisa Gastoni (portrayed in the cover photo of the LP), Gabriele Ferzetti, Elsa Martinelli, Ray Lovelock, Jean Sorel and Frank Wolff. The music is by one of the greatest pianists, composers, conductors and arrangers in the world of soundtracks, the Argentine naturalized Italian, Luis Enríquez Bacalov. Bacalov has authored music for countless high-level films including La Seduzione (1973) Quién Sabe? (1966), Django (1966), Roma Bene (1971) and Milano Calibro 9 (1972). He also won an Oscar for The Postman (1995). The soundtrack of L'amica from the title track highlights the excellent piano technique and the jazz vein of the maestro mixed with exotic and erotic atmospheres characterized by extraordinary orchestration, harp, congas and the typical persuasive vocalism of those years (all by the great Nora Orlandi). It's followed by "Rio, Zona Sul", refined samba-jazz on a massive percussive tapestry. "'Round Nassau" offers an elegant and dreamy atmosphere in Les Baxter's style adding flute and female wordless vocals. "Swingin' Easy In Tanganyika" is another extraordinary jazzy piano and drums with flute melody sideways. The side is closed by a previously unpublished version of the theme that was not included on the original Fonit Cetra LP. The B-side rearranges the themes in a more melancholy and symphonic style without renouncing jazz as in the gem "Episodio In 3/4". The ballad "The Bitter Truth" is sung by Fiorenza Mormile in English. Recorded at Italian RCA studios with engineer Sergio Marcotulli. Includes two bonus tracks not on the original release.
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LP
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CNLP 052LP
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Cinedelic Records present a reissue of Maria Teresa Luciani's Free Jazz. Originally pressed in 1972 in Italy by Le Monde, a label which has in its catalog only six titles released in few copies for radio and TV, Free Jazz is an insanely rare library music masterpiece. Absolutely the hottest, weirdest, psych-jazz album of the era. Maria Teresa Luciani is the sister of Maestro Riccardo A. Luciani. The only known members of the session are the great Gino Marinacci on flute, here on his most obscure recording session, and Riccardo A. Luciani on all piano, Fender Rhodes and treated keyboard delays. The whole album is outstanding, with various moods and atmospheres - from the groovy fuzz distortions of "Logaritmo In Do", the funky drums and jazzy psychedelia of "Free Flute In Beat", the modal cum spiritual jazz of "Playing For Fun", the frantic rhythms of "Traffico Caotico" and "Crazy Morning", the amazing hard bop on "Fotogrammi", the experimental jazz on "Walking In The Night" and "Free Jazz" to the beautiful "Free Flute" theme. Outrageous drum skills, electric piano played with a wah-wah pedal, studio effects, echo delays and psychedelic themes. All covers of this reissue are unique and unrepeatable with orange and black splashes of paint. Copies are numbered and include a download code.
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LP
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CNST 702LP
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Restocked, lower pricing. Cinedelic Records present a reissue of Musica Amore, the extraordinary album by Maestro Piccioni originally released in 1972. Musica Amore includes songs from various soundtracks showing Piccioni's many facets. He utilizes the gorgeous voice of Shawn Robinson in "Right Or Wrong" and "Once and Again", from giallo thriller ...Dopo Di Che, Uccide Il Maschio E Lo Divora (1971), the choir I Cantori Moderni di Alessandro Alessandroni, the band of I Marc 4 (Maurizio Majorana, Antonello Vannucchi, Roberto Podio, Carlo Pes) and soloists of the caliber of Gianni Basso and Dino Piana. An absolutely killer album with superb arrangements, funky beats, exotic sounds ("Ebony Ride"), breaks, erotic lounge, beat, shake ("Abigaille"), psychedelia ("Fiore Nero"), and jazz, that stands as a key album in the world of Italian library music and soundtracks.
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LP
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CNST 703LP
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Restocked, lower pricing. Cinedelic Records present Stelvio Cipriani's soundtrack for Quel Pomeriggio Maledetto (1977). "A tough, funky '70s instrumental score that perfectly fits the insane violence of this seldom-seen Lee Van Cleef hitman film! Quel Pomeriggio Maledetto ('The Perfect Killer') is one of the wildest and sleaziest Euro-crime movies ever made; it ultimately was made with Lee Van Cleef as the star and featuring such sexualized violence as a female getting shot in her nether regions, a straight-razor fight with trans women and some rapes that make you feel more uneasy than do most. But no rundown of the 'stars' of this film could be complete without mentioning Stelvio Cipriani's funk score. Mind you, the '70s was already a funky decade of music, just as the Euro-crime genre was already a violent and sexual movement of cinema. But both Cipriani's score and the film pushed together to find new extremes of funkiness and raunchiness. Normally if someone hears playing '70s instrumental funk says, 'What is this? It sounds like porno music!' well, that's grounds for departing from his or her presence, perhaps not to return. It's terribly limited thinking to associate all instrumental funk from the decade with smut movies. And yet, I must confess there's a certain sleaziness (and I use that word lovingly) in Cipriani's Maledetto title track that perfectly evokes the on-screen tawdriness to come. The wah guitar. The prominent electric bass. The slithering, laid-back horns. It's an ingenious groove and yet dripping with sleaze. And even though there's a laconic mid-tempo quality to the title theme, there's also something that drives it steadily forward. And that perfectly captures the doggedness and determination of Van Cleef's hitman character, who constantly pushes forward in his quest, even after he's been betrayed by his former partner, his new criminal organization and his woman. (In fact, it was Quel Pomeriggio Maledetto that crystalized in my mind how well the Euro-crime genre worked when operating within these 'one man against the world' stories.) In any case, let all nerdy trivia questions fade away as you get lost in some magnificent, sleazy funk by maestro Cipriani. And we'll 'see you in Hell, kitten.' " --Mike Malloy, excerpts from the liner notes. Comes in a gatefold sleeve.
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2LP
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CNAY 109-110LP
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Restocked, lower pricing. Cinedelic Records present a reissue of Riccardo A. Luciani's Inchiesta Sul Mondo, originally released in 1976. Inchiesta Sul Mondo is a double experimental concept album, mainly electronic, based on topical problems of the period in which it was released, the mid-70s. The two records have two different arguments: Stati D'animo ("States On Mind") and Diagnosi Ecologica ("Ecological Diagnosis"). Maestro Luciani is a well-known artist in the library music scene. His very personal style is the result of musical studies from a childhood that allowed him to achieve a diploma in composition, choral music, choral conducting and more. The avant-garde and contemporary classical approach links him to artists like Egisto Macchi. Another point of contact between the two is the label that produced this double album, Ayna, which Macchi was a partner in. The album comes in a heavy cardboard gatefold cover with an original photo of the maestro inside.
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