Pop & Rock News

The Wicker Man soundtrack has achieved huge cult status over the years, it has certainly proved to be a major influence on neofolk and psychedelic folk artists ever since the film first appeared in cinemas in 1973.

The soundtrack’s songs were performed by the band Magnet. The band was assembled by musician Gary Carpenter (the film's associate musical director) to perform songs composed by

New York songwriter Paul Giovanni. Giovanni had always planned to release the songs recorded for his soundtrack, firmly believing them to be worthy of existing as an album in their own right.

Of course, this never happened, mostly due to the film’s troubled past, and consequently all of the existing soundtrack albums that have been previously released have included extra incidental music from the film.

So, this edition is the final word in the long history of this influential soundtrack, the songs recorded with Paul Giovanni by Magnet are presented here as an album,

just as Giovanni himself intended. This definitive version of The Wicker Man has only previously been available as a special edition released in 2013 to celebrate the

40th Anniversary of the release of the film. For that release Silva Screen commissioned artist Richey Beckett to create a brand new image for the cover of a one-off pressing on vinyl,

and that edition is long sold out and has become sought after.

This newly put together Silva Screen release features new artwork, extended notes, a gatefold sleeve and is pressed on yellow vinyl.

The finest and rarest chapter of EMANUELLE saga by the cult maestro Nico Fidenco and his loyal orchestra director Oscar Lindok (Giacomo Dell'Orso). Majestic original soundtrack of the sex thriller movie "EMANUELLE IN AMERICA" from 1977 directed by the legendary Joe D'Amato. Sexploitation cult and acclaimed director's third instalment of Black Emanuelle film series starring Dutch actress Laura Gemser. The deepest, intense and most thrilling volume of Black Emanuelle adventures with the best music cuts of the whole series. Spellbinding, breathtaking and wordless music with dreamy orchestral movements, unbelievable downtempo Funk and timeless beats, mental Afro-beat and dancing percussion, sweet Psychedelic guitars, subtle female chorus, heavy strings and orchestra, loungy sounds, driving funky drums and so on. Essential Italian OST masterpiece!

Casino Shanghai was a 'techno-pop' band started in the mid-80s in Mexico City. They released their debut and only album 'Film' in December of 1985. An album considered today as cult status.
Casino Shanghai were part of a great cultural change in Mexico and its music scene. The band made various controversial appearances on TV when a band without a drummer or guitarist was unheard of. All members had been in different notorious bands in the local scene. Ulalume was the lead singer of The Casuals (Punk-New Wave) and DenseUndergrowth (Avant-garde). Carlos Robledo and Walter Schmidt were part of Size (Post-punk) and have been playing together for many years in Decibel (Experimental). Humberto Alvarez played with MCC (Prog Rock) and is currently a well-known musician and multi-instrumentist.Before the band split-up they recorded two last songs in 1986, 'Le Tombeau d' Edgar Poe' and 'L'Action Minimal', as part of an unreleased solo EP for Ulalume. These tracks were edited in 2014 on 12 by Mannequin Records together with a remix by In Aeternam Vale.The music of Casino Shanghai was also used for the soundtrack of some Mexican films. 'Crónicas de Familia' directed by Diego López and nominated for the Ariel Award for best original soundtrack in 1986, and 'Juana La Cantinera' directed by José Loza.'Film' has been restored and remastered for this new edition including all original tracks plus two bonus: 'Le Tombeau d' Edgar Poe (Haunted Version)' and 'Cuerpos Huecos' (Spanish version of 'Hollow Bodies' available only on a promotional 7). Limited to 350 copies on white vinyl with a new artwork and printed inner sleeve with photos and song lyrics.

‘The Housebuilding EP’ contains long-coveted tracks never before available and demanded by fans.
The EP is pressed on ‘Sky Blue’ vinyl created specifically for this release.
This collection of songs is a must have for an y ‘Red Dead Redemption II’ fan.
“‘Red Dead Redemption II’ has one of the best soundtracks that we’ve heard in a long, long time”
- pushsquare
Online - Promoted through all Lakeshore Records social
media.

2015 war ein reiches und abwechslungsreiches Jubiläums- und Ehrenjahr für Wim Wenders, mit Photographieausstellungen, Filmretrospektiven, dem Ehrenbären der Berlinale, der Oscarnominierung für "Das Salz der Erde", dem Start seines 3D Spielfilms "Everything Will Be Fine", neuen Dreharbeiten und natürlich seinem 70. Geburtstag. Ein ganz besonderes Geschenk für ihn war die 'Geburtstagsplatte': das Triple-Vinyl-Album "WIM’s - DRIVEN BY MUSIC" ist eine Kompilation vieler Bands, Musiker und Künstler, die mit Wim Wenders befreundet sind, bei seinen Filmen mitgewirkt haben, und deren Musik er besonders schätzt. Es sind insgesamt 37 Stücke, darunter Titel, die schon in Soundtracks einiger Wenders-Filme auftauchten, aber auch einige neu gemixte oder gänzlich neu entstandene Songs, die nur auf diesem Album zu hören sind. Jetzt wird diese Triple-LP zum ersten Mal im Handel erhältlich.

- "Deine Filme, Wim, sind eigentlich Gedichte, oder vielleicht besser: Lieder. Nicht das Staccato der Stories mit 'Plotpoints' und Spannung die atemlos macht, sondern von ruhig tiefem Atem getragene Bilder-Lieder. Man muß einfach nur mitsingen, wenn man Musik zu Deinen Filmen macht." - Irmin Schmidt, Can
- "Wim Wenders’ dead pan view of the world has humility, humanity, and a non-obvious humour that we instinctively trust. His eye keeps ours seeing straighter." - Bono, U2
- "To the most musical of all directors. Happy birthday, Wim!" - Nick Cave

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

Dark Nights: Death Metal war eine siebenteilige DC-Comicserie mit einer Erstauslieferung von 250k Einheiten, die an über 1,2 Tausend Graphic Novel- und Fachgeschäfte verteilt wurde. Um die hemmungslose
Ehrfurcht vor der Comic-Serie zu untermalen, präsentieren Tyler Bates und Loma Vista Recordings den ”Dark Nights: Death Metal-Soundtrack” mit Beiträgen von u.a. Rise Against, HEALTH, Denzel Curry, Soccer Mommy oder Manchester Orchestra.

Tyler Bates ist nicht nur ein Meister im Entwerfen von Musik für Film, Fernsehen und Videospiele, sondern auch ein gefragter Multiinstrumentalist, Autor und Produzent. Zu seinen Filmen zählen Dawn of
the Dead (2004), 300 (2007), Watchmen (2009), mehrere Kollaborationen mit Rob Zombie, darunter The
Devil’s Rejects (2005), Halloween (2007) und Halloween II (2009), die Guardians of the Galaxy-Saga (2014,
2017), die John Wick-Serie (2014, 2017, 2019), Atomic Blonde (2017), Deadpool 2 (2018), Fast & Furious
Presents: Hobbs & Shaw (2019 ), und viele mehr.

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

We are delighted to announce that next September 19 we are officially reissuing the extremely hard to find "Original Soundtrack" album by Gary Blanchard. Less than 500 copies of this analog keyboard solo effort were originally pressed, and less than 200 still exist. The album was written, produced, and distributed in Gary’s hometown Baltimore, between 1986 and 1987.

After 20 years, Gary decided he wanted to do something different. He bought a $100 Yamaha PSR keyboard, complete with autochord and drum machine, and began to experiment with writing in new ways. Rather than having conventional song structure, the music was more open. The words were sometimes spoken, and sometimes sung. Gary also began writing poems and vignettes to include in his performances. While these songs were not as overtly political as his folk–style songs, they commented on life in the 80s with a uniquely cynical Baltimore view. (Many thought Gary was influenced by Baltimore filmmaker John Waters, especially given Gary’s love of pink flamingos, but Waters was not an influence on the music.) Gary began to search out other performers to help him bring this material to the stage; at the same time he started working with producer Erik Steensen to create a recording of the music along with some of the spoken word pieces. The album, Original Soundtrack, was released about the time Gary did his first performance with The Generic Art Ensemble.

This reissue includes insert with complete biography and track–by–track notes by Gary Blanchard himself. Front cover artwork hand pasted on sleeve.

Mondo is pleased to present the premiere vinyl soundtrack release to Jeff Nichol's 2013 film Mud. Set in rural Arkansas, it tells the story of two boys who develop a friendship with the titular fugitive (played by Matthew McConaughey) who needs their help to reconnect with his lost love Juniper (Reese Witherspoon) The relationship formed between Mud and the two boys is simultaneously formative and destructive but ultimately essential to their growth, in this masterful exploration of the corruption of romantic ideals. The limited edition 180 gram 2XLP set features exclusive interviews with both composer David Wingo and director Jeff Nichols. Black Vinyl.

Call Me By Your Name (2017), ist ein romantisches Filmdrama von Luca Guadagnino, nach einer Novelle von André Aciman. Sufjan Stevens steuerte auf Wunsch von Guadagnino mit Mystery of Love und Visions of Gideon zwei brandneue Songs und mit einer Neuaufnahme des bereits existierenden Songs Futile Devices einen dritten Titel bei. Der Soundtrack zum Film umfasst insgesamt 17 Musikstücke, darunter befinden sich u.a. Beiträge von Giorgio Moroder, The Psychedelic Furs, F.R.
David, Ryuichi Sakamoto, John Adams, Joe Esposito und Frank Glazer.

Nach der gefeierten Premiere des Dokumentarfilms „L.A. Originals“ in diesem Frühjahr erscheint nun der Offizieller Soundtrack zum Netflix-Film.
Die Geschichte dreht sich um den Hip-Hop-Fotografen Estevan Oriol und den Tätowierkünstler Mister Cartoon (Mark Machado).
„L.A. Originals“ folgt den beiden L.A.-Einheimischen von ihrem ersten Treffen im Jahr 1992 bis hin, dass sie zu den größten und einflussreichsten kreativen Chicano-Künstlern der SoCal-Straßenkultur, des Hip-Hop und darüber hinaus wurden.

Recorded in 1973 in Rome - at Piero Umiliani’s "Sound WorkShop" – this one of the stand-out italian libraries to say the least. The whole record oozes a dreamy, mysterious, surrealist atmosphere enhanced by the vivid instrumentation that open a series of mesmerizing pieces which range from the gentle to the hypnotic. Eastern sounds, ritual horns and assorted metal banging and scrapping add to the whole mix for a landmark sound that will eventually evolve in delirious lysergic passages, hypnotic bass riffing, stoned funk beats, dubbed-out passages and Rino De Filippi trade-mark collage and sound manipulation.

People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.

Like Domenique Dumont’s earlier albums, Comme Ça and Miniatures De Auto Rhythm, People On Sunday evokes a more innocent, carefree time conjured by wistful electronics full of warmth and melody. Touching on the hazy exotica that made those two records so alluring, here Dumont draws on his love of classical music, library music and early electronic experimentation to create a timeless, optimistic sound. If his past productions possessed a certain Mediterranean quality, across these 13 new pieces Dumont’s shimmering synth-pop has an enchanting simplicity.

Part documentary, part fiction, the film People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship.

“The film shows people and their surroundings shortly before all of it was destroyed,” says Dumont. “Ironically, watching this movie with the eyes of today, it looks more surreal than documentary. And I can’t help but think and reflect about the times we are living in now. We might have similar desires people had a hundred years ago, but we now have a completely different approach to life.”

*People On Sunday is the third album by Domenique Dumont.
*Freshly signed to The Leaf Label, having previously released two albums on Parisian electronic/dance label Antinote.
*It follows on from the cult success of synth-pop exotica albums Comme Ça (2015) and Miniatures de Auto Rhythm (2018)The album was originally conceived as a soundtrack to the classic 1930 German silent film known variously as Menschen am Sonntag, Les Hommes le Dimanche and People on Sunday.
*It was originally performed at Les Arcs Film Festival, with plans for further film festival concerts when regulations allow.
*Watch the video for first single ‘People On Sunday’ featuring excerpts from the film.
*Artwork and design by artist Edward Carvalho-Monaghan.
*Support from Pitchfork, Resident Advisor, FACT Magazine, Gorilla vs Bear, KEXP, BBC 6 Music’s Tom Ravenscroft, Mary Anne Hobbs and NTS Radio’s Charlie Bones, among others.
*Dumont recently remixed Domino’s Jaakko Eino Kalevi, and has also reworked tracks by Cola Boyy and Mark Barrott.
*Festival appearances include Mutek Montreal, Dekmantel, Nuits Sonores, Milhões de Festa and the Venice Biennale.

INTERMISSION MUSIC is the soundtrack to An Intermission, an artists film by Edwin Mingard made in collaboration with a group of young people experiencing homelessness in Stoke-on-Trent, England. Like the film, the soundtrack was made collaboratively by the group, working with Edwin and composer Tom Haines.

ALL PROFITS from the soundtrack go to a dedicated fund to support the young people as they take their next steps in life. All partners have worked for free or at cost to make sure this is as much of the cover price as possible.

The film won Jury Special Mention at IDFA, the world's most prestigious documentary festival; was selected for New Contemporaries, and longlisted for the Aesthetica Art Prize. In 2021 it is screening at the London Short Film Festival; Future Now Symposium; and is being exhibited at South London Gallery from May 2021.The soundtrack is being showcased on all these platforms.

The Guardian are releasing the film in 2021. Their documentaries consistently receive tens of thousands of views, and the release of INTERMISSION MUSIC will be highlighted here also.

In The Senses' is a soundtrack concept album from Fernando Pulichino based around the premise of music for film. Melody, ambience and mood are central to these pieces influenced by the likes of Angelo Badalamenti, John Carpenter and Johnny Jewel. The result is timeless electronic music infused with bittersweet synth chords & melodies, beat less atmospherics, bubbling electronics and synthesizer minimalism.

Soundtrack for the critically acclaimed Jim Jarmusch film Only Lovers Left Alive, starring Tom Hiddleston and Tilda Swinton. The score for Only Lovers Left Alive - a collaboration between SQÜRL (Jim Jarmusch, Carter Logan and Shane Stoneback) and Dutch lutenist Jozef Van Wissem - serves as a reflection of the distinct textures of Detroit and Tangier, bridging ancient and modern sounds, entangled and timeless. Avant-Baroque lute weaves through twenty-first century guitar grit, heavy back beats, Moroccan percussion, synth bass, field recordings, and numerous sonic effects to create a cinematic tapestry. Guest vocalist Madeline Follin (Cults) appears on SQÜRL's syrup soaked re-interpretation of the Wanda Jackson hit "Funnel of Love". Zola Jesus' commanding vocal soars through Van Wissem's "In Templum Dei". And Yasmine Hamdan's intimate and evocative "Hal", recorded on the set of the film and mixed by SQÜRL. The film and soundtrack album were released worldwide in 2014, and quickly earned the group the Cannes Soundtrack Award from a consortium of film and music critics. In the years that have followed it has remained a favorite of critics and fans alike, who have continued to hunt down the limited vinyl copies in existence.

The Running Man’, was composed by Harold Faltermeyer (Beverly Hills Cop, Top Gun, Cop Out, and the upcoming film Top Gun, Maverick).

The original (1987) 17 track album has been expanded to 35 tracks for this deluxe edition, which includes additional music and unreleased and alternate cues. The album was remastered by Chas Ferry from the original Paramount Pictures sources. The 2 LP gatefold package features original artwork created by Florian Mihr and includes images from the film and extensive liner notes by Daniel Schweiger on the inner sleeves.

In the year 2019, America is a totalitarian state where the favorite television program is The Running Man - a game show in which prisoners must run to freedom to avoid a brutal death. Having been made a scapegoat by the government, an imprisoned Ben Richards (Arnold Schwarzenegger) has the opportunity to make it back to the outside again by being a contestant on the deadly show, although the twisted host, Damon Killian (Richard Dawson) has no intention of letting him escape.

“This is a true story”

Fargo is a fantastic dark comedy-crime drama television series created and written by Noah Hawley and inspired by Joel & Ethan Coen’s 1996 movie of the same name. Both Coen brothers serve as executive producers on the series. The show stars Martin Freeman (The Hobbit trilogy), Billy Bob Thornton, Bob Odenkirk (Breaking Bad, Better Call Saul) and more.

The soundtrack features selections from the show’s original music composed by Jeff Russo (Power, Necessary Roughness, About Cherry). Its score is well done, with different motifs or instruments assigned to different characters. For Lester Nygaard (Martin Freeman’s character) it’s that nearly-whimsical main theme. For the drifter Lorne Malvo (Thornton’s character) it’s sleigh bell chimes that represent his animalistic nature coming out.

This is a limited edition contains of 666 individually numbered copies on transparent green vinyl. The package includes an insert with pictures of the characters.

“This is a true story”

Fargo is a fantastic dark comedy-crime drama television series created and written by Noah Hawley and inspired by Joel & Ethan Coen’s 1996 movie of the same name. Both Coen brothers serve as executive producers on the series. The show stars Martin Freeman (The Hobbit trilogy), Billy Bob Thornton, Bob Odenkirk (Breaking Bad, Better Call Saul) and more.

The soundtrack features selections from the show’s original music composed by Jeff Russo (Power, Necessary Roughness, About Cherry). Its score is well done, with different motifs or instruments assigned to different characters. For Lester Nygaard (Martin Freeman’s character) it’s that nearly-whimsical main theme. For the drifter Lorne Malvo (Thornton’s character) it’s sleigh bell chimes that represent his animalistic nature coming out.

This is a limited edition contains of 666 individually numbered copies on transparent green vinyl. The package includes an insert with pictures of the characters.

Milan Records is pleased to release this stunning vinyl edition of EVANGELION FINALLY, a collection of vocal songs performed by Yoko Takahashi and Megumi Hayashibara as heard in the hit anime series NEON GENESIS EVANGELION and EVANGELION 2.0 YOU CAN (NOT) ADVANCE

The critically acclaimed anime series has since become a global cultural phenomenon with fans across the world gearing up for the Shin Evangelion film release in 2021

The vinyl release in February 2021, celebrates both the Shin Evangelion film release and Anime Month

The 15-track collection includes Yoko Takahashi’s well-known opening song to the series “The Cruel Angel’s Thesis,” as well as new covers of original songs including “FLY ME TO THE MOON (2020 Version),” a new recording of the classic jazz standard featured in the show’s end credit, and a new vocal arrangement from Takahashi of “Kokoro yo Genshi ni Modore 2020.”

Also included in the collection is “THANATOS -IF I CAN’T BE YOURS-,“ a new original track and the theme song to the Shin Evangelion feature film performed by LOREN & MASH. Meanwhile “Come sweet death, second impact” is a jazz arrangement of the legendary masterpiece featuring the voice of Megumi Hayashibara. Included in the CD version of the release is a booklet featuring exclusive interviews with both Yoko Takahashi and Megumi Hayashibara

FLIES 45-04

BRAEN & RASKOVICHAfro Beat / Afro Flower

7'' Limited Edition 400 copies

Four Flies Records continues its 7" line-up with anotherde rigueur repechagethat will have your dancefloor jump frantically up and down. Two freaky afro- flavoured tracks, written by Giuliano Sorgini and his partner in musical delices Alessandro Alessandroni. Recorded during a non-specified session which may be traced back to the recording of Sorgini'sUnder Pompelmoand Pawnshop's first 7". The sound and the ideas behind the music are exactly the same, even though there's more rhythmic and percussive emphasis on both tracks. Two little precious gems, unreleased to this day, brought back to light and finally available for DJs and fans all over the world.Afrodelic breaks for your pleasure!

Four Flies is proud and excited to present the first full-album release of the long-forgotten soundtrack composed by Armando Trovajoli for Piero Vivarelli's 1964 movie Il Vuoto.

Rightly considered by many to be a key figure, if not the key figure, in the history of Italian jazz, Trovajoli was responsible for fostering an appreciation and understanding of jazz among the generation of music listeners and musicians raised under Mussolini and Fascist nationalism. His outstanding work as a pianist, composer and conductor contributed immensely to the popularization of the genre among the general public and to the reduction of institutional bias against it.

The collaboration between Trovajoli and Vivarelli did not happen by chance. The latter, now regarded as one of Italy's "kings of the B's" for his work in the 'exotic-erotic' genre (Il dio serpente, Codice d'amore orientale, etc.), was a great music expert, a skilled talent scout for the Italian music industry, and a true lover of jazz.

Most of Trovajoli's score for Il vuoto has a refined smoothness that is clearly reminiscent of cool jazz – many tracks on the soundtrack are performed by a sextet featuring Trovajoli himself on piano, Carlo Zoffoli on vibraphone, Gino Marinacci on baritone sax and flute, Enzo Grillini on electric guitar, Berto Pisano on double bass, and Sergio Conti on drums and percussion. At the same time, Trovajoli explores other jazz styles or sub-styles in faster, more rhythm-oriented tracks influenced by bossa nova, samba, and even rock'n'roll, where instruments like drums and percussion, electric guitar, or flute take center stage.

This stylistic variety demonstrates both the maestro's versatility as a composer and the fine skills of the musicians who performed on the soundtrack. Like Trovajoli, they were all pioneers of Italian jazz and played in Italy's very first 'institutional' jazz orchestra: the Orchestra di Musica Leggera of the RAI (the Italian public broadcasting company), formed under Trovajoli's leadership in 1956 and credited as "his orchestra" in public performances and in the album The Beat Generation (RCA Italiana, 1960).

By making available for the first time ever almost all of the music recorded by Trovajoli for Il vuoto, this LP fills an important gap in the maestro's discography. Most importantly, it offers further insight not only into the history of Italian jazz, but also into the penetration of the genre into Italian film music, which was possible thanks to Trovajoli's mastery as a composer and to the virtuosity of the pioneering musicians who performed in his orchestra.

Island of the Hungry Ghosts is a hybrid documentary that moves between the natural, human and spiritual worlds. Located off the coast of Indonesia, the Australian territory of Christmas Island is inhabited by migratory crabs traveling in their millions from the jungle towards the ocean, in a movement that has been provoked by the full moon for hundreds of thousands of years. Poh Lin Lee is a trauma therapist who lives with her family in this seemingly idyllic paradise. Every day, she talks with the asylum seekers held indefinitely in a high-security detention centre hidden in the island's core, attempting to support them in a situation that is as unbearable as its outcome is uncertain. As Poh Lin and her family explore the island's beautiful yet threatening landscape, the local islanders carry out their "hungry ghost" rituals for the spirits of those who died on the island without a burial. They make offerings to appease the lost souls who are said to be wandering the jungles at night looking for home. This album presents the original score Aaron Cupples created for the film. Rich in texture and harmonics, the music is characterized by the bespoke instruments and recording techniques employed in its creation. The soundtrack also features sound recordist Leo Dolgan's vivid field recordings. All captured on Christmas Island, the four pieces recall insect choruses, strange and ominous bird calls, erupting blowholes, fire, ocean, and Buddhist prayers for the dead. The album is mastered by Rashad Becker, featuring design by N MRE 08. *LP comes with an obi strip, a booklet containing stills from the documentary & liner notes, as well as a postcard granting access to the full film*

Superb unreleased soundtrack from British 1972 sex comedy starring Gabrielle Drake (Nick Drake’s sister) and Rchard O’Sullivan (Gilbert O’Sullivan’s brother!). Brilliant music on many levels, 17 sexy tracks of swinging jet-set jazz, groovy scatty vocals, hell it must be good because it’s on Trunk Records.

Take yourself back to the fleapit cinemas of the early 1970s. My home town of Aldershot had two - the ABC/123 (with three screens) and The Palace (just one screen, and anything but palatial). Au Pair Girls, released in 1972, was exactly the kind of soft porn “comedy” flick with a vague plot that would, without doubt, have been playing as part of a double bill to the regular “dirty mac brigade”. Such films and such establishments guaranteed the small crowd regular titillating wide screen visions of nude women in preposterous situations and fulfilling preposterous fantasies.
The title of Au Pair Girls suggests it all of course; yes, four young women fly into London from Europe and Asia, are sent to their new employers and find themselves in unexpected and unusual situations pretty fast. There is of course full nudity, crudity and a large slab of cheese on the menu.There is also no real comedy, a sprinkling of infamous character actors (Richard O’Sullivan, John Le Mesurier), and “UFO” actress Gabrielle Drake (sister of Nick Drake) wearing nothing at all. If anything, the film has maintained a vague middle aged male following because of Gabrielle.
But there’s little to save this film from contemporary criticism - its outdated view of life, rights, sex and taste sit uncomfortably today. But the jet set soundtrack by Roger Webb was worth saving.
By 1972 Roger Webb’s career in film and TV music was taking off. He was an established songwriter and live pianist with a jazz trio. He’d already penned a few British scores and was just starting on a formidable future with library companies including Chappell, de Wolfe and Capitol. His route to Au Pair Girls was accidentally through Norman Newell, one of the giants of the post war music industry.Actress and performer Dee / Deanne Shenderry had asked Newell to recommend an artist to arrange her up and coming album. New;ee recommended Roger Webb.The two worked together and some music was produced, but to my knowledge only got to acetate stage (possibly for Apple Records). Dee husband was Kenneth Shipman, a co-owner ofTwickenham film studios.And so when Kenneth Shipman started pre
production of Au Pair Girls, Roger Webb was an easy go-to for film music composition.
Many years ago there was an original reel / master for Au Pair Girls. It was transferred to CD, DAT and cassette circa 1990 and the rapidly degrading tape was subsequently misplaced, lost or just binned. So all we had to work with was a rather shaky transfer from nearly 30 years ago, one which included numerous wobbles as well as speeding up and slowing down moments.The job of rescuing all this was left to Jon Brooks, my hero for all such musical problems. The end result is what you hear on this album. It is by no means sonically perfect but it is all we will ever have.
It’s certainly not Roger Webb’s best ever score (I have more of his ace work coming) but it has a certain charm and relentlessness.The lyrics were written by Norman Newell, and I can imagine the pair having a huge amount of fun putting the score together and recording it, with - as you’d expect - a pretty tight band and lively vocal group.The main theme does, as one reviewer state, “go on a bit”, but there’s enough musically here for me to get excited about and really want to “stick it out”. So I have.

Maximum Crisis/Maximum Calm was released within the context a solo exhibition by Rory Pilgrim at Badischer Kunstverein in 2020. The LP is based on the soundtrack of the 50'min film "The Undercurrent". Produced in collaboration with ten young climate activists from Boise, Idaho, the film and its soundtrack is a powerful statement about the era of climate crisis that explores how people are coping with this global issue on intimate and personal levels.

While musical composition has long been a core aspect of Rory Pilgrim's practice,Maximum Crisis/Maximum Calm - featuring the singers Declan Rowe John and Ezra Hampikian - is the first vinyl release of the artists's music. Interweaving spoken reflections and songs including The Towel, 3 Waters and Regenerate the Engine, the LP also features additional songs and spoken word material extracted from the film. With orchestral parts also masterfully arranged by Pilgrim for the Up North Session Orchestra the record culminates with a moving speech given at the youth climate strike at the Idaho State Capitol on September 20, 2019 by activist Liam Neupert.

Ooh, aah, ooh I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up I didn’t say the giants should be tied up

All sounds recorded during the creation of the films “Coming of Age” (2015) and “Initiation” (2016). Featuring Mosaku and Retabile Lehselo. Day 1 and Day 2 recorded during ceremonies on January 25 and 26, 2014 in the village of Dreihoek in the Ha Sekake District of Southern Lesotho. Additional footage recorded in the summer and autumn of 2013 in Dreihoek and the surrounding mountain pastures.

Music for animation cyber-noir film “Battlefield” (based on same-titled book by Stephen King)

Animated films soundtrack is one of the most substantial aspects of Bystryakov's career. He masterfully balances between being a composer and a sound designer. A cartoon thriller for Stephen King's original story was created at the Kyivnaukfilm studio in 1986. The work itself reached the Soviet reader in 1981 for the first time and was King's first publication in the USSR, as well as "Battleground" was the first and only film adaptation.
"Battlefield" is a work that belongs entirely to its time. This soundtrack is a semi-conscious journey through the night TV network: from Italian horror movies and detectives to the movie Blade Runner on the last working channel well past midnight.
Actually, in such a sequence, the fabric of the work is revealed. The atmosphere in the style of Goblin (Untitled I), thus echoing the work of Enno Morricone (Title theme, Theme of the boss). In addition to melodic fragments, he boldly creates minimalist pieces that undoubtedly sound like an early acid house (Untitled II), because the sounds of Roland TB-303 and TR-606 are instantly recognisable.
Bystryakov's approach did not involve the use of many tools or effects. He worked with one Roland Juno-106 synthesiser, using the full palette of its sound. His new tool is a counterpoint. This is how the final theme (End Theme) is constructed, where a piercing solo on a saxophone changes the atmosphere to nostalgia.

The fifth installment of the Bourne film series and the direct sequel to 2007's The Bourne Ultimatum, Matt Damon reprises his role as the main character, former CIA assassin and psychogenic amnesiac Jason BourneThe movie proved to be one of the blockbusters of 2016 and gained critical acclaim.The soundtrack to Jason Bourne is composed by multiple Award winner John Powell (The Italian Job, Shrek, Gigli, How To Train Your Dragon) and David Buckley (Parker, Grimsby, From Paris With love).A new version of Moby's Extreme Ways', entitled Extreme Ways (Jason Bourne)', was recorded for the film's end credits.

British artist Robin Rimbaud (Scanner) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics innovative and inspirational works of contemporary electronic music. Committed to working with cutting edge practitioners he has collaborated with Bryan Ferry, Wayne McGregor, Mike Kelley, Carsten Nicolai, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.

Rimbaud first met Belgian artist Hans Op de Beeck at Le Fresnoy Studio national des Arts Contemporains when they were both Visiting Professors in 2012. Op de Beeck lives and works in Brussels, Belgium and creates sculpture, installations, video, photography, animated films, drawing, painting, and writing. His various works show the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from everyday life.

The artists found an immediate creative connection, and a year after meeting Staging Silence (2) was completed. In 2019, they returned to the theme and created Staging Silence (3).

Each of the films is realised through the same principles, as two pairs of anonymous hands construct and deconstruct fictional interiors and landscapes on a mini film set of just three-square metres in size. The films take the viewer on a visual journey through depopulated, enigmatic and often melancholic, but nonetheless playful, small-scaled places, which are built up and taken down before the eye of the camera.

Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. And at every moment Rimbaud's score is amplifying and illustrating these moments, from tragedy to nostalgia, witty to optimistic.

Introspective and lyrical, Staging Silence offers us a world of mystery and intrigue, held together by nature and time. This is a very humane works experienced at a time when many of us feel disconnected from the world around us. The peculiar silence that permeates this hauntingly beautiful work is very much an illustration of our times, anticipating a future in the past. Staging Silence is an exquisite study in dreamlike abstract ambience, a kaleidoscope of sounds and tones that engage the head and the heart.

Sdban Records will reissue parts of the library serie 'A Special Radio ~ TV Record' released on the Belgian based Selection Records between 1976 and 1981 on vinyl. Sdban Records teams up with publisher Hans Kusters wo recently bought this catalog. Nonetheless, the first release will be a contemporary adaptation of the original concept by composer Reinhard Vanbergen (Das Pop, Rheinzand).

When Hans Kusters heard some music of Reinhard Vanbergen on the radio, he started dreaming of a new chapter. When asking Reinhard if he would be interested, Reinhard gladly accepted after finding out that one of the original composers from the Selection series, Rene Costy, had a very similar background, being a Belgian violinist and composer. It seemed like a perfect fit.

While respecting the concept of the past, Reinhard tried to give the record a modern touch, by simulating 10 geometric shapes, using immersive audio. With headphones on, you can detect the geometric shapes that move around your head in a little dance of their own. The mix of vintage and modern synths are an homage to the past while trying to give it something new and bring the concept into modern times. The new album, Selection 19 - Geometric Shapes opens the door to a new special radio and TV-records series, to continue in the same spirit from the past, but with an eye for the future.

Having already explored the archives of a number of overlooked Greek composers, Into The Light is now turning its attention to the uncharted territory of Greek film soundtracks of the 70s and 80s - a boom period for mystical, transcendental arthouse cinema in Greece.

GOST: A Spiritual Exploration into Greek Soundtracks (1975-1989) is a passion project from the Greek filmmaker and composer Yannis Veslemes, that took years of engagement, exhaustive research and persistence. The collection features a mixture of rare, hard-to-find and previously unreleased material from musicians and composers including Yannis Kostidakis, Thesia, Dimitris Papadimitriou, Michalis Christodoulides, Stamatis Spanoudakis, Haris Xanthoudakis, Vangelis Katsoulis and Charlotte Van Gelder . All material is accompanied by detailed linear notes from the curator Veslemes, explaining the stories behind the tracks and the movies they first featured on.

The compilation celebrates the inventiveness and experimentation of Greek soundtrack composers in the ‘70s and ‘80s, by presenting a surprising mixture of musical hybrids that bridge the worlds of electronic and acoustic music, and compositions that bring together Western and Eastern musical traditions, in uniquely idiosyncratic ways.

Ilan Eshkeri and Shigeru Umebayashi score the music to the highly anticipated actionadventure game developed by Sucker Punch Productions and published by Sony Interactive Entertainment. Ilan Eshkeri is a critically acclaimed film, television and video game composer. Eshkeri has been nominated for a BAFTA, an Ivor Novello Award and a International Film Music Critics Association Award. Shigeru Umebayashi is an internationally acclaimed composer who has won numerous awards. He has scored the music for many notable films including ‘True Legend’, ‘Rise of the Legend’ and ‘The Wasted Times’. Triple black vinyl set with tri-gatefold sleeve and printed inner sleeves. Specialist marketing activity.

The Black Keys release Brothers (Deluxe Remastered Anniversary Edition), an expanded version of their watershed 2010 multi-platinum, Grammy-winning sixth studio album via Nonesuch Records, on which the record is newly available throughout the world. To celebrate its tenth anniversary, Brothers will be re-released with three added bonus songs: ‘Keep My Name Outta Your Mouth’, ‘Black Mud Part II’, and ‘Chop and Change’. It will be available in three formats: a 7” box set, a 2-LP set, and a CD. This will be the first in an annual series of archival releases from the band.

Brothers, originally released on May 18, 2010, was largely recorded at the famous Muscle Shoals Sound Studio in Alabama. It was a career breakthrough for The Black Keys, receiving critical praise and earning three Grammy Awards, for Best Alternative Album, Best Rock Performance, and Best Recording Packaging for Michael Carney’s design. Upon release, Rolling Stone hailed the album ‘a masterpiece’, and Uncut named them ‘one of the best rock ‘n’ roll bands on the planet’.

Although they realised upon their arrival in Muscle Shoals, Alabama in hot and humid August that the studio had seen better days, the band – singer/guitarist Dan Auerbach and drummer Patrick Carney – brought in their own equipment and proceeded. The oppressive Alabama summer weather "forced us into the studio”, Carney says. "We went into that darkness and stayed there”.

The duo recorded nine of the original Brothers songs in what was now "a remote recording in a historic room that had been gutted", Auerbach recalls, adding that the location contributed to the vibe of Brothers nonetheless: "You can feel it if you're a musician, the great things that happened in a place. Half of the thing that we love is in our minds, but when we go to these shrines, it gives us inner strength. It feels magical – this is where the music was born".

The band recorded additional material in other locations: the album song ‘Tighten Up’ in Brooklyn with Danger Mouse (Brian Burton), several others on Auerbach's eight-track in his Akron basement, and three in Mark Neill's home studio in San Diego. ‘Chop and Change’ and ‘Keep My Name Outta Your Mouth’ are bonus tracks on this anniversary edition of Brothers. The band then gave the music to Tchad Blake to mix. Carney recalls, “We told Tchad, 'Make it sound fucked up'".

The album title highlighted a revived bond between the longtime bandmates and childhood neighbours, who had been through challenging times personally and professionally. Carney says, “I was thinking about what the record meant to me – how Dan and I had gone through this shit that brothers go through where you don't get along, but then you do get along and realise it's an unconditional love”. It was reminiscent of one of Auerbach’s favourite Allman Brothers albums, too: "As soon as Pat suggested it, I loved it”.

The Black Keys released their ninth studio album, “Let’s Rock”, via Easy Eye Sound/Nonesuch Records last year. The album received critical praise, with Pitchfork saying, ‘This is an album by the Black Keys called “Let’s Rock”. That's what it does’. The Wall Street Journal said, ‘The Black Keys have mastered the form of guitar-based music, and the craft at work on these dozen songs is something to behold’.

Vinyl version of the latest album (CD was released November 13th) from US singer/songwriter/composer. This is a 10 track LP featuring songs from the hit Apple TV series of the same name. Marketing activity across all media outlets.

Tibor Szemző returns with a new album, based on the music for his film about historic figure Alexander Csoma.

Tibor Szemző is a Hungarian composer, performer, media artist. Recently his album Snapshots From The Island (1987) gained renewed interest. Over the years Tibor Szemzo continued composing classical / electronic works. His pieces often include spoken texts, film and other media. He creates installations and composes music for his own and others’ films.

Csoma, his new album, is based on the music for this film about Alexander Csoma. Alexander set up to research the origin of the Hungarians 200 years ago. During his student years, before he enrolled in college, he and two fellow students vowed to go to Central Asia to discover the origins of their nation. In the first thirty-five years of his life, he spent his humble pilgrimage in Asia traveling and studying with Buddhist priests in Tibet in isolation, and devoted the remaining eleven years of his life to publishing some of the material he had collected in India.

Now on the 200th anniversary, Szemző’s Cinematic Opera wishes to pay tribute to Alexandar Csoma. Over the course of two vinyl sides classical and acoustic instruments are mixed with angelic voices, spoken word in German, Hungarian & English. Sounding like vintage Tibor Szemzo compositions, vividly performed by the Gordian Knot Company and the Voces Aequales Ensemble.

As well known from both sides of the Pyrenees to Japan, Pascal Comelade is a catalan musician living in Dalì's country. After living in Barcelona, where he founded his Bel Canto Orquestra in 1985, he releases his first 12 inches album in 1975 called " Fluence ". This first work was definitely inspired from electronic music influences, especially by Richard Pinhas's band, Heldon. Comelade likes making links between arts, mixing music with graphic designs and literature. It is indeed one of the first concerns of the composer not to stay locked in patterns and codes specific to a style. Painter Robert Combas created the original artwork of the album. For this reissue, Combas's second painting, which was on the inside of the CD booklet, was replaced at the back of the main jacket. At the time of the release album, he accompanies on piano Robert Combas and François Boirond's visual performance in Paris, Porte de Champerret. For this reissue, LP limited vinyl is numbered to 500 copies worldwide. Comelade kept songs he judges the best from the original album. He also completed a few of them, and replaced some tracks by other alternative versions and unpublished pieces he composed in the same time. Moreover, we will rediscover the animation clip of "The Skatalan Logicofobism" in the CD extra included in the gatefold.