Pop & Rock Novedades

"It’s a soundtrack homage to the 80's science fiction b-movie scene,
composed by contemporary artists.

The Compilation Includes 12 artists and 19 tracks on vinyl and cd.
The Sleeves are DIY screen printed and the jacket is built out of wire fence."

When Cole Porter composed "Don't Fence Me In", record packaging was probably not on the forefront of his mind. In the 21st century, as the world stumbles from one stage of being fenced in to another, KP maestro Herc E Rillen has broken ground and produced once again a selection of some of the most intriguing artists. And, as might be expected, this collection is presented in a material not originally intended for displaying musical recordings - a hand made cover which should be handled with care.

After the insane "Weird State.." dressed in a screen printed straw matting; "No Order.." in a screen printed wooden sleeve; group A
held together with cuticle pirecing sharp wire, and a gaggle of tapes housed in various materials, Kashual Plastik has once again found the wire cutters, to enrobe the album and CD set in fencing material.

The music:
Al Chem has previously recorded for legendary label Art Yard (also responsible for myriad official Sun Ra reissues over the years). LST has released for Another Dark Age, unquantifiable label of the Low Company / Blackest Ever Black diaspora. Brazilian artist Innsyster has recorded for L.A. Club Resource and Good Morning Tapes, among others. Waswaas has clocked up two highly regarded releases for The Trilogy Tapes. With “Steamboat Jr.”, by Cologne-based musician, visual artist and inventor of electroacoustic instruments Andreas Oskar Hirsch, “Respect the Unexpected...” goes rhythmic for the first time, with fourth-world freestyle “gamelan” grooves that trip into a new cosmic reality.

The A Side ends with Inkasso, a duo consisting of the two Berlin nighthawks operating from the Abteilung für Akustisch Visuelle Härtefälle – a studio where they produced this short and overwhelmingly intense claustrophobic synth maelstrom called “Astralkörper”.

Side B brings a rough, mesmerizing minimal ethno-industrial composition by A.N.I., a to watch out trio consisting of the three masters Don’t DJ, Bear Bones Lay Low and Black Zone Myth Chant.

EEL - Philipp Matalla and Robert Schulze - released their debut HDD EP on our own in-house label, Ethbo last year. Philipp also contributed to the "Weird State..." compilation. “Basamaci 4”, a slow drilling tune by Belgrade based producer, DJ and Drugstore club booker Kӣr, is next, bringing Tolouse Low Trax-esque vibes into the game while mixing all with manic madhouse sounds for contemporary shamanistic late-night rituals. TRJJ, a loose group based in Germany since 1998, that releases on Belgium’s famed STROOM, steps into the witchcraft arena with “Before Planetary Scale”, a gentle pop tribal song full of absorbing organic percussion magnetism. NKLS, another mysterious sound originator that is so far hidden in the dark. His tune “Social Hypnosis” introduces a slow-motion breakbeat space voyage, amplified by found sound spoken words and Detroit-ish arpeggios.

XVARR has also featured on Good Morning Tapes, and the late, great Blowing Up The Workshop. Jorge Velez has released for Crème Organization and L.I.E.S., among others. Hinosch is Em Records veteran Hino Yashiro (goat, YPY) and Stefan Schneider (TAL, To Rococo Rot), and Pose Dia is about to drop an LP on Bureau B.

Big respeck to the Kashual massive, hope your fingers heal soon.

The first release on sister label of SN Variations, Constructive is the music for the third and final season of Tin Star,Tin Star Liverpool starring Tim Roth, Genevieve O'Reilly and Abigail Lawrie. Released on digital and in a limited edition of 300 neon yellow vinyl.Performed by Orchestrate (Mica Levi,Bobby Krilc) and with field recordings by Chris Watson.

Repress

Two consecutive #1's on the Beatport Top 100 has taken this special series of releases from strength to strength. Combining Techno's new breed of heavyweights with the perfect classic track, is a formula Renaissance are getting right time after time. Following on from Solomun and Tale Of Us's outstanding contributions, Renaissance turn their attention to the ever-evolving Maceo Plex for a remix of Remake's iconic 'Blade Runner'; a track featured prominently on the very first Renaissance compilation in 1994.Eric Estornel aka Maceo Plex has become well known for his mind-bending Techno sets and releases under various guises such as Maetrik. 2011 saw the Ellum Audio boss, release his debut album under Maceo Plex on Crosstown Rebels, 'Life Index' was met with critical acclaim and propelled the North American to success. Leading to him starting his own label Ellum Audio with a distinct Techno sound, whilst releasing his own music it's served as tool to champion those around him seeing releases from upcoming acts such as Agents Of Time and Shall Ocin.Speaking about the ReMix Maceo Plex, explains his love for the Neo-Noir Science Fiction Film Blade Runner's soundtrack and the inspirations behind the track:
'The original Vangelis, soundtrack for the movie Blade Runner is my all-time favourite cinema soundtrack and one of my favourite records from the early 90's is the cover 'Blade Runner' by Remake.' - Maceo PlexThroughout time artists, musicians and designers have all paid homage to the cult classic movie and its soundtrack which has inspired the minds of many. Now taking his opportunity through the ReMix collection, Maceo Plex has delivered a timeless edit for the Renaissance collection series. Injecting the signature Maceo Plex sound with pulsating bass lines and futuristic synth tones stabbing their way to the breakdown where we're met with all too familiar piano melody; transforming the original cover into a prime-time atmospheric weapon. 'I wanted to make my own version to honour this special music and add a little something personal in this new version' - Maceo Plex With the previous editions in the ReMix, both hitting #1 in the Overall Beatport Chart within a week of release, the Maceo Plex remix will be eagerly anticipated.
The vinyl release also contains Remake's original version as the B side.

Known for blurring the lines of conventional traveling with adventurous parties, the Berlin/Brazil-based collective O MATO opens a new chapter in their history. The first release of O MATO Recordings reflects on a broad spectrum of tastes, representing not only the crew’s diverse musical aspirations but also the many faces of the worldwide family circle that has been gathered carefully over the years. What begun in the Amazon rainforest as an experiment with ambiguous outcome now finds its way back pressed into vinyl: A piece of sonic nostalgia, from the jungle to your turntables and beyond.

O MATO Recordings 001 compiles nine unreleased tracks from contemporary fellow artists as well as two KPM library pieces and a 1996 beat by the Long Beach G-Funk crew Foesum. Special thanks to our friends from Childhood Intelligence for connecting the dots.

Tangerine Dreams Livekonzerte waren in ihrer 1970er Hochphase improvisierte Klangerlebnisse, die mit geringem oder gar keinem Bezug auf ihre ebenfalls esoterischen Hitalben Abend für Abend anders klangen. In den 1980ern konkretisierte sich ihr Sound zu erkennbaren Strukturen, wodurch die Band Soundtrack-Erfolge für einige der grössten Filmproduktionen des Jahrzehnts (Risky Business, Firestarter, Near Dark, Thief, Sorcerer) erzielen konnte. Heutzutage kehren die bestehenden Mitglieder Thorsten Quaeschning, Ulrich Schnauss, Paul Frick (Brandt Brauer Frick) und Hoshiko Yamane zur Improvisationsmethode der frühen Tage zurück und spielen Livesessions als Konzert oder per Stream, von denen die besten Aufnahmen in der "Sessions" Albenserie erscheinen, die im Herbst 2020 mit Vol. II und III fortgesetzt wird. Beide neuen Veröffentlichungen wurden vom prämierten Vinyl-Toningenieur Miles Showell (The Beatles, Queen, ABBA, Amy Winehouse, The Rolling Stones, The Who, Lana Del Rey, Dido, Underworld) in den Londoner Abbey Road Studios gemastered.

2020 PRESS, BLACK VINYL

Previously unreleased experimental soundtrack to Vera Chytilova's groundbreaking sixties Czech New Wave classic. Available for the first time since being originally pressed in 2007 as part of the ongoing Finders Keepers’ 15th anniversary retrospective !



Back in the latter half of the 1960s this group of alternative filmmakers coming out of (then) Czechoslovakia known as the Czech New Wave were taking art house cinemas in Western Europe and America by storm. The hour long films that came out of the infamous Barrandov production house played a competitive rival to that of the French and Italian New Waves with their very own immaculate and spellbinding takes on cinema verite, film noir, surrealism and cinema concrete. But after the Soviet Union invaded Czech in August 1968 the clampdown on non-conformist creative arts saw over 70 films either banned or withdrawn from production in a mass culling of film reels until 1970.

It is not until recent years that the genre has become widely recognised as a veritable and virtually untapped source of inspiration for fans of experimental cinema, psychedelic cinematography, baroque costumes and scenery, music and graphic design. "Sedmikrasky" (aka "Daisies") pulls together what you might call the 'Holy Trinity' of the Czech New Wave - director Vera Chytilova, costume and set designer Esther Krumbachova, and cinematographer Jaroslav Kucera - arguably the three most forward thinking and truly experimental minds in the whole of the CNW collective.

Witness Les Petites Margeurites (original French theatrical title) as they mischievously flutter through Prague’s finest restaurants accompanying middle-aged men on flamboyant double dates in gastronomic ménage à trois - “If the world spoils itself, then we shall be spoiled as well” decide the two bikini clad button-cute Maries in the films opening scenes.

The radical and experimental nature of Daisies is further enhanced by its erratic score which consists of the juxtaposition of various non-melodic elements and sound effects, laden with a broad palette of samples and snippets of choral and classical vintage recordings spliced with concréte effects, traditional brass band music, Disney style exotica, Charleston dance standards and token 60’s beat tracks.

Originally prepared for public consumption by Finders Keepers in 2007 and available once again this immaculate release was taken from the original reels and compiled in close accordance to the original storyline and comes complete with unseen archive images, original international poster designs and new and extensive sleevenotes.

2020 PRESS, SPLATTER VINYL

The original orchestral/electronic score from Karel Kachyna’s 1976 Czech film adaptation of Hans C. Anderson’s The Little Mermaid, composed by Zdenek Liska (The Cremator / Fruits of Paradise) featuring Lenka Korinkova. Available for the first time since being originally pressed in 2011 as part of the ongoing Finders Keepers’ 15th anniversary retrospective. Check!

Liska's legacy in the history of European cinema is huge in volume but relatively modest in it’s celebrity. Having already composed nine scores for Kachyna’s films to add to his 1976 filmography of 150 completed soundtracks.

Back in 2005, five years before Finders Keepers Records released Zdenek Liška’s soundtrack to Malá morská víla for the first time, folklore and fairy tale fanatics around the globe celebrated the 200 year anniversary of the birth of one of the world’s most celebrated children’s authors of the published era. This Danish born writer’s stories have been translated into over 150 languages and have continued to enchant and inspire children and adults, arts and crafts, film and theatre, providing a creative binding substance in modern society’s social fibre. With a life story that entwines equal measures of tragedy, mystery, intensity and majesty to that of his own written work, Hans Christian Andersen’s early years balancing contradictory roles as a weaver’s apprentice, a soprano singer, a fledgling poet and an abused grammar school pupil with speculative links to the monarchy, manifested themselves in his written world of fantasy and fiction. His running themes of mutation, metamorphosis, rebirth, prejudice and class distinction are none more prevalent than in what are perhaps his two best known tales The Ugly Duckling, first published 11th November 1843, and the bittersweet surrealist tale of The Little Mermaid, printed in the third booklet of the first volume of Eventyr, Fortalte For Børn (Tales, Told For Children) in 1837.

One of the most idiosyncratic and haunting undiscovered scores in the annals of European cinematic history, Liska’s forward thinking score has all the hallmarks of a Broadcast record, some 20 years before the band first committed sound to vinyl..

Beautifully remastered with updated liner notes including rare photos ith the full cooperation of the seminal Barrandov studios in Prague.

Originally written and released by Woody Guthrie in 1947, this cover version of Pastures Of Plenty by Pete Tevis – a Californian folk singer living in Rome in 1962 – was arranged by Ennio Morricone. A few years later, Sergio Leone wanted Morricone to score his up and coming western called A Fistful Of Dollars. Legend has it Morricone wrote some music, Leone hated it. Morricone then played him this old single. Leone wanted this music but with a new melody over the top. The rest is film music history.

This is the first ever repress of this hugely important single since 1962. Originals copies are mythical to say the least.

From the legendary Omicron label secret archives, one of the rarest and nearly impossible to find album signed by Piero Umiliani. Gli italiani e l'industria is the soundtrack of a mysterious TV documentary by Romolo Marcellini broadcasted in 1967, and never appeared again from then, which was focused on virtue and vice of Italian post-economic boom industrialization. The music perfectly reflects the contrasts of the Italian society of that period, equally divided by consumerism and alienation, with a number of tracks deliberately easy-jazz and pop-beat on the one hand (with gorgeous ballads for vibraphone, like Natascia or Negozi alla moda, and killer organ tracks, like Music Box, later reused in some movies of the 70s, as Aragosta a colazione), and on the other with a bounce of compositions ultra-jazz, close to free jazz, with electronics and avant-garde solutions that Umiliani will explore completely in the further years (it is not by chance that 3 of those tracks are also included nine years after in a new library Umiliani's LP named Atmospheres). An essential album of easy-listening and experimental sound, necessary to

comprehend the richness of a genius of Italian soundtracks.

A compilation of film music from Croatian composer Alfi Kabiljo. For 'Sex, Crime & Politics: Cinematic Disco, Jazz & Electronica from Yugoslavia 1974-1984' release, Fox & His Friends Records owners Leri Ahel & Zeljko Luketic, spent over a year browsing through Kabiljo's sound archives, selecting and restoring his recordings for uniquely themed compilation of film music. This carefully programmed musical journey is focused on his love of classic disco beat, combined with funk, jazz and lush orchestrations, typical for the shady Zagreb nights, populated with detectives and unsolved crimes, worked up journalists and ladies of the 'oldest trade'. One of the films, Honeymoon (1983), labelled first soft-porn in Yugoslavia, caused scandal and critical backlash, but Kabiljo never seemed to bother with provincial morals. The score for Deps (1974), starring Bekim Fehmiu and Milena Dravic is also included, adding funk groove to the overall beat, while critically acclaimed The Journalist (1979) starring Rade Serbedzija and Milena Zupancic launched it into faster, danceable disco gear. The sum of six different films compiled here override its parts and make the continuous flow of one completely new and imaginary film called Sex, Crime & Politics. One might call it a socialist version of Bernard Herrmann's Taxi Driver. Alfi Kabiljo (born 1935 in Zagreb) is one of the few composers from ex Yugoslavia to work in Hollywood and to score films starring A-list actresses like Sharon Stone (Scissors, 1991). His early adoption of various musical styles and instruments led him to pioneering work with synthesizers and electronica, making him a first musician in the region to play with expensive Fairlight CMI machine in the 1980s. He conducted The National Philharmonic Orchestra in London for recording sessions for Sky Bandits score, 1986. Var?se Sarabande released it and included Alfi Kabiljo in its 25th Anniversary Celebration CD Box next to David Newman, Bill Conti, Alan Silvestri, Elmer Bernstein, Basil Poledouris, Hans Zimmer, Jerry Goldsmith, John Williams, Danny Elfman and Howard Shore. All tracks on the 'Sex, Crime & Politics: Cinematic Disco, Jazz & Electronica from Yugoslavia 1974-1984' release are transferred from the original master tapes. Research, selection and track programming was done by Fox & His Friends owners Ahel and Luketic, who continue to discover unreleased musical jewels and help to re-contextualise forgotten and neglected history of East European music. This collection comes right after the critical success of Socialist Disco - Dancing Behind Yugoslavia's Velvet Curtain 1977-1987 double LP for which Alfi Kabiljo also contributed one track. Sex, Crime & Politics: Cinematic Disco, Jazz & Electronica from Yugoslavia 1974-1984 features the music from the following films: DEPS (Deps, 1974) directed by Antun Vrdoljak and starring Bekim Fehmiu, Milena Dravic, Fabijan Sovagovic & Relja Basic; NOVINAR (The Journalist, 1979) directed by Fadil Hadzic and starring Rade Serbedzija, Fabijan Sovagovic, Stevo Zigon & Milena Zupancic; USPORENO KRETANJE (Slow Motion, 1979) directed by Vanca Kljakovic and starring Relja Basic, Boris Buzancic, Lela Margitic & Mia Oremovic; ZLOCIN U SKOLI (School Crime, 1982) directed by Branko Ivanda and starring Zlatko Vitez, Miodrag Krivokapic, Zdenka Hersak & Zarko Potocnjak; MEDENI MJESEC (Honeymoon, 1983) directed by Nikola Babic and starring Slobodan Milovanovic, Biserka Ipsa, Nada Abrus & Ksenija Prohaska; AMBASADOR (The Ambassador, 1984) directed by Fadil Hadzic and starring Miodrag Radovanovic, Elizabeta Kukic, Voja Brajovic & Inge Appelt. 2019 Fox & His Friends

Sucker Punch is a 2011 dystopian fantasy steampunk action thriller film directed by Zack Snyder and co-written by Snyder and Steve Shibuya. Music becomes the backbone of the film. They used actual songs for Sucker Punch that would create suitable moods. Emily Browning did the vocals for the songs “Sweet Dreams”, “Asleep” and “Where Is My Mind” that are played during the movie.

Sucker Punch: Original Motion Picture Soundtrack contains nine tracks, all covers, remixes, and mash-ups or rather “wildly re-imagined versions of classic songs” of tracks by Alison Mosshart, Björk, Queen, and performances from stars Emily Browning, Carla Gugino, and Oscar Isaac. The covers on the album are produced by Marius de Vries and Tyler Bates. Sucker Punch: Original Motion Picture Soundtrack was considered one of the best soundtracks of 2011, reaching number twenty-two on the Billboard 200, and number 1 in the Top Soundtracks chart.

Limited Edition, Picture Disc

- All Songs are New and Exclusive Recordings to this LP and the Movie. The inside of the album features Rare Photos of the Record Session.

Collector first-ever and worldwide release of the original soundtrack of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, (2019) about the legend Robert Mitchum, directed by the famous photographer Bruce Weber (Let's Get Lost about Chet Baker). Soundtrack directed by Bruce Weber, on a 33 rpm with gatefold, mastered by Translab Mastering. Limited to 600 copies.

Vital Sales points

The exclusive release of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, about the film legend Robert Mitchum, immortalized by the eye of phographer Bruce Weber.

Directed by Bruce Weber himself, the soundtrack includes melancholic and jazzy unissued tracks performed by Robert Mitchum, along with the performances of Marianne Faithfull, Rickie Lee Jones and Dr. John.

Score entirely mastered by Translab Mastering.

Sleeves designed by Nathan Kilcer. Printed inner sleeves with stills from Bruce Weber.

Limited edition, 600 copies.

Lounge is the third in a series of five double vinyl releases that bring together some of Ennio Morricone’s greatest soundtrack music. Each collection centres on a different movie genre, together they allow the listener to rediscover the unmatched genius of the greatest movie composer of all time. The Maestro. This collection was announced before Ennio Morricone passed away on July 6, 2020. We’ll continue to release the series to honour this great composer.

The term Lounge Music is not one that Ennio Morricone would have heard at the time he was composing these pieces for the movies that they enhanced, but it is one that has been retrospectively applied to a certain type of music, and it is a style that Morricone has contributed a great deal towards.

Lounge is available as a limited edition of 3000 individually numbered copies on solid orange vinyl. The package includes a 4-page insert with liner notes written by Claudio Fuiano. The gatefold sleeve contains a velvet spot varnish on the outside and images of iconic movie posters on the inside.

12′’ Maxi SP with original exclusive artwork by artist Paul Shipper, for the 40th anniversary of the motion pictures Mystery Men, directed by Kinka Usher, starring Ben Stiller, Hank Hazaria, William H Macy, Paul Reubens and Geoffrey Rush. A true collector’s item for any fan of this cult film, which saw a new generation of comedians led by Ben Stiller take the power over Hollywood, and which way ahead of its time invented the super heroic comedy genre, years before Guardians of the Galaxy or Shazam. This Maxi SP features the original song All Star by Smash Mouth. The song was used for the first time ever for Mystery Men original soundtrack. The song would soon after become a worldwide hit (and later an internet meme) when featuring to the movie Shrek Vital Sales Points: Artist Paul Shipper has become a pillar of the revival of the painted artworks in the movie industry, after decades of photoshop excesses. He has created prestigious posters for Steven Spielberg’s Ready Player One, Marvel’s Avengers Infinity War, Disney’s Star Wars The Rise of Skywalker. Includes a printed inner sleeve. Pressed at only 500 copies

Known to some as La French, the epic crime drama The Connection is the critically acclaimed and stylish '70s-period crime thriller inspired by true events. We're absolutely thrilled to be releasing this absolute beast of a soundtrack, the ultimate cool compilation spanning four decades and featuring classic songs by The Velvet Underground, Blondie, Townes Van Zandt... it's hard to pick out highlights as there genuinely isn't a bad track on here.

The Max Richter / Dinah Washington track alone — an incredible mix of Washington's vocals from 'This Bitter Earth' and Richter's incredible composition 'On The Nature of Daylight' — is one of the best things you'll hear this year. Lykke Li contributes 'Jerome,' a fantastic '60s tinged pop song that sounds like a lost Phil Spector composition. On top of all that, add in a selection of incredible French pop — imagine if Starlord's Awesome Mix: Volume 1 had a European counterpart, it would be this album.

Following the release of Milton Nascimento’s Maria Maria, Far Out Recordings proudly presents Nascimento’s 1980 follow up. With the success of Maria Maria in 1976 behind them, Nascimento reunited with his writing partner Fernando Brant in 1980 to produce another ballet, ‘Ultimo Trem (Last train)’. This time, they chose to tackle a more contemporarily relevant subject, the impact of the closure of a train line that connected certain towns and cities in the North East of Minas Gerais to the coast. “The military government shut down the route and the whole region began to fade away,” explains Milton. “I love train rides” adds the composer, “But today there are almost no trains to Brazil. So when I go to the US and Europe, any time I can, I go by train. The longer the journey the better.”

Featuring much of the same all-star line-up as Maria Maria – including legendary Brazilian musicians Naná Vasconcelos, João Donato, Paulinho Jobim and members of Som Imaginário, amongst many others, like Maria Maria, the album holds what Milton himself considers to be the definitive versions of some of his most beloved tracks, including 'Saídas E Bandeiras' and 'Ponte de Areia'.

The title track, ‘Ultimo Trem’ – performed exquisitely by Zezé Mota with a choir and piano – is a mournful lament about the human consequences of the axed line. The ballet brought great media attention to the campaign against closure. “Most of Fernando’s lyrics have some political tone,” says Milton, “This one helped the area a lot because the politicians grew concerned about the subjects.”

Fernando’s and Milton’s shared passion for the sounds, smells and memories of trains, inspired the soundtrack for the production which premièred in 1980. ‘A Viagem (The trip)’, launched with a train’s steam whistle, sees Milton’s guitar moving to a train’s rhythm. In contrast to the usual lyricism, ‘Bicho Homen (Beastly man)’ and ‘Decreto (Degree)’ are atypically upbeat and funky, their vocals a mesh of wordless male voices resembling the then fashionable Swingles Singers’ renderings of Bach. ‘E Daí? (And so what?)’, and ‘Olho d’Agua (Water’s Eye)’ were both drawn from ‘Clube Da Esquina’. ‘Olho d’Agua’ is mellow and delicate and Milton’s homage to the great voices of Brazil whilst ‘E Daí? (And so what?)’ is a stunning mosaic of voices. The unusual ‘O Velho (The Old Man)’ conjures up an image of an old shaman singing alone into the wind against the cries of nature. Perhaps the most affecting songs are Nascimento’s ‘Itamarandiba’ and ‘Oração (Prayer)’. The latter is a cry for a change in the situation whilst ‘Itamarandiba’ ends with an upbeat, whirling Hammond organ and guitar timepiece. The closing track ‘Ponta de Areia (Sand Edge)’, was based on one of Fernando’s newspaper stories and became one of Milton’s most famous pieces, covered by musicians across the planet, including Wayne Shorter and Earth, Wind and Fire. It reappeared as a ghostly 45-seconds memory on the ‘Milton e Gil’ album, his millennial collaboration with Gilberto Gil.

After 27 years of being locked inside contracts and record company legalities, these sublime songs were finally released in 2003 as a double CD package, along with Maria Maria. Set for its first ever vinyl release for this year’s Record Store Day, on limited edition red vinyl, Ultimo Trem sounds as fresh and relevant now as when Brazilian music was still a South American secret.

A Quest Called Tribe begins with a series of portraits drawn by Stéphane Carricondo in
2017 dedicated to Hip-Hop legends. As close partner in art Medline proposed to create a
soundtrack for them, and first interpreting ATCQ's classics with elements of the past,
present and future. The best way to materialize this multidimensional tribute was obviously
a vinyl. And it's the one we unveil today.
On the visual side, ATCQ's portraits are composing the front cover and, assembled into a
great scene, are printed on a colorful A2 poster. Stéphane Carricondo's natural lines are
highlighting each member's soul map. The alchemy of the dark ink on emptiness gives to
them an impressive sparkle of life.
On the musical side, the classic themes are transformed into a polymorphic fusion, were
jazz, funk and soul from the original sample sources converse with Tribe's characteristic
beats. Medline added a hint of his magic, unique rhythms, improvisations, arrangements,
original orchestration and inspired melodies.
The album is an ode to the band that marked both artist's life and mind. A cultural print and
school of sound that designed Hip-Hop foundations. With a blooming expression Medline
and Stéphane Carricondo are going to the roots of ATCQ in a quest for the tribe.

Lustmord is a Welsh electronic musician, composer and sound designer based in Los Angeles. Active since 1980 he has released a prolific body of work across various labels such as Touch, Hydra Head and Blackest Ever Black. Often credited for starting the dark ambient genre with his ‘Heresy’ album in 1990, Lustmord’s music has been described as sweeping and profound, a vast dreamlike soundscape that utilises organic and real-world scenes as source material. Lustmord albums have been made from caves, crypts, car crashes, cosmological activity, the Los Alamos National Laboratory and the site of the first ever nuclear detonation. Lustmord and Cargo Records are happy to announce the launch of Vaultworks. Originally an imprint intended to release short editions of live CDs at his live shows, it is now launched as a wider platform for his work in general. Kick starting a planned series of new releases and reissues is the first time Vinyl and CD release of his soundtrack to Paul Schrader’s 2017 film First Reformed, starring Ethan Hawke, Amanda Seyfried and Cedric Kyles. The release features extended versions of the score formatted as a standalone album. The double vinyl edition includes an extra track “Venice” which was featured at the Venice Film Festival red carpet event. The CD edition has tracks formatted to crossfade into each other for a continuous listening experience.

Svart Records is proud to present the original soundtrack to the supernatural thriller series Requiem! Debuted by BBC One in the UK and NETFLIX globally, psychological horror series Requiem became an instant hit, not least because of it’s haunting, spine-tingling score. Conjured by award-winning composers Dominik Scherrer (The Missing, Ripper Street & Marple), and Natasha Khan of Bat For Lashes, Requiem is an eerie landscape of sharp, scraping cello, soothing harps and tense string sections. From the urban uncanny to folk horror, there is a distinct atmosphere in the fresh collaborative dynamic between the British-Swiss decorated grandmaster of unique television series soundtracks Scherrer, and the rising enigma of alt-pop, twice Mercury Music Prize-nominated singer/songwriter Khan. Of their alchemical and otherworldly creative chemistry, composer Dominik Scherrer recalls: “Natasha Khan and I spent some weeks in my studio in Brick Lane, coming up with themes and recording outlandish vocals and terrifying sounds. There is a cheeky element to the show, as well as a genuinely scary one. Together with a pastoral spookiness of the cello and strings themes started to give Requiem its own unique atmosphere. We experimented with deviant playing techniques and unconventional recording approaches, to complete a moody air of retro horror and pastoral spook.” Available for the first time on CD and LP, this highly celebrated “spooksome” score harkens back to the 1970s lo-fi soundtracks from BBC’s Radiophonic Workshop or 1970s horror soundtracks. Winning an Ivor Novello award for the “Best TV Soundtrack” in 2019, Requiem is a one of a kind treasure, now rightfully preserved and beautifully presented on lush vinyl and CD format by Svart Records. “Requiem promises much, not least in way of sound. Nominally just another spooksome BBC tingler – old castle in Wales, birds flying into windows, locked room, pagan symbols, creepy locals – it is rendered a whole cut above by not having the heroine’s every move into peril foreshadowed by dissonant eek-eek string” (The Guardian)

Sublime, unique, sexy and peculiar unreleased scores by electronic and jazz pioneer Ron Geesin, made for the sublime, unique, sexy and peculiar films by maverick director Stephen Dwoskin. There. we’ve said it. And if you have not heard of one or either of these two dudes it doesn’t really matter. Geesin made great music and worked with Pink Floyd. Dwoskin made odd films, most of them are in the BFI permanent collection. They are great and a bit strange.
These superb unreleased soundtracks come from a fascinating, progressive and important period in British film history. They represent an intriguing collaboration between the lively Ron Geesin from Scotland and the American Stephen Dwoskin, who both met in London.
Musically they are minimal, charismatic and quite groundbreaking. Here is the story…
HISTORY:
Steve Dwoskin arrived in London in 1964, aged 25, with several 16mm films in his trunk, shot in the cold-water flats of Greenwich Village. He had been on the fringe of the Factory scene, and some of his films starred Beverly Grant, ‘the queen of the underground’. But they had scarcely been seen, and they didn’t have soundtracks. For almost a year they stayed in the trunk, and stayed silent. Then he met Ron Geesin, somewhere around Portobello Road.
‘Slept last night, completely dressed after working over 12 hours on sound tracks at Ron’s,’ wrote Dwoskin in his diary for 29 July 1965. ‘My films are not anywhere near being anything. I need more energy, more concise and positive ideas and less inhibition. And of course space, money and people.’ Dwoskin, who taught and practised graphic design by day, had recently decided to stay in London beyond the term of the Fulbright scholarship that had brought him there.
Ron, living with Frankie in a basement flat in Elgin Crescent – they would marry the next year, with Dwoskin as best man – was about to leave the Original Downtown Syncopators, the trad jazz band he had joined aged seventeen-and-a-half, and was trying to go solo. On stage he would make vigorous use of piano and banjo; at home Frankie had bought him a new kind of instrument – a tape recorder. ‘Soon I had one tape recorder, two tape recorders, three tape recorders.’

Ron, wrote Dwoskin in his unpublished autobiography, ‘loved to record, and to cut and splice the quarter-inch recording tape to make new sounds. This triggered in me the idea of getting back to my films and finishing them’. Soon he was living in a dank basement in Denbigh Road, a few minutes’ walk from Elgin Crescent. Ron’s soundtracks for Dwoskin’ films, recorded in the Geesins’ flat, encompassed Ron’s very eclectic range of styles – madcap piano and fretted banjo as well as tape manipulation.
Aside from Ron’s soundtracks, some of which belong to films that no longer exist (including Pot Boiler), Frankie would act in one of the films that Dwoskin either lost or never finished during these years. He was disabled, having contracted polio as a child, and Ron and Frankie were both carers and collaborators; Ron had met him when he was struggling into his car.
There was no London equivalent to the underground film scene that Dwoskin had known in New York, and his films remained unseen until such a scene began to come into being, in the autumn of 1966. Some of them made their debut at the Mercury Theatre, near Notting Hill Gate, that September. Dwoskin wrote that Alone, starring Zelda Nelson (from Ron Rice’s Chumlum), and Chinese Checkers, with Beverly Grant and Dwoskin’s friend Joan Adler, went over best.
Soon both Dwoskin and Geesin became involved in the nascent London Film-Makers’ Co-op, which put on screenings in Better Books on Charing Cross Road – ‘if you can call them screenings,’ Ron recalls; ‘I’d call it fifteen blokes in various stages of disarray, peering through the smoke’. One or more of the films had been ‘striped’ with magnetic audiotape; with others ‘we had no means of direct syncing to the picture, so he started the film and I started the tape recorder’.
In the same autumn, Dwoskin moved into a flat almost opposite the Geesins on Elgin Crescent. More collaborations followed, including Naissant, on which Gavin Bryars, whom Geesin had met during a stint on the northern club circuit with novelty act Dr Crock and His Crackpots, played double bass.
Around the end of 1967 Geesin released his first solo LP, A Raise of Eyebrows, and Dwoskin won recognition the Fourth Experimental Film Competition, aka EXPRMNTL 4, an occasional film festival staged at Knokke-le-Zoute in Belgium. By now the films had optical soundtracks.
It was only after this that Dwoskin completed his first ‘British’ films, including Me Myself and I, with Barbara Gladstone, an American dancer who had appeared in Barbara Rubin’s Christmas on Earth, and with whom Dwoskin and Geesin had at one point devised a stage show, never produced. For Moment, a single-shot film, Geesin provided his most experimental score yet. At the time of its debut in 1970, Dwoskin and the Geesins were sharing a house in Ladbroke Grove.
By then, Ron was working with Pink Floyd, and soon afterwards he and Frankie moved out to the country, to be replaced by Bryars both in the house and as Dwoskin’s principal collaborator.
Until now these scores have remained part of the Geesin Archive and have never been issued.

Apollo: Atmospheres & Soundtracks was written, produced and performed by Brian Eno together with his brother Roger and Daniel Lanois. The music was originally recorded in 1983 for a landmark feature-length documentary, For All Mankind, directed by American journalist, film director and screenwriter, Al Reinert. The film featured 35mm footage of the Apollo moon landing with real-time commentary as well as the Apollo astronauts sharing their recollections of the momentous events surrounding it.

A remastered, extended edition of the album will be released on July 19 in celebration of the 50th Anniversary of the Apollo 11 moon landing. This very special anniversary edition – Apollo: Soundtracks & Atmospheres Extended Edition features the original album remastered by Abbey Road’s Miles Showell as well as an accompanying album comprising of 11 new instrumental compositions reimagining the soundtrack to For All Mankind.

The music from the original album is highly recognisable and tracks from it have been streamed in excess of 300 million times. Since its release many of the songs from Apollo have found a life of their own, making their way into any number of films, television shows and commercials, most notably Trainspotting, Traffic, 28 Days Later, Drive and Love. “An Ending (Ascent)” was also used in the 2012 London Olympics Opening Ceremony.

Brian Eno & Daniel Lanois produced the original Apollo album which was recorded at Daniel and his brother Bob’s studio in Hamilton, Ontario. Lanois also collaborated with Eno on several other projects, most famously producing several albums for U2 including the multi-platinum The Joshua Tree, Achtung Baby and No Line On The Horizon. Apollo was the first recording experience for Roger Eno who also went on to collaborate on a number of other films with and without his brother and was the springboard to a long solo career of his own. The 11 new tracks on Apollo Extended Edition find Brian Eno, Daniel Lanois and Roger Eno working collectively for the first time since the original album in 1983. Lanois contributed 3 compositions – Capsule, Last Step From The Surface and Fine-grained while Roger Eno’s are Waking Up, Under The Moon and Strange Quiet.

Rock of Ages is a 2012 musical comedy-drama film directed by Adam Shankman.

Starring country singer Julianne Hough and Diego Boneta lead an ensemble cast that includes Russell Brand, Alec Baldwin, Paul Giamatti, Catherine Zeta-Jones, Malin Åkerman, Mary J. Blige, Bryan Cranston and Tom Cruise.

Rock of Ages tells the story of small town girl Sherrie and city boy Drew, who meet on the Sunset Strip while pursuing their Hollywood dreams. Their rock 'n' roll romance is told through the heart-pounding hits of Def Leppard, Joan Jett, Journey, Foreigner, Bon Jovi, Night Ranger, REO Speedwagon, Pat Benatar, Twisted Sister, Poison, Whitesnake and more.

The soundtrack peaked at No. 5 on the Billboard Top 200 and debuted at No. 1 on the Top Soundtracks chart, making it the second best-selling soundtrack album of the year.

Black Vinyl, Lenticular Jacket! As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (VICE). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. The exclusive limited-edition jacket with a lenticular cover which gives depth and movement to its 3D-rendered image. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set. Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

With their charming look of exploitation LPs, Sexedelic's Sexedelic and it's 'brother' album The Vampires' Sound Incorporation's Psychedelic Dance Party (also reissued on Wah Wah as LPS185) hide the joint works of German composers Manfred Hübler and Siegfried Schwab that were used on three classic 1970 b-movies directed by Spanish film maker Jess Franco:
· Vampyros Lesbos
· The Devil Came From Akasava
· She Killed In Ecstasy
Besides the film director and the soundtrack composers, these three films also shared the presence of Spanish actress Soledad Miranda.Manfred Hübler's work, other than the one appeared on these three films, remains pretty unknown - although prior to partnering with Siegfried Schwab he did soundtracks for several other films and TV series from 1966 through 1969, among them Intercontinental Express (TV series, 12 episodes in 1966), Code Name Is Kill (1967), Polizeifunk ruft (TV series, 6 episodes in 1968), Der Partyphotograph (1968) and The Butterfly (1970).

Siegfried 'Siggi' Schwab, on the other hand, has an extense career with hundreds of recordings, including soundtracks and records, and is also known as a key member in albums by krautrock bands like Et Cetera or Embryo (his guitar pyrotechnics are big part of the personality of their Father, Son and Holy Ghosts LP which was also reissued on Wah Wah some years ago).

Original copies of these LPs could be found for next to nothing in European flea markets until the mid 1990s, when Lucertola Media compiled them both on the 3 Films By Jess Franco CD. The amazing sounds that mixtured jazz pianos, easy listening brass section, psychedelic fuzz guitar, pop harpsichord lines, exotic sitar, and funky bass & drum beats were rediscovered and given new life when a compilation LP featuring the grooviest tracks from both albums was an instant hit which ran high in the alternative music sales charts.

The legend grew when 'The Lions And The Cucumber,' opening track from The Vampires' Sound Incorporation's LP, was picked by Quentin Tarantino and given mainstream exposure on his third film Jackie Brown (1997), starring Pam Grier, Robert Forster, Robert de Niro, Samuel L. Jackson, Bridget Fonda and Michael Keaton. The 'Vampyros Lesbos sound' became a classic, awakening also new interest on the movies themselves which have been also issued on DVD since then. The music of Hübler and Schwab has also been sampled and revisited by many artists.

Since then, original copies of The Vampires' Sound Incorporation and Sexedelic LPs fetch small (and not so small!) fortunes in the collector's market. Now, for the first time, the original albums from which all these amazing tracks were taken from are reissued in its original complete tracklists and sleeve artwork. Owning these two LPs is the only way to have in vinyl format all the original material issued by Hübler and Schwab - all previous reissues omit tracks from the original LPs.
Now, for the first time ever, these extremely sought after LPs get a straight reissue in their original artwork, expanded with the inclusion of an 8-page full colour booklet that includes many photos and liner notes.Made in a limited edition of 1000 copies. Get yours before it's too late!

French label Plaisir Partagé, run by Master Phil, is proud to announce a new release by Domotic aka Stéphane Laporte, known for his work in the french soundtrack field and for his two albums on Antinote.

After "Smallville Tapes" released on Gonzaï Records and the two volumes of Fourrure Sounds on Antinote under the name Stéphane Laporte, Domotic returns with a soundtrack of a short film by Sébastien Auger, Friendship without Love.

A tasty mix of soundtracks à la John Carpenter, sound illustrations Roland Bocquet-esque, and even a hint of Synth pop.

A moment comes when you stop dreaming, start living and discover your destiny.

Based on author James Thurber's fantastical 1939 short story of the same name, the 2013 big screen rendering of The Secret Life of Walter Mitty features Ben Stiller directing and starring in the role of a day-dreamer who escapes his anonymous life by disappearing into a world of fantasies filled with heroism, romance and action. When his job along with that of his co-worker (Kristen Wiig) are threatened, Walter takes action in the real world embarking on a global journey that turns into an adventure more extraordinary than anything he could have ever imagined.

The music that accompanies those reveries reflects the actor's innate quirkiness. Film score composer Theodore Shapiro has been the go-to guy for movie comedies starring the major comic actors of the early 21st century, including Ben Stiller, Will Farrell, and Owen Wilson. Shapiro has scored numerous films, including Old School, Starsky & Hutch; The Devil Wears Prada and Blades Of Glory.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE / INSERT
- PVC PROTECTIVE SLEEVE
- FEATURING JOSÉ GONZÁLEZ
- FIRST PRESSING OF 750 NUMBERED COPIES ON
WHITE & BLUE MIXED VINYL

Limited edition of 300 copies of Natureboy Flako's all new 4-track EP "Besito".

Dario Rojo Guerra aka Natureboy Flako is set to release a unique musical room shaker. Picking up the energy of productions such as “Kuku” from his debut album, these four new banging tracks invite to dance and have fun while bouncing them out loud. The title track “Besito” is carrying a sincere message of love with an unmistaken production quality, also found on his previous release entitled “Theme For A Dream” which explores the boundaries of music, science and spirituality. His rather unpredictable but inspiring output will be continued with a full length album of library-like songs & soundscapes which is set to be released before summer also. But for now level up the energy and enjoy singing along to “Besito”.

“WOW I’m happy you are still making such incredible heat! I actually lost my fucking mind as well as the rest of the club.” - Gaslamp Killer

Holy shit! If it isn’t three unheard 1960s and 1970s reels from the unreal and unreleased Basil Kirchin Tape Archive. Sublime pastoral jazz, autistic children screaming, spooky vocals, experimental tape manipulation and more from the master of such thing.

HISTORY:
The three parts of this new Basil Kirchin album come from three very different tapes from his archive. All parts were unreleased until now.

“Pat’s Pigs” actually sounds to me like a Basil bird recording, slowed and treated, mixed with simple improvisation. But it could well be pigs. Pat’s pigs. This whole tape recording may have been an early experiment towards what was to become Worlds Within Worlds Parts I and II. A lot of Basil’s work was headed in that direction.

“Electronic” – first of all this is not that electronic. There are elements of the classic Kirchin drone sound here, mixed with multiple and treated recordings of the autistic children of Schurmatt, along with Esther, his wife, singing. I remember speaking to Basil many years ago about his Schurmatt recordings. Esther worked as a nurse with the children, Basil got to know many of them, and became fascinated by the extreme musical noises they would make with their voices. This recording is not necessarily for the faint hearted, but makes for extraordinary listening, based on the fact this would have been made and mixed, simply as a classic and progressive Kirchin experiment, back in the late 1960s/ early 1970s. This also has untreated elements that would eventually contribute towards Quantum, his preferred version of the W W W concept.

“The Suspended Fourth” comes across like a soundtrack, so it could well be part of what Basil called his “imaginary film music period”. It has a very distinctive and pastoral Kirchin style leitmotif that repeats along its glorious and slightly disturbed 21 minutes. It’s very well produced, possibly built up and improvised over a few days, could well have been an experiment, a pitch or just something that had to come out in the groovy studio. The tape itself states that this is The Suspended Forth with a subtitle: “The Musical Study Of A Mind, Part 1 Schizophrenia”. It therefore could even be something to do with a soundtrack he was asked to make for a mental heath conference for psychiatrists at Earls Court in the late 1960s (see States Of Mind, JBH005LP – the British jazz musical line seems like it could well be the very same). But who knows for sure? I shall continue looking in the archive for other possible parts.

Before I go, the original title for this album and the artwork come from an empty tape box in the archive, which I think sums up all sorts of things about Basil, his awesome music and the tape archive all at the same time.

More reel discoveries will follow. Thanks for listening as always.

Groovy funk, cosmic sitar beats, psychedelic flangers and chilled balearic disco songs produced by Austrian producer Gerhard Heinz in 1980! This album is a real surprise and going to be an awesome release for all fans of rare soundtracks, porn Disco, Jess Franco movies and obscure DJ tracks. The ridiculous German title of this soundtrack by Gerhard Heinz is already a reason for buying the vinyl: Lolita Am Scheideweg :) aka 'Eugenie (Historia de una perversion) - Spain' and 'Wicked Memoirs of Eugenie' US/international. This is the original porn B-movie soundtrack of the rare video nasty by Jess Franco. Soundtrack never before released on vinyl. Including poster, bandcamp download, sticker.

Incognito and Insanely rare robust synth head nodder liberated from the ghettos of Italian XXX rated cinema. Limited edition of 500 copies

Seven lucky years since Finders Keepers released the mesmerising theme tune to Renato Polselli’s truly bizarre psychedelic horror film The Resurrection Of Isobel the label has been taking it’s next step into the director’s controversial filmography with caution. Let’s make no bones here, as the title clearly suggests, Revelations Of A Psychiatrist On The World Of Sexual Perversion is an XXX rated film, where most of the drama happens below the belt - although it would be unfair to say it was totally without its artistic merit. When making this highly theatrical Mondo exposé into the closeted kinks and private pleasures of 1970’s Italy even Renato himself decided to go under a nom de plume (hello Ralph Brown) shielding his career as a semi-serious director from titty bar tarnish and, when probing the annals of the films history, it seems that he wasn’t the only one. On hearing the opening titles to this film the soundtrack has got Finders Keepers splattered all over it; a robust synth bass line (not unlike Will Malone’s Death Line soundtrack), some mysterious Marxophone shimmers, dripping electronics and a head nod drum beat with more open chokes than an auto-asphyxiation addict, If you choose to witness the on-screen antics that occur afterwards then that’s your choice, but, honestly, we only came for the music... repeatedly.

To be fair, if it wasn’t for the typical Italian soundtrack smokescreening and alter-ego name games we might not have needed so many repeat sittings and after settee summers spent searching for master-tapes we finally attached Polselli’s most titillating title to one of the most elusive Italian B-sides of all time. Arranged by Gianfranco Reverberi, based on a blues number by Umberto Cannone, credited to Romolo Forlai and released on the back of a painfully elusive single under the name of Sharon Chatam to promote a totally unrelated film, the hiding place for this incredible theme tune is cut deeply into black Italian vinyl preserved by fastidious collectors where flighty sleaze cinema production companies failed.

For a film that at one point was considered lost for eternity (until a rare 16mm collectors’ print surfaced), Finders Keepers are excited to finally source and liberate this incredible music (alongside another heavy psych cut from a decidedly explicit sense Set in an Underground nightclub) uninhibited, proud and loud for your sleazy listening pleasure. Deletes history.

This classic funky blaxploitation soundtrack rarity is one of the toughest soundtracks to come from the early '70s' Black action cinema movement.

Produced by the legendary Johnny Pate a master of Funky score.

Dynamite Cuts unleashes 4 gems culled from the original album, and now for the first Time on the 45-vinyl format.

Club classic "You Can't Even Walk In The Park", “Shaft in Africa “, “Truck stop” and El Jardia.

This is one of the most blistering jazz funk soundtrack cuts around.! A frenzy of horn stabs, with percussion and wah wah guitar

...all topped off with everlasting classic drum breaks!

Yet another collaboration between Sandro Brugnolini and Stefano Torossi, who also worked together on the masterpiece "Feelings". "Musica per commenti sonori" consists of twelve amazing tracks that will excite lovers of the wildest funk, producers in search of rare breaks, and those with a penchant for the psycho-beat atmospheres of the sixties. One of the rarest library music releases ever, that's never been re-released in any form until now!

To complete the the Orgasmo/Paranoia soundtrack set, Four Flies adds two songs to the cake (both not included in the LP version released today).

An alternate take of Lydia MacDonald's "Fate Had Planned So", more rhythmical and dynamic than the one used for the titles sequence, and the soul hit "Just Tell Me", sung by the American Wess, and performed by his Airdales. The song is heard repeatedly in "Orgasmo", but it's also used in the following film, "A Quiet Place to Kill", when Jean Sorel and Carroll Baker dance it in discotheque.

A Fantastic funk-soul stomper, and a perfect tune to dance.

Ultra limited Edition of 300 copies.

Four Flies digs harder and deeper! This missing soundtrack by Piero Umiliani par excellence, and considered by many to be lost, is finally fully recovered on six master tapes which contain the original complete recording sessions!

"Orgasmo" (better known worldwide as "Paranoia") is the first chapter of the famous giallo trilogy that Umberto Lenzi filmed starring former "Baby Doll" Carroll Baker, depicting a story of diabolical lovers and shady intrigues which reechoed certain morbid atmospheres with which Henri-Georges Clouzot tried his hand with his "Les Diaboliques" (1956). Co-starring Lou Castel – who starred in "Fists in the Pocket" and other 'committed' films, and therefore was considered a rebel, and the young Colette Descombs, who often steals the scene from the main actress, Baker.

Recorded just after "Sweden, Heaven of Hell", when Umiliani had taken a definitive step into the golden phase of his career and reached the top of his compositional skills, the "Orgasmo" score is an actual gem of grace and elegance - a manifesto of seduction that constitutes one of the main assets for Lenzi's film.

With this work, Umiliani managed to perfectly capture the film's morbid side, psych(edel)ic deliriums, and pop ambiance. Some of the music's attributes, such as Alessandro Alessandroni's and his wife Giulia's vocal work, or the major role played by Antonello Vannucchi's Hammond organ, foreshadow the atmospheres of "Five Dolls for an August Moon."

The whole film score shines with an unusual light for a thriller, and reverberates with the light and brilliance reminiscent of Brazil's music, such as wonderful and inspired bossa nova or samba-jazz versions, with which the main themes were arranged.

On top of that, the sublime Lydia MacDonald sings the superb title track, "Fate Had Planned It So." A more rhythmical take on this track, along with the dancing soul tune "Just Tell Me", sung by Wess, comes alone with a new 7'' limited edition, available in 300 copies (both songs are not included in the LP version of the soundtrack).

Another piece of Piero Umiliani's outstanding musical legacy is finally now ready to shine again!

[a] 1 Fate Had Planned It So (film version) [feat. Lydia MacDonald]
[b] 2 Orgasmo - M5 (jet-set) [feat. Giulia De Mutiis]



[f] 6 Orgasmo - M27 (psychedelic trap) [feat. Alessandro Alessandroni & Giulia De Mutiis]


[i] 9 Orgasmo - M46 (hammond valzer) [feat. Lydia MacDonald]


[l] 12 Orgasmo - Seq. 6 (psychedelic suspense) [feat. Giulia De Mutiis]

Four Flies is pleased to introduce for the first time on vinyl another top level score for the Italian slasher/crime flick directed by Sergio Martino, "The Suspicious Death of a Minor" (Morte sospetta di una minorenne).

Perhaps the best Luciano Michelini score ever (a composer well-known to Italian soundtrack enthusiasts for his famed RCA works - "Anna - Quel particolare piacere" and "La conquista di Luna"), and for sure one of the toughest of the whole genre.

The main theme echoes certain passages from Goblin's "Deep Red" - recognizable by the use of the same church organ located in the historic Ortophonic Studio in Rome in 1975, only a few months after Claudio Simonetti's hands played it for Dario Argento's masterpiece. That said, the entire soundtrack sounds somehow "Goblinesque", thanks to the prog-rock & funk action themes that are used for chases, murders, and suspense scenes.

Remastered from the original reels preserved in the C.A.M. archives, this vinyl edition features new LP editing, and is housed in a hard tip-on sleeve with a stunning artwork designed by Luke Insect.