Pop & Rock Новости

"Diva", Jean-Jacques Beineix's first film became a cult classic movie such as this soundtrack internationally acclaimed which received several awards and numerous gold records.

For the opera sequences in "Diva" Vladimir Cosma re-orchestrated "La Wally", a previously unknown work by Alfredo Catalani with the aria superbly sung by Wilhemenia Fernandez who acted in the movie.

The emotional relationship between a young postman and the diva is enhanced by "Sentimental Walk", a piano solo, pure in its simplicity of line and reminiscent of the Erik Satie's "Gymnopedie". The versality of the composer is discovered in the mystical music accompanying various scenes in the film, such as his research of Tibetan chant and exotic instruments bringing a mysterious atmosphere to the film.

This CD presents the entire musical score as well as "Le Chien de Monsieur Michel" a nostalgic valse musette using a dance-hall piano, accordion and tuba with a constant reassuring carousel movement yet secretly underlying Monsieur Michel's solitude...

The bonus track features a recording of Sentimental Walk done by the composer with Chet Baker...

LP (+ FREE CD WITH BONUS TRACKS + d/l code)

The Second album by Big Funk Factory D-Funkt! the soundtrack to the story Transaction Declined'.

The band's usual cast features amongst others Mat Johnson (Jamiroquai, Laura Doggit, Julian Perretta, Duffy)as The Nerdmeister General on keyboards. Wayne Nunes and Perry Melius (Tricky, Aswad, Billy Ocean) as That Tall Bloke and The Metrognome on bass and drums.

Michael Brown (George Michael, Chaka Khan, Leona Lewis) on guitar in the guise of The Widdler, Jodie Linscott (Just ... Everybody look her up on google) as The Lin Machine on percussion and Vanessa Haynes (Incognito, The Gorillaz, Van Morrison) and Janet Ramus (Shapeshifters, David Bowie, The Eurythmics) who are cast in the roles of Siren One and Two and feature on the track She wants what wants.'


Some notable guest appearances include Ernie Mckone (Galliano, Push, Candi Statton) as The Slightly Shorter Bloke whose bass features on Independent Street', Rob Hughs (ABC, Heather Small, Eddie the Eagle film soundtrack) in the role of Bobby Pop Sax and Tim Cansfield (The Bee Gees, Steve Winwood, Annie Lennox) who for the benefit of this album goes under the title Acoutico Fanstica. His fabulous Spanish guitar playing features on Only The Silent Survive'.


Fronted by Andy Wood Mitchell (The AM Band, Andy & The BigFunk, Andy & the Other One) the organizer of this musical menagerie revises his past role as Vocalist, Producer etc ...

The Music begins with a more electro funk vibe than the previous release but the introduction of live instrumentation later on brings the sound right back to the Funk base that was established in the band's first album Factory Sample'.

VERY LIMITED VINYL REPRESS : 300 only

This was only the second archive release (and the first on vinyl!) of a Doctor Who soundtrack after the Doctor Who 2005 British TV comeback, featuring a collection of 'special sounds' by British electronic composer Brian Hodgson.

Doctor Who - The Krotons is a 4 episode Doctor Who serial first broadcast in weekly parts
from 28 December 1968 to 18 January 1969.

Brian Hodgson was a member of the BBC Radiophonic Workshop and worked closely with Delia Derbyshire, the seminal figure of English electronic music. As the original sound effects creator for Doctor Who he was responsible for the chilling Dalek voices and the powerhouse sound of the Tardis lifting off.

Brian created The Tardis sound in 1963, running a back door key for his mother's house along the bass string of a dismembered piano and treating it electronically. The sound of The Tardis lift-off is still in use.

Brian comments: "I spent a long time in planning the Tardis sound, I wanted a sound that seemed to be travelling in two directions at once, coming and going at the same time."

The collection displays Brian's highly innovative techniques that, together with Delia Derbyshire's experiments in modes and tunings, became the staple of British electronica.

Original Artwork by Rich Kelly. 25th Anniversary. First time ever on Vinyl.

In collaboration with Howe Records, we're excited to announce celebrating the 25th anniversary for the score to Naked Lunch. Composed by three-time Oscar-winner Howard Shore collaborating with both jazz legend Ornette Coleman and the London Philharmonic Orchestra.

The soundtrack is a dazzling mix of a traditional Hollywood Orchestral score with incredible free jazz flourishes from Coleman , here he works with the London Philharmonic creating incredible textures over Shore's beautiful , edgy and moody orchestrations that recall Bernard Herrmann's work on Taxi Driver and occasionally lets loose without them (Bugpowder , Interzone Suite) backed only by his son Denardo on drums , these tracks are thrilling and offer a perfect counterbalance to the more measured tracks with the Orchestra, showcasing the incredible and fearless free jazz stylings that made him a legend.

Death Waltz Recording Company, in collaboration with Lakeshore Records are excited to bring you what is likely to be a future classic in the form of Ben Lovett's sophisticated electronic score to science fiction thriller SYNCHRONICITY. Starring mumblecore specialist AJ Bowen (YOU'RE NEXT) and cult hero Michael Ironside (SCANNERS), SYNCHRONICITY is about an inventor that creates a time machine and uses it to go back in time to stop the potential theft of the technology. Lovett's music recalls all the obvious candidates for these types of scores, John Carpenter, Vangelis, Tangerine Dream, but while he stands on the shoulders of giants he still manages to create something that exists on its own terms.

SYNCHRONICITY is all about immersion, the score wraps you up in it and massages your senses before taking you on a beautiful but dangerous journey. It feels like a dream, with Lovett's evocative soundscapes modulating and pulsating to augment the pervasive synth melodies. Much of it is ominous, foreboding - it flows between serenity and paranoia, but it always coheres into the kind of experience that is almost impossible to replicate. The future, the past, the present: they're all here, and SYNCHRONICITY feels both futuristic and timeless. It is what it is, a beautiful contradiction.

The mid 70s presented mature, fertile grounding for maestro Piero Uimiliani's Sound Workshop Studio, exploring side ways explorations in to gravitational soundscapes and beyond.... Released in 1975 via his prolific Omicron imprint, Genti e Paesi Del Mondo ('Peoples and Countries of the World') is a return to the ethnic flavours so beloved of Umiliani's zeitgeist. Umiliani turns anti-clockwise launching a left field mental audio pad to uncharted territories. On Genti e Paesi Del Mondo sparse, eerie electronic confections spar in unison alongside moody transgressional vibes. Umiliani's mysterious pathways unlock a trinket box echoing the Germanic stylings of Wolperath's Plank Studio and Herzog era Popol Vuh. This loving reissue recreates the original artwork, master tape Laquer cutting and Umiliani's autograph notes on the project.

Wymond Miles was raised in the working-class small towns of the American West. On Call by Night, the singer's latest widescreen opus, Miles masterfully evokes that lost landscape, all while grappling with issues of fatherhood, privacy, PTSD, violence, and dissipated romance. The album adds a critical new chapter to the Fresh & Onlys guitarist's story as an artist, and reasserts him as a major voice in contemporary songwriting. Call by Night sees Miles building a noticeably bigger sound than on his previous solo records, while simultaneously standing as his most intimate work.

It's a record explicitly written for the fidelity of the vinyl format, with louder songs beginning each album side and quieter songs at the interior. His attention to sequencing paid off, the album flows like a piece of classic cinema, and sounds like it's splashed across a drive-in screen in 70mm. Recorded using vintage gear by Phil Manley (The Fucking Champs, Trans Am) at El Studio in San Francisco and Miles' Garden Chamber home studio, the record is a treasure of tube-amp warmth, and a landmark in the songwriter's catalog. Miles wrote most of Call by Night on piano, and while the wall-of-sound guitar and cinematic synth playing that helped define his earlier efforts is still present, the beating heart of the songs is left more open thanks to his new method.

Where previous full-lengths were cloaked in distinct aesthetic choices, this record exists outside of any stylistic restraints. Divided in Two,' the lead single, considers dignity, class, honor, and father-son relationships through the devastating lens of PTSD, all set to a sardonic flag-waving waltz, with martial percussive bomb blasts. The title track explores the enduring aesthetic of British psych-folk. Other songs dip into the traditions of gospel music, sea shanties, and even big-box power ballads, using antique instruments and Miles' unique perspective on the modern world to forge a new collection of entries for the American songbook. Miles has said the songs on Call by Night mark his more definitive commitment to seek, listen, and give voice to an enduring muse.' If that's true, then the muse has obviously been singing to him loud and clear.

Wymond Miles was raised in the working-class small towns of the American West. On Call by Night, the singer's latest widescreen opus, Miles masterfully evokes that lost landscape, all while grappling with issues of fatherhood, privacy, PTSD, violence, and dissipated romance. The album adds a critical new chapter to the Fresh & Onlys guitarist's story as an artist, and reasserts him as a major voice in contemporary songwriting. Call by Night sees Miles building a noticeably bigger sound than on his previous solo records, while simultaneously standing as his most intimate work.

It's a record explicitly written for the fidelity of the vinyl format, with louder songs beginning each album side and quieter songs at the interior. His attention to sequencing paid off, the album flows like a piece of classic cinema, and sounds like it's splashed across a drive-in screen in 70mm. Recorded using vintage gear by Phil Manley (The Fucking Champs, Trans Am) at El Studio in San Francisco and Miles' Garden Chamber home studio, the record is a treasure of tube-amp warmth, and a landmark in the songwriter's catalog. Miles wrote most of Call by Night on piano, and while the wall-of-sound guitar and cinematic synth playing that helped define his earlier efforts is still present, the beating heart of the songs is left more open thanks to his new method.

Where previous full-lengths were cloaked in distinct aesthetic choices, this record exists outside of any stylistic restraints. Divided in Two,' the lead single, considers dignity, class, honor, and father-son relationships through the devastating lens of PTSD, all set to a sardonic flag-waving waltz, with martial percussive bomb blasts. The title track explores the enduring aesthetic of British psych-folk. Other songs dip into the traditions of gospel music, sea shanties, and even big-box power ballads, using antique instruments and Miles' unique perspective on the modern world to forge a new collection of entries for the American songbook. Miles has said the songs on Call by Night mark his more definitive commitment to seek, listen, and give voice to an enduring muse.' If that's true, then the muse has obviously been singing to him loud and clear.

Limited edition of 500 copies with thick cover and a digital download code.

Mario Molino, one of the few composers-guitarists in the fascinating world of library music, created this original soundtrack for a documentary movie produced by RAI, the Italian national TV, of sci-fi environments by blending fuzz, distorted and psychedelic sounds with Hammond organ, clavinet and electronic effects played by himself to merge into symphonic epochal moments. Of the 8 tracks that make up the album, many have Cosmic Krautrock moments.

INSIDE was recorded in 1975 in the then renowned studios Fonit Cetra of Rome. 'Tema spazio' introduces us to the ethereal galaxy before we get into the mysterious stars of 'Le pleiadi' where Molino's prog rock begins to take shape with fuzz guitar, drum breaks, deep bass and an orchestra to strengthen the melody with an approach similar to Luis Bacalov for New Trolls ("Concerto Grosso") and Rovescio della Medaglia ( 'Contamination"), but with spatial inspiration. 'Finale titoli' lends symphonic rock to blues moments; the eight minutes of "Tempesta" are definitely one of the most cosmic tunes where Molino, as well as the guitar, experiences a crescendo of electro-analog effects. 'Tecnologia moderna IIa parte' is an obsessive psychedelic guitar and drums loop that recalls the teutonic CAN.

Limited edition of 500 copies with Cinedelic glossy cover with title on cover in relief. Includes digital download code.

Originally released in 1973 on RCA, this obscure library music title was produced by Maestro Gianfranco Reverberi using the pseudonym of Ninety as previously done before for other records like Psycheground Group Library on Lupus and the 2 Underground Set releases. The style is different from the aforementioned LPs and is closest to the style of murky erotic cult soundtracks created for Renato Polselli (Delirio Caldo, Riti Magie e segrete orge nel Trecento, etc.) as 'Fire Shadows in the sunset" features congas, groovy piano, spacey synthesizers and vocals. It contains many other amazing tracks like "I've Got An Idea" which includes insane fat drums, hypnotic bass, trippy piano and beautiful phased flutes, or the jazz groove "Closed In a Drugstore', the uptempo funk "You're So Vain' (Carly Simon), the hip hop drum on the cover versions of 'Daniel' (Elton John, Bernie Taupin), 'Sylvia's Mother' (Shel Silverstein) and 'Vincent' (Don McLean), and the slow psychedelic cinematic lounge of 'Quel che non saprei dirti mai a parole'.

For those of us who long for the days when Dr. John smeared himself with face paint, wore impossibly large headdresses, and sang about gris-gris, gumbo ya-ya, and croker courtbullion, Anutha Zone is indeed a heartening development.

In the late 60s Dr. John was a visionary musical alchemist, working with psychedelic imagery and funky rhythms to nab the rock crowd, then plying them with spooky swampland mythology and raw Southern R&B.

On Anutha Zone, Dr. John digs deep into that murky musical well once again, with stunning results. John Gris,' Party Hellfire,' and Soulful Warrior' brilliantly fuse slow-burn grooves, sly musicianship, and Dr. John's elegantly gruff vocals, conjuring images of dark revelry down French Quarter back alleyways. This was the comeback of 1998, hands down.

The Music On Vinyl re-issue also contains the insert with a beautiful picture of the mystic man and credits information.

Music On Vinyl and Sony Classical celebrate THE TRULY UNFORGETTABLE VOICE OF FLORENCE FOSTER JENKINS on the occasion of the release of Stephen Frears new biopic starring Meryl Steep as the worst opera singer of all time.

For some time there has been wide demand for a reissue of this Florence Foster Jenkins album. Few artists ever gave such unalloyed pleasure as Florence Foster Jenkins. For years her annual recital at the Ritz-Carlton was a private ceremonial for the select few - her stubbornly loyal circle of clubwomen and the adventurous cognoscenti. Finally, on the evening of October 25, 1944, Madame Jenkins took the big step: forsaking the brocade atmosphere of a fashionable hotel ballroom, she braved Carnegie Hall.

The venue was sold out weeks in advance. Two of the numbers she performed that night are contained in this album, taped at private recording sessions of famous soprano arias some years earlier in New York's Melotone Studios. Thanks to these recordings, we can still enjoy the glory of a voice that, in a very peculiar way, has enriched the lives of many generations of music-lovers.

* Limited edition of 1000 first pressings

* First time ever as a standalone vinyl release

* Complete track listing and additional art


Originally released alongside the movie in 2002, the original motion picture soundtrack to Star Wars Episode II: Attack of the Clones' 13-track score from legendary composer John Williams has been remastered to maximize the recording's dynamic range.

Continuing with I Am Shark's innovative variant character color coordination, which saw the vinyl release of the Episode I soundtrack come in 5 different variations, the upcoming vinyl release of the Episode II soundtrack premieres fan favorite Jango Fett's own colored vinyl pressing (Silver / Transparent Royal Blue Mix).

Aside from beautifully colored vinyl and the eye catching imagery featured on the gatefold packaging, there are hints of a hidden surprise included in this album.

* Limited edition of 1000 first pressings in kelly green/opaque cyan 4-way split vinyl

* First time ever as a standalone vinyl release

I Am Shark is excited to celebrate Star Wars Day with the announcement of the upcoming limited edition vinyl release of the Star Wars Episode III: Revenge Of The Sith original motion picture soundtrack.

Available for the first time ever as a standalone vinyl record, the limited edition 1000 copy pressing keeps with I Am Shark's variant color theme found on their previous Star Wars vinyl releases, and is available in the General Grievous variant, an alternating mix of transparent kelly green and intense opaque cyan that emulate the fearsome quadruple lightsaber wielding cyborg.

Opening up the 2xLP gatefold jacket reveals an ominous photo of the newly anointed Darth Vader and The Emperor looking out at the face at the growing Empire at the conclusion of Episode III. This beautiful edition is simply a must have for Star Wars fans, vinyl hounds, and collectors alike.

Originally released on CD alongside the movie in 2005, the Episode III: Revenge of the Sith soundtrack features a score by five-time Oscar winner John Williams, who is also the composer and conductor of the score for each film in the 9 - chapter Star Wars saga. The score found on the Episode III soundtrack is decidedly darker than previous Star Wars prequel soundtracks, as the musical themes match the growing darkness woven into the story and the galaxy as the Empire consolidates its power at the conclusion of the prequel trilogy. Many of the heroic, anthemic themes woven throughout Episode Three: Revenge of the Sith will nonetheless be very familiar to any fan of the series, from the "Imperial March" to the main theme.

* 180 gram audiophile vinyl
* Including 4 tracks previously unreleased on vinyl
* PVC protective sleeve

West Side Story is the soundtrack to the 1961 film by the same name. All music is composed by Leonard Bernstein and lyrics written by Stephen Sondheim. When released, the soundtrack spent 54 weeks at No. 1 on Billboard's album charts, giving it the longest run at No. 1 of any album in history. Perhaps Michael Jackson's Thriller comes close, on the grounds that West Side Story was listed on a chart for stereo albums only at a time when many albums were recorded in mono.

In 1962, it won a Grammy award for "Best Sound Track Album - Original Cast" and Johnny Richards orchestrations of the movie score (on Kenton's West Side Story) also winning a Grammy in 1962 for "Best Large Ensemble Jazz Album" further bolstering the popularity of the movie and soundtrack. In the United States, it was the best-selling album of the 1960s, certifying three times Platinum in over two decades.

This At The Movies edition contains 4 previously unreleased tracks. The 2LP package is presented in a gatefold sleeve, housed in a sturdy PVC collector's bag.

West Side Story is the soundtrack to the 1961 film by the same name. All music is composed by Leonard Bernstein and lyrics written by Stephen Sondheim. When released, the soundtrack spent 54 weeks at No. 1 on Billboard’s album charts, giving it the longest run at No. 1 of any album in history. In 1962, it won a Grammy award for “Best Sound Track Album - Original Cast” and Johnny Richards orchestrations of the movie score (on Kenton’s West Side Story) also winning a Grammy in 1962 for “Best Large Ensemble Jazz Album” further bolstering the popularity of the movie and soundtrack. In the United States, it was the best-selling album of the 1960s, certifying three times Platinum in over two decades.

This At The Movies edition contains 4 previously unreleased tracks. The
2LP package is available as a limited edition of 1000 numbered copies
on solid yellow vinyl.

* The complete MY BLOODY VALENTINE (1981) film score debut
* Double LP featuring over one hour of music
* Pressed to two 180 gram opaque red vinyl records
* Liner notes by composer Paul Zaza
* Liner Notes by director George Mihalka
* Artwork by the ghoulish Gary Pullin
* Old style tip-on gatefold jacket with soft touch coating
* Printed inner sleeves

Praised by director Quentin Tarantino as his favorite slasher movie of all time, MY BLOODY VALENTINE (1981) tells the story of a small mining town and it's residents that fall victim to a vengeful, homicidal maniac on Valentine's Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009. By working directly with composer Paul Zaza (Prom Night, Curtains, Porky's), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been released in any format.

The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 180 Gram opaque blood red vinyl records.

Waxwork Records is proud to announce the new double LP soundtrack release of MY BLOODY VALENTINE (1981). Praised by director Quentin Tarantino as his favorite slasher movie of all time, MY BLOODY VALENTINE (1981) tells the story of a small mining town and its residents that fall victim to a vengeful, homicidal maniac on Valentine’s Day. The film has garnered a cult following and has also sparked a major-studio remake in 2009.

By working directly with composer Paul Zaza (Prom Night, Curtains, Porky’s), Waxwork was allowed to work directly from the original master tapes to source the complete, haunting score. This release marks the very first time the score to the 1981 slasher-horror classic has been released in any format.

The foreboding score by Paul Zaza is a mix of both minimal synth and orchestral compositions intertwined with bluegrass and country soundtrack cues. Expertly mastered by Thomas DiMuzio at Gench Mastering, the complete score clocks in at over one hour and spans two 150 Gram Blood Red and White Hand-Pour colored records.

Dying to Say This to You is the second studio album by Swedish new wave group The Sounds. Originally released in 2006, the album blends Swedish-influenced new wave music with a sassy and spunky delivery by vocalist Maja Ivarsson.

The album was recorded at Studio 880 in Oakland, California, and produced by Jeff Saltzman (producer of The Killers' Hot Fuss). Music from the album was featured in the television show CSI: Miami, the MTV reality show The Hills and the TV spot for Geico in the United States. In support of the album The Sounds played over 200 shows in 2006, over half of which were in the United States. Upon its release, Dying to Say This to You was well received by music critics.

The cover depicts The Misshapes' DJ Leigh Lezark on the left and her friend Alexis Page on the right.

Union is the thirteenth album made by progressive Rock band Yes. This was their last release featuring all members of the new line-up (Jon Anderson, Chris Squire, Trevor Rabin, Alan White and Tony Kaye) and the ex-Yes members group (Anderson, Bruford, Wakeman and Steve Howe), hence the name Union. Incredibly enough during the process of recording the album, all eight members did not play together at once.

The album reached #7 in the UK Album charts and #15 in the US Album charts spawning three singles Lift Me Up', Saving My Heart' and I Would Have Waited Forever'.

In 1992 the eight man band supported the release with a world tour after which Bruford, Wakeman and Howe left the band for good.

Ltd (to 1000) LP vinyl only - don't hang about!

Conceived and produced by two-fifths of Italian Cinematic combo Calibro 35, guitarist Massimo Martellotta and 2016 Grammy Award winner producer Tommaso Colliva, Record Kicks proudly presents "Il Complesso Di Tadà".

Welcome to a new adventure in the world of the Italian coolest 60s sound. If Calibro 35 explores the weirdest side of Italian soundtracks, Massimo Martellota's new creature "Il Complesso di Tadà" focuses on the grooviest and hip-shaking side of Italian mid 60s Italian TV Shows music. Recorded in Milan and mixed by Tommaso Colliva at his Toomi Labs Studio in London, "Il Complesso di Tadà" is much more than a side project of Calibro 35. Mr. Martellotta has brought together a super tight orchestra made with some of the best musicians of the Italian indie scene (Selton, Jaselli) together with, on vocals, true national icons such as Elio from Elio e Le Storie Tese, Nina Zilli and Filippo Timi. From the opening single, Piero Umiliani's masterpiece, "Mah Na Mah Na" to the beat explosion of "Il Surf Delle Mattonelle" and "Che Colpa Abbiamo Noi" and to classic Italian treasures such as "Sapore Di Sale" and "Guarda Che Luna", the album leads you into a pure and super cool mid 60s experience. Thanks to Massimo's meticulous care of all the details, the sound is super tight and punchy from start to finish, full of percussive rhythms, wild organs and groovy percussions. Alongside the list of the unforgettable Italian pearls, there's also place for a bunch of irresistible groovy instrumental tracks such as "Veloce, Non Troppo", "Allegro" and "Movimentato" all composed by Massimo Martellotta, which mostly reflect his admiration for one of the Italian greatest soundtrack composer of all time Piero Umiliani, as it is also remarked on the album's liner notes that have been written by Piero Umiliani's family.

Get ready for a journey into the coolest sound of Swinging Italy, make yourself a cocktail, turn up the volume and let's party!

"Questo sporco mondo meraviglioso" is one of the numerous collaborations between the director Luigi Scattini and Piero Umiliani, and one of the most interesting and varied soundtracks within the composer's repertoire. A work full of influences and musical quotes, with guests and valuable collaborators such as Edda Dell'Orso and I Cantori Moderni di Alessandro Alessandroni. Some of the songs presented in this album are among his best works.








[H] B1 | Mondo, Dove Vai (complesso beat con effetti elettronici)

The first chapter of Piero Scattini's acclaimed movie trilogy, whose soundtracks were all entrusted into Piero Umiliani's expert hands.
The sumptuous orchestrations, the guests and the prestigious friends who took part in the recordings: Alessandro Alessandroni, Edda Dell'Orso, Franco D'Andrea, Gianni Basso, Oscar Valdambrini and Angelo Baroncini, thus explaining the excellence of the final result, lingering between orchestral and pop music. 'Easy listening', as they used to say, but of extraordinary quality.

As a bonus for turntablists/djs each side of the 7" also contains a 'skip-proof' loop at the end for scratching

Filed neatly and undisturbed within the micro-genre of 1970's Italian artsploitation, amongst films soundtracks such as Girl With The Crystal Plumage, A Quiet Place In The Country and House With The Laughing Windows, this obscure library LP is one of the few fully formed concept albums from the recently reappraised discography of Rome's most versatile and adventurous female production-music composer Daniela Casa. Once destined for a shelf life within the storage rooms of defunct TV studios and educational facilities Daniela's previously strictly commercially unavailable music has in recent years been given new focus at the hands of open-minded disc detectives and sonic salvage hunters earning Casa's distinctive feminine take on experimental instrumental mood and movie compositions a place next to her widely respected masculine counterparts such as Alessandro Alessandroni, AR Luciani, Pierro Umiliani, Morricone and Nicolai.
Sharing tight studio space and strict syndication schedules with all of the aforementioned artists (under commission from Romano Di Bari's fervently independent Flipper music factory) Daniela Casa embraced a liberating wind change in affordable music technology which opened doors for uninhabited solo compositions in home studios taking advantage of communal recording consoles and domestic synthesisers which nurtured a lesser-documented creative family tree (or rather secret society) and paved the way for individualistic projects from the likes of Magnetic System's Fabio Frizzi and Goblin's Claudio Simonetti.Here, on this repress of the impossibly rare, one-time subscription-only album, Arte Moderna, we find Daniela at her versatile best creating a wide thematic suite (based on paintings and sculptures in an abstract art gallery) for which she would deploy mostly organic and acoustic instruments to construct a set of unorthodox compositions straddling avant garde, free jazz and Giallo tension (with some brief moments of brooding electronics and italian pop). Veering from her stylistic pop interests (which clearly included a fondness for the music of Black Sabbath and Led Zeppelin) Daniela Casa's Arte Moderna saw her adopt a less era specific approach combining neo-classical elements and piano improvisations akin to the likes of France's Francois Tusques or Burton Greene, or America's Mal Waldron without compromising her strong narrative personality for this unique abstracted picture music.
Unintentionally but profoundly political in her prolific existence Daniela Casa's contribution to a predominantly male industry earned her a small clutch of inspired idiosyncratic Italian female bedfellows such as Nora Orlandi, Giullia De Muittis (aka Kema), Fiorella Fratini, Emma De Angelis and Maria Teresa Luciani, who, with faceless anti-celebrity as its essence, never benefitted the wider critical focus that much of this music now duly commands on the collectors circuit. Finders Keepers Records in continued collaboration with the Di Barri company, with the Casa/Ducros family blessing, are now proud to shine new light on this sonic sculptures and provide a fresh context where educated music listeners are ready to fill the gaps between Delia Derbyshire, Ennio Morricone, Suzanne Ciani and Harry Partch and patronise a very welcome considered alternative to the recent rise in popularity of Italian Giallo soundtracks from a seldom savoured feminine creative vantage point. Daniela's musical paintings can now be unveiled to the public for the first time, with Modern Art sounding as contemporary as it did when it was recorded forty years ago. The gallery is now open for limited sittings, discerning ears and open minds.

Legendary soundtrack to legendary film, amazing music, this unique package includes the Pete And Dud radio spots CD.

One of the greatest soundtracks of all time. Originally written by Peter Cook and Dudley Moore for this cult British movie, first pressings have always been very hard to find. A sublime musical mixture of pop, jazz, psyche and stupidity, this rare score sadly became the victim of terrible bootlegs in the late 1990s, when classic 1960s scores became very much in demand to the easy / jet set / soundtrack in-crowd.

This is the first ever legal repress, and comes with alternate versions of the classic 'Love Me' and 'Bedazzled' cues, as well as the first ever repress of Pete And Dud Cordially Invite You To Hell, an LP of Pete And Dud improvising about the film, that was given out at the premier.

OVERVIEW:
A breathtaking follow-up to the successful Britxotica! LP takes us on a magic carpet ride to a place where the Sphinx, sheiks, sand dances and caravans of camels are the magical, musical norm. But this is music made by post war jazz musicians and show girls from London - blimey! Yes, this is perfect Persian pop and killer Casbah jazz made by Eastenders! It's also British music as rare and as beautiful as Tutankhamun's treasure. You may never come across a more exotic British LP ever again...you'll be cursed if you miss it.

HISTORY:
Britxotica! (pronounced Britzotica') neatly describes an odd and yet undocumented pre-Beatles British musical scene where famed UK composers as well as unknown singers and bandleaders threw convention on holiday and went wild wild wild! For this, Part Two of our planned Britxotica series we head to the mystic East for tales of yashmaks, Turkish coffee and bizarre belly dances.

Here we offer up a superb lost recording of Caravan, an insane Eastern Kazoo number, several fierce instrumental dance numbers (one penned by Basil Kirchin!) that will get you sand dancing all over the shop, PLUS charismatic vocal cues about pyramids, late night Desert tristes and outrageous Sutlans. This is an amazing compilation of British music so obscure and rare that only Trunk Records could find and package it so superbly and with such effortless and comedic style. This new compilation of British treasures is like no other, and will have you rocking the Casbah like never before. And do stayed tuned for Britxotica Volume III

1) Sphinx Won't Tell - Beverley Sisters 2) Yashmak - Chico Arnez 3) Caravan - Stanley Black
4) Four Beats To The Casbah - Johnny Keating And The Z Men 5) Persian Twist - Charles Blackwell
6) Baghdad Bazaar - Philip Green And His Mayfair Orchestra 7) Sheik Or Morocco - Kenny Day
8) Marrakesh - Tony Osbourne
SIDE TWO
9) Climb Up The Wall - Yana 10) Miserlou - Stanley Black 11) Delilah's Theme - Johnny Keating Kombo 12) Call Of The Casbah - Laurie Johnson 13) Lonely One - Roy Tierney 14) Turkish Coffee - Tony Osborne 15) Kazoo - Reg Owen 16) The Sultan Of Bezaaz - Ray Ellington All cues mastered and sequenced by Jon Brooks, AKA The Advisory Circle

Conceived and produced by two-fifths of Italian Cinematic combo Calibro 35, guitarist Massimo Martellotta and 2016 Grammy Award winner producer Tommaso Colliva, Record Kicks proudly presents "Il Complesso Di Tadà".

Welcome to a new adventure in the world of the Italian coolest 60s sound. If Calibro 35 explores the weirdest side of Italian soundtracks, Massimo Martellota's new creature "Il Complesso di Tadà" focuses on the grooviest and hip-shaking side of Italian mid 60s Italian TV Shows music. Recorded in Milan and mixed by Tommaso Colliva at his Toomi Labs Studio in London, "Il Complesso di Tadà" is much more than a side project of Calibro 35. Mr. Martellotta has brought together a super tight orchestra made with some of the best musicians of the Italian indie scene (Selton, Jaselli) together with, on vocals, true national icons such as Elio from Elio e Le Storie Tese, Nina Zilli and Filippo Timi. From the opening single, Piero Umiliani's masterpiece, "Mah Na Mah Na" to the beat explosion of "Il Surf Delle Mattonelle" and "Che Colpa Abbiamo Noi" and to classic Italian treasures such as "Sapore Di Sale" and "Guarda Che Luna", the album leads you into a pure and super cool mid 60s experience. Thanks to Massimo's meticulous care of all the details, the sound is super tight and punchy from start to finish, full of percussive rhythms, wild organs and groovy percussions. Alongside the list of the unforgettable Italian pearls, there's also place for a bunch of irresistible groovy instrumental tracks such as "Veloce, Non Troppo", "Allegro" and "Movimentato" all composed by Massimo Martellotta, which mostly reflect his admiration for one of the Italian greatest soundtrack composer of all time Piero Umiliani, as it is also remarked on the album's liner notes that have been written by Piero Umiliani's family.

Get ready for a journey into the coolest sound of Swinging Italy, make yourself a cocktail, turn up the volume and let's party!

Ghost Box co-founder Jim Jupp and his loose ensemble of session musicians create a unique kind of upbeat spookiness. They meld krautrock, glam, faux folk and ancient TV soundtracks across eleven joyous, slightly camp and oddly unsettling instrumentals.

Moving away somewhat from the haunted electronics and occult signifiers of the earlier albums, Belbury Poly employ a more diverse instrumental palette to continue the exploration and illustration of a fictional landscape.

On one hand these are light, escapist mood pieces, but as ever with Ghost Box records there's an eerie sense that these sounds are bleeding through from a strangely familiar other world, moving in a very different time stream.

- Soundtrack to the 'Some Greater Class' collaborative performance between Darkstar, Gwilym Gold and director-choreographer Holly Blakey.
- The performance was commissioned by Hales Gallery and supported by Arts Council in 2015 and explores the complexities and contradictions of contemporary performance and its context to a mesmerising electronic soundtrack.
- London-based musician and composer Gwilym Gold has developed a strong relationship with The Vinyl Factory in the past year - previous releases include recordings from the 2015 edition of Doug Aitken's 'Station To Station' on the 'Greener World' EP and two 12's featuring tracks 'Flex', plus a rework from Zomby and 'Muscle', on Eddie Peake's imprint Hymn.
- August 2015 saw the release of 'A Paradise', his critically-lauded debut solo album featuring co- production contributions from James Young of Darkstar, True Panther artist Hyetal and Bullion, whilst four songs feature composer Nico Muhly's verdant, dizzying string arrangements.
- James Young and Aiden Whalley began making music together in London in 2007, releasing their first compositions 'Dead 2 Me' and 'Break' under the name Darkstar on their own 2010 Records label. After albums with Kode9's esteemed label, Hyperdub, they more recently released their third album, 'Foam Island', via Warp Records

In 1965 the previous year's film "A Fistful of Dollars" by Sergio Leone, thanks to its success, had already helped to massively increase the popularity of the 'spaghetti western' genre, together with the leading actors Clint Eastwood and Gian Maria Volonte.

The format is a 10" 45rpm LP, with gatefold cover and a 26x26cm mini poster in purple vinyl. This has been issued as a limited edition of 1000 copies


"For a Few Dollars More" is the natural progression from that movie, with the addition of a third protagonist - Lee Van Cleef - who joins the two actors: a triad that made history for another masterpiece Sergio Leone's masterpiece. Ennio Morricone's music is equally important. The Maestro here chooses a 'poor' registry, consisting of folk instruments such as ocarina, Jew's harp and chimes, respectively used to accompany the entry stage of the three main actors. But there are, as usual, the contributions of Alessandro Alessandroni and his Cantori Moderni choir, for an incredibly exciting final result. This edition sees the eight tracks of the original score in a brand new layout.

Newly re-recorded by Carpenter and his Lost Themes bandmates, these new masters have never been previously released.

Newly re-recorded by Carpenter and his Lost Themes bandmates, these new masters have never been previously released.

A limited edition of 500 copies that includes a digital download code.

Maestro Cipriani is one of the most known and appreciated composers of Italian soundtracks, whose unmistakable style makes it one of the most appreciated and collected. "Rhythmical Movement" came out only as a promo-library LP for CAM records in 1980 and is therefore a very rare album pressed in limited quantity. But what impresses most is the high level content and, as explicitly expressed in the title, no rhythm decreases. After a jazz intro depart sequentially tunes full of funk, soul, samba and disco, with references also to the classic tradition of Italian poliziotteschi for which Cipriani is the absolute Master. Alternating on a drum and congas base are wahwah guitar, but also often distorted as in fierce riffs of "Storm in a teacup" and "Do not tamper with my things", piano-electric and horns. Two tracks, "What can I do" and "Living and Loving" were composed with Michael Fraser, the famous UK musician and producer very active in Italy since the early 70s. Also of note are the curious "Percussion Gun" and "Chicago U.S.A." built on the popular bassline of "In-a-Gadda-da-Vida" by Iron Butterfly. An unmissable record to listen and dance to, with a wonderful minimal mirror-cover with title in relief.

Widely recognised as one of the greatest and most influential game soundtracks of all time, STREETS OF RAGE 2 remains a towering achievement of the 16bit era. Data Discs is extremely proud to be releasing this masterpiece of FM synthesis, composed by Yuzo Koshiro in 1992 and sounding more relevant today than ever.

The audio has been carefully remastered using multiple sources, including the original NEC PC-88 files supplied by Koshiro himself, and packaged in original artwork sourced from the SEGA archives in Japan.

- 2 x 180g transparent vinyl
- Includes four bonus tracks of demos, alternate versions and unused compositions
- 2 x lithographic prints featuring archival artwork
- Packaged in a gatefold sleeve with traditional OBI strip
- Fully remastered in collaboration with and approved by composer Yuzo Koshiro