Movies | TV 148 Items

Clear Vinyl Edition.

Limited edition of 500 in nice gatefold sleeve!
Records are close to NM.

After the release of the successful soundtrack for the TV series Gomorra (which was aired outside Italy as well) the Italian combo Mokadelic returns with a brand new score, Sulla Mia Pelle, for one the most controversial movies around. Based on the despicable history of Stefano Cucchi, literally killed in prison by a bunch of policemen, the album renews the cinematic style of Mokadelic through a series of almost dramatic instrumental sketches. Equally informed by the post-rock of luminaries such as Godspeed You Black Emperor and Explosions In The Sky - not to mention the subtle rhythms of contemporary IDM (Boards Of Canada first came to mind) - the band delivers their signature with several epic moments. That is the real companion to a tragic feature film.

"Forever” is a special album that celebrates Alessandroni’s genius and represent his musical testament. Composed and arranged in Namibia during the last months of his life, the album is a stunning collection of orchestral tracks that reveal Alessandroni’s many virtues and abilities as a composer, arranger and multi-instrumentalist, fusing pop, jazz and classical music with his unique (Italian) touch.

Limited Blue And Green Splatter Vinyl.

Released in 2020 to celebrate the 100th anniversary of the theremin, The Gateway features the instrument as a lead voice in the extraordinary realm of high-energy post-Italo electronics.

For this newest collection of original works, Brown transports the theremin to the heart of the dance floor – reimagining its mysterious interface as an electro-magical conduit for the opening of forbidden portals and the summoning of subversive spirits.

The Gateway also features a contemporary expansion of the classic theremin sound. Brown plays the Moog Etherwave Pro theremin in two ways – employing both its familiar heterodyne voicing and possessing a range of analog synthesizers via control voltage technology.

This groundbreaking combination presents a fresh voice and thrilling new context for the world’s oldest electronic instrument.

Still in shrink but opened. Vinyl is close to NM.

From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, Video Nasty film composer, occasional Jaume Sisa (Música Dispersa) collaborator and future electronic music therapy pioneer comes the synthridden vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alienígena amic and the unidentified flying object of thousands of Catalonian kids affections through the 1980s as Finders Keepers present J. M. Pagan’s lost lunar modular synth score to Kiu I Els Seus Amics (Kiu And Friends aka Kiu Is Your Friend).
From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in “Badi” or South Africa’s lo-rent hommage “Nukie” to our unregulated small screens, and the same craze which filled international airwaves with the likes of Extra T’S electro smash single “E.T. Boogie” or the million selling Columbian “Cumbia De E.T. El Extraterrestre” smash hit... not to mention a wide range of unofficial themetune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album) the creators of the movie which inspire the music on the album you are about to hear made no bones about their intergalactic muse. In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyones favourite torch fingered, three toed, Skittle scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21st century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before. At the precise moment that international audiences saw that cute little baldy poke his retractable neck around the corner and started stealing beer from the fridge, demanding long distance phone calls while circuit bending kids toys and frankly not looking after the plants... the human race was hooked! and we wanted more! more! more! When Spielberg regrettably told interviewers that he had no intention of making a sequel to E.T. The Extra Terrestrial, it instantly became open-season for the imitators... but way before somebody squeezedout, Mac & Me, ALF and The Purple People Eater a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisió de Catalunya (TV3) and screened exclusively in Catalunya, Kiu I Els Seus Amics was one of the first E.T. “tributes” to make it out of the gate, and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, “Kiu” has since remained a short but sweet micro-memory in the hearts of an entire generation of Catalonian cosmonauts.

Converging at a cultural terminus that bridges Belgian electronic music, French comic book culture and the cream of the cinéma fantastique film genre, this rescued and previously unreleased multi-discipline art film soundtrack entwines unlikely links between the likes of Daniel Schell's Cos, French vampire film director Jean Rollin, Tintin, dark ambient pioneer Igor Wakhévitch, Heavy Metal magazine, Moebius, Alejandro Jodorowsky, choreographer Maurice Béjart, musique concrète legends François Bayle and Luc Ferrari, and some of the most notorious examples of pre-certificate Video Nasties and Mondo cinema. Needless to say the empty branch on the Finders Keepers family tree reserved for synthesist, sound designer and ethnological instrument enthusiast Alain Pierre is ready to bare some very strange fruit.

The recent rediscovery of this 1974 short film documenting revered cosmic comic artist Philippe Druillet and the creation of one of his finest works has given fans and enthusiasts of counter culture comic design, sci-fi pop art, and French Futurism a rare glimpse and insight into a master at work during his creative halcyon. Directed by Swiss-born Michel Jakar, the film Ô Sidarta, (named after a seminal design created for French/Belgian bandes dessinée monthly Pilote) not only explored the mind-set and applied techniques of the artist, it also witnessed the master painter in his natural habitat, at home amongst gothic decor, while seizing the opportunity to animate some of the artist’s best work via quick-fire edits and cross-fades accompanied by the all-important back drop of Alain Pierre's unique, multi-layered and potentially ground breaking space raga soundtrack.

Parisian lynchpin Krikor Kouchian summons spooked-out radiophonic sounds in his superb, as-yet-unreleased soundtrack for the 2014 redux of Jean Epstein’s pioneering, silent 1920’s avant-garde cinema classic. A must check for fans of Elodie, Kevin Drumm, Mika Vainio, Eliane Radigue. The 1927 film ’Six Et Demi Onze’ tells the tragic romantic tale of two brothers who, unbeknownst to eachother, fall in love with the same woman. A timeless psychological narrative involving suicide and lies ensues across the film’s grand locations, but on his soundtrack Krikor prefers to home in on the internal thoughts of the film’s central protagonists, outlining a claustrophobic atmosphere in some of his subtlest and most affective soundtrack work, which follows from a panoply of scores for everything from an Arnold Schwarzenegger documentary, to films on Franco-Saudi geopolitics and fantasy sci-fi. It’s arguably Krikor’s finest endeavour in this arena.

Collector’s edition strictly limited to 300 copies, with one insert.

Japanese industrial/synth-duo Group A partner with choreographer/performer Dana Gingras, Montréal artist Sonya Stefan & Finnish lighting designer Mikko Hynninen for athe multimedia project. Performance, installation of televisions, sound, light and image converging to create an exhilarating event placing a living, breathing and transmuting body at the heart of the experience.

180 gram LP limited edition. This is the movie event of the year, winner of the Public Prize at the Berlinale in February 2012! Finally on 180 gram HQ vinyl the original soundtrack to the docufiction Diaz - Don't Clean Up This Blood by Daniele Vicari about the Videla-esque police brutalities that took place in 2001 during the G8 in Genoa.

Recorded and mixed by Mauro Teho Teardo a versatile composer, researcher and performer with the help of the Balanescu Quartet and a number of eclectic guests.

Featuring "Evolution Revolution Love" by Tricky. ++ Music by Teho Teardo featuring The Balanescu Quartet.

Music written, recorded, mixed and produced by Teho Teardo at Basement Recordings, Rome and Studio 108, London march/december 2011.

(Teho Teardo - guitars, bass, rhodes, piano, electronics, synth, theremin; Balanescu Quartet: Alexander Balanescu - violin, James Shenton - violin, Katie Wilkinson - viola, Nick Holland - cello; Martina Bertoni - cello, Alexis Fletcher, Giacomo Orsi, Henry Marseille - violin, Remy Dault, JC Goodwin, Susan Rosenthal - viola, Lee Leibowitz, Doug Pierce, Matthew Quinlan - bass)

Limited to 500 copies.

Six years before the release of his landmark Mother Earth's Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn't You Hear? While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn't You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn't You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

William Tyler composed the music for First Cow, the new A24 film directed by Kelly Reichardt, almost entirely on several of his guitars and a dulcimer. In First Cow, Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner's prized milking cow. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America.

Limited edition of 500 copies pressed on white and yellow vinyl.

Back in the latter half of the 1960s the burgeoning idiosyncratic 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 verité, film noir, surrealism and cinema concrète. But after the Soviet Union invaded Czech in August 1968 the clampdown on non-conformist creative arts saw over seventy 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.

Daisies pulls together what you might call the ‘Holy Trinity’ of the Czech New Wave – director Vera Chytilová, costume and set designer Esther Krumbachová, 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 as part of our ongoing (and slightly disrupted) 15th birthday celebrations 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.

William Tyler composed the music for First Cow, the new A24 film directed by Kelly Reichardt, almost entirely on several of his guitars and a dulcimer. In First Cow, Kelly Reichardt once again trains her perceptive and patient eye on the Pacific Northwest, this time evoking an authentically hardscrabble early nineteenth century way of life. A taciturn loner and skilled cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds true connection with a Chinese immigrant (Orion Lee) also seeking his fortune; soon the two collaborate on a successful business, although its longevity is reliant upon the clandestine participation of a nearby wealthy landowner's prized milking cow. Reichardt again shows her distinct talent for depicting the peculiar rhythms of daily living and ability to capture the immense, unsettling quietude of rural America.

Features 6 original pieces of music by PJ Harvey written for the series
Pressed on 2 x 180g black vinyl
Housed in a heavyweight gatefold sleeve with beautiful artwork throughout. Digital download card included

The Soundtrack to Shane Meadows’ “The Virtues” which screened on Channel 4 last May/June

Features 6 original pieces of music by PJ Harvey written for the series
Includes tracks used throughout the series including music by Aphex Twin, MONO, Lisa Hannigan and more

“I am so happy to have provided the original music for this extraordinary and powerful new drama by a director I have admired and followed all my life. Shane has a unique directness and sensitivity to his work which I am drawn to and aspire to in my own work, so our collaboration was open and trusting. I sent Shane ideas as demos for him to try out as he edited and let him choose what he used and where to the greatest effect. In the end we both loved how the demos worked so left them as they were, adding to the raw beauty of the piece.” – PJ Harvey

The Virtues is an emotionally charged drama starring Stephen Graham (This Is England) that teeters on the edge of total self destruction, battling alcohol addiction and memories from a dark childhood.

Only five songs here were featured prominently in Quentin Tarantino's rousing crime film ("Little Green Bag," "Hooked on a Feeling," "I Gotcha," "Stuck in the Middle with You," and "Coconut"), but the record includes Steven Wright's introductions from the film, as well as Tarantino's infamous interpretation of the meaning of Madonna's "Like a Virgin" and Harvey Keitel's monologue on how to rob a jewelry store. Padding out the rest of the disc are three new songs that were heard in passing in the film.

n alternative soundtrack for Roy Andersson’s movie A Pigeon Sat on a Branch Reflecting on Existence

Emilie Zoé was invited in 2018 by the alternative film festival « 2300 plan 9 à Les Étranges Nuits du Cinéma » in La Chaux-de-Fonds, CH to create a live soundtrack for a movie of her choice. She asked Christian Garcia-Gaucher, who had recently produced her second album The Very Start, to join the project. They chose together Roy Andersson’s A Pigeon Sat on a Branch Reflecting on Existence for its hypnotic rhythm and its overall contemplative atmosphere and worn out colors. Within a few days, they wrote a collection of delicate themes and slightly melancholic interludes that they could play along the original feature. The show sold out and it felt crucial to everyone that such an exciting project would not end there. They gathered few months later in Swiss producer Louis Jucker’s tiny attic studio to lay these sounds on rusty second hand tapes. These 11 demo tapes merged spontaneously into a rich collaborative album, that assembles lo-fi pop hits and intriguing field recordings into a surprisingly coherent whole.

Beautifully haunting gothic score to The Lodgers by Stephen Shannon, Kevin Murphy and David Turpin.

David Turpin’s first feature as screenwriter – the gothic fantasy premiered at the Toronto Film Festival in 2017, and was subsequently acquired for worldwide release by Netflix.

Film synopsis: A family curse confines orphaned twins Rachel and Edward to their home, in punishment for their ancestors' sins. Bound to the rules of a haunting childhood lullaby, the twins must never let any outsiders inside the house, must be in their rooms by the chime of midnight, and must never be separated from one another. Breaking any of these rules will incur the wrath of a sinister presence that inhabits the house after midnight.

Six years before the release of his landmark Mother Earth's Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn't You Hear? While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn't You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn't You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

Six years before the release of his landmark Mother Earth's Plantasia LP, composer and arranger Mort Garson met experimental film director Skip Sherwood, who was interested in an electronic score for his new movie, Didn't You Hear? While not much is known now about the exact nature of their collaboration, we have Garson's magnificent score as a record of those heady, early days after his life-changing discovery of the Moog synthesizer. Notable for being one of the earliest screen appearances by a young Gary Busey, Didn't You Hear? also boasts one of the first-ever all-electronic movie scores. Though the score was first released in 1970, it sounds as adventurous and futuristic today as it must have then. Originally available only in the lobby of the theater at screenings of the movie in Seattle, the soundtrack LP went out of print shortly after the film's release. It has been a sought-after record for collectors of Mort Garson and early electronic music ever since. Sacred Bones is honored to reissue Didn't You Hear? as it was meant to be heard, taken from the original master tapes and given a pristine remaster by engineer Josh Bonati. Morton S. "Mort" Garson was a Canadian-born composer, arranger, songwriter, and pioneer of electronic music. He is best known for his albums in the 1960s and 1970s that were among the first to feature Moog synthesizers. His best-known album is Mother Earth's Plantasia, a 1976 Moog album designed to be played "for plants and the people who love them." Sacred Bones Records has undertaken the project of giving official, licensed reissues to key releases from Mort Garson's catalog, with the intention of bringing these bold masterpieces to a 21st century audience.

During the maiden voyage into an expansive vat of unreleased music by Polish composer Andrzej Korzynski, Finders Keepers Records originally presented his previously unreleased electro / orchestral / experimental score for Andrzej Zulawski's surrealist '80s horror classic Possession in 2012. These 25 cues were written and recorded exclusively for the 1981 award-winning film starring Isabelle Adjani and Sam Neil, but due to the progressive, stark and modernist nature of the finished film less than half of them made it on to the actual director's cut—leaving many of the tracks on this package totally unheard outside of Korzynski's studio. The intended Possession score in its entirety marks an important axis in Korzynski's career where his various musical disciplines overlap. In one respect it marks his first forays into to synth driven electronics and disco drum machines, while other tracks epitomize the well-honed techniques used in previous Zulawski scores, such as Third Part Of The Night and The Devil, which rely on his inimitable orchestral arrangements and combination of clavinet, Rhodes, piano and electric guitar. Available once again on black 12" vinyl for the first time since its original release some 11 years ago, Finders Keepers' ongoing commitment to the important restoration of Korzynski's music aims to shed new light on the seldom manufactured productions of the composer whose vast cinematic catalogue warrants overdue global status alongside other golden era Eastern European composers such as Kryzstof Komeda, Jan Hammer, and Zdenek Liska—not to mention the best of the French and Italian soundtrackers, such as Roubaix, Vannier, and Nicolai. Duplicated and carefully remastered directly from Korzynski's original master tapes this album boasts the uninhibited studio experiments and retains the pre-cut ambience.

Still in shrink, but opened, with hype sticker

First-ever LP release of BRING ME THE HEAD OF ALFREDO GARCIA (1974), an iconic masterpiece and one of the composer’s most celebrated collaborations between Jerry Fielding and his usual partner, Sam Peckinpah
Remastered by Chris Malone
Audiophile 180GM Blood Red and Black Splatter Vinyl
Limited edition of 500 units

This limited edition of 500 units, pressed on audiophile 180 GM blood-red and black splatter, has been produced, restored and specially mastered for vinyl by Chris Malone.

Wrwtfww Records is giggling with pleasure as it announces the official reissue of Richard Band’s director’s cut soundtrack for sci-fi horror comedy classic TerrorVision (1986).The limited edition blue-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers. It includes liner notes by Richard Band himself. People of Earth Your planet is about to be destroyed… We’re terribly sorry for the inconvenience Conceived as a late 1960s Lost in Space type score with a 80s electronic twist, TerrorVision is one of the most unique soundtracks in Richard Band’s discography. Part oddball adventure, part eerie soundscape, it mixes the fun and flashy colors of the era with synth explorations that flirt with minimalism and experimental music. Band composed with a Yamaha Cs70 plus twin ARP 2800s, a mini Moog synthesizer, as well as DX5 and DX7 keyboards, creating a groovy twilight zone of electrifying alien funk. The soundtrack also includes 5 numbers by deliriously wild LA band The Fibonaccis. One of a kind - like the movie itself!

“Windows on the World” is a dramatic love story about a Mexican son's search for his father – a missing, undocumented worker in The World Trade Center on 9/11. On the morning of September 11, 2001, Fernando (Ryan Guzman - “Step Up” franchise, “Boy Next Door") and his family in Mazatlan watch their TV in horror as the Twin Towers collapse. Fernando's father, Balthazar (Edward James Olmos) works in the Windows on the World restaurant. But he does not call to say he is safe. And there is no way to contact him. As the family grieves for his apparent loss, Fernando’s distraught mother swears she sees her husband on news footage – escaping from the building ALIVE! Heroic Fernando decides to take the epic journey from Mexico to New York City to find his father and save his family. Along the way, he falls in love with empathetic Lia (Chelsea Gilligan), and befriends an eclectic group of international characters that help him restore his faith in humanity, as Fernando discovers the hard truths about his father, the melting pot of America, and the immigrant experience. The film also has memorable performances from Richard Cabral (“The Mayans”) Glynn Turman (“Cooley High,” “The Wire”) Julie Carmen (“In the Mouth of Madness,” “Gloria”) and Luna Lauren Velez (“Dexter,” “Oz.”) It was directed by Michael Olmos (“Filly Brown") - adopted son of Edward James Olmos, cinematography by Reynaldo Villalobos ("Risky Business,” “Urban Cowboy,” TV’s “Breaking Bad”), with a soundtrack that includes a new song with vocals and guitar by David Hidalgo (Los Lobos) and blues hall of famer Charlie Musselwhite on harmonica. Plus original jazz music from members of the SFJAZZ Collective (past and present), Eric Harland, David Sanchez, Edward Simon, Obed Calvaire, Robin Eubanks, Matt Penman, along with Taylor Eigsti and Ethan Iverson (The Bad Plus)...as well as tracks from Les Claypool (Primus) and Fela Kuti.

Maestro Egisto Macchi (Gruppo di Improvvisazione Nuova Consonanza - The Group) recorded this mystical ethnographic trip to the South of Italy imbued with its rites, superstitions, magical symbols and popular mythologies in 1977 for the TV Documentary 'Sud e Magia'. Astoundingly evoking the intensity, magic and psychedelia of its subject with the use of inventive and unconventional techniques (aerophones, crystal glasses, prepared piano), Macchi harmonizes kindred spirits from transcendental, religious and metaphysical sound forms. Produced in the Feeling Records Studios, Turin, which had the highest level of equipment and technicians, this pinnacle of experimenal library music is released for the first time with audio restored from the original masters tapes.

Kamasi Washington composed and produced the original score for Becoming, the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, Becoming documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop. Young Turks Recordings will be releasing Vinyl and CD of this Emmy nominated score on 11th December 2020.

Recorded at Sunset Sound Studios, LA. Engineered by Tony Austin. Mixed by Randy Emata. Mastered by Kevin “Daddy Kev” Moo. Kamasi Washington – Soprano, Alto, Tenor Saxophnone Rickey Washigton – Flute, Alto Flute Ryan Porter – Trombone Dontae Winslow – Trumpet Sean Sonderegger – Contra Bass Clarinet, Bass Clarinet, Bb Clarinet Matt Haze – Guitar Cameron Graves – Piano, Rhodes Kenneth Crouch – Organ, Keyboards, Piano Miles Mosley – Electric Bass, Upright Bass Tony Austin – Drums and Percussion Jen Simone, Yvette Devereaux, Reiko Nakano, Tylana Renga - Violin Michael Whitson, Chad Jackson – Viola Artyom Manukyan – Jared Snyder – Cello

Devon Goldberg's original score to director Kire Paputts' 2019 dark comedy feature-length film The Last Porno Show, performed by Morricone Youth, along with Cochemea Gastelum (Sharon Jones & The Dap Kings), Sean Mccaul (Philip Glass Ensemble), Karen Waltuch (Wilco, Jim O'rourke, JG Thirlwell) and Scott Hollingsworth (World/inferno Friendship Society). Limited edition of 500 copies with download card.

Limited to 500 copies.

Paddy Kingsland was the first Radiophonic composer to see a solo release of his compositions, although he is not credited on the sleeve. "Fourth Dimension", first released in 1973, showcased Kingsland's theme tunes for television and radio while at the BBC Radiophonic Workshop. The recordings feature a rock-style backing band and synthesisers including the VCS 3 and "Delaware" Synthi 100, and the track "Reg" from the album was also released as the B side to the 1973 single release of the iconic Doctor Who theme tune. Kingsland remained at the workshop for 21 years, leaving in 1981, during which time he composed music for much loved TV shows The Changes, Doctor Who and The Hitchhikers Guide to the Galaxy among others.

Cover and vinyl are close to NM. Hand numbered limited edition.

Gatefold cover with slight wear and a bent corner!

Red vinyl. Copy n° 000278

Wrwtfww Records is ghoulishly happy to announce the first ever release of Richard Band’s full uncut soundtrack for cult horror comedy classic Ghoulies (1985).The limited edition pink-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers.The album is also available on CD house in a classic jewel case with cavalier and video store sticker. Both versions contain liner notes by Richard Band himself.

Ship to Shore PhonoCo. is proud to present Nick Soole’s masterful score to the fantasy-horror motion picture The Head Hunter!

Featuring minimal dialogue, The Head Hunter concerns a Viking warrior who protects the outskirts of his city from supernatural, mythical creatures. When his daughter is murdered by one of the very beasts he was meant to destroy, he finds himself alone and disillusioned, and becomes obsessed with getting revenge…

A film with few words will often have to rely on its visual and non-dialogue audio components to tell the story, and this is exactly what we get with Jordan Downey’s remarkable feature The Head Hunter. Boasting an impressive sound design to draw us into the cold, snowy world and fabulous sound effects to make us feel every squelch of mud, every crack of bone and every slice of the hero’s sword, the soundtrack sandwiches the elements together whilst providing the emotional pull of the narrative. Thankfully, composer Nick Soole has not only created a musical score that allows us to follow the Head Hunter’s mental state - from grief, pain and faithlessness to rage, horror and fear - but also stands on its own as a work of art when listened separately to the movie. Available on vinyl in a limited edition “Viking Flame” orange variant, don’t miss out on getting a copy!

Don't Miss The Party Girls - An Organ Grindin' Funky Good Time! While the 1969 film may be lost to obscurity, thanks to the discovery of the original audio reels this funk-fueled soundtrack is finally seeing the light of day! Sexy time sounds of grooving organ, bass, drums, and brass, there's even a down and dirty booty-shaker of a James Brown cover. The perfect accompaniment to get you in the mood for a lascivious love-in, pressed on gold vinyl and including a replica of an original pressbook that details the fabled film!

A Mad Menagerie of Grindhouse Go-Go Grooves!

Girl In Gold Boots is Ted V. Mikels' (The Corpse Grinders) homage to the time tested 'small town girl moves to the big city to become a go-go dancer' story. And if a movie is ostensibly about go-go dancing, then we're gonna need some music to go-go to. And that's what this album you're now holding is all about. From the odd psych rocker 'Do You Want To Laugh Or Cry,' to a frenetic barrage of country soul. It's got some solid harmonica groovers, an odd xmas song and of course the banger of a title track!

Pressed on colored vinyl, and includes a DVD of the entire film with lots of extras!

"Mediterraneo" is a film directed by Gabriele Salvatores, set during the Second World War on the Greek island of Castelrosso, a few kilometers from the Turkish coasts. In this place, only apparently uninhabited, some Italian soldiers arrive on a mission; they will soon find themselves to be completely isolated, forced to wait for any communication signs from the outside world and to integrate with the local population.

When it came out in theaters in 1991, “Mediterraneo” immediately gained wide acclaim and recognition (David di Donatello and Nastro d'Argento for best film, Academy Award for best foreign film), a success also significantly determined by the soundtrack written by Giancarlo Bigazzi and Marco Falagiani, record producers and composers of a large series of Italian music famous songs and themes: the essence of this movie score is fully enclosed in the five notes of the main theme, both simple and evocative, immersed in a context of ethnic feel and Arabic/Oriental flavours. Except for some occasional modern sounds, the music of “Mediterraneo” is almost entirely produced by ‘popular’ and unconventional acoustic instruments: santouri, bouzouki, gavala, bagpipe, zurna, toubeleki, davul, rabeca and lyre.

The deep work of music research, composition and arrangement by the Bigazzi/Falagiani duo earned them the 1991 Globo d’oro Award. A soundtrack that is still memorable today, reissued exclusively by AMS Records on clear blue vinyl!

Both versions available in a strict run of 150 copies. A record that definitely lives up to its title – an obscure Italian sound library session that blends instrumental touches that evoke an America at the start of the 70s with some of the hipper, deeper currents you’d expect from the team of Stefano Torossi and Giovanni Tomasso. There’s plenty of expected sound library funk in the mix here in a way that makes for one of the most unique sound library sessions we’ve ever heard.

Both versions available in a strict run of 150 copies. A record that definitely lives up to its title – an obscure Italian sound library session that blends instrumental touches that evoke an America at the start of the 70s with some of the hipper, deeper currents you’d expect from the team of Stefano Torossi and Giovanni Tomasso. There’s plenty of expected sound library funk in the mix here in a way that makes for one of the most unique sound library sessions we’ve ever heard.