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Composed and Performed by:- Alison Chesley (Helen Money)- Steve Albini (Shellac, Big Black)- Tim Midyett (Mint Mile, Silkworm)- Guest vocals on "Irish" by Gaelynn Lea- Full-color gatefold jacket featuring drawing by Jay Ryan//When director Travis Stevens called about composing musicfor his new horror film, Steve Albini found himself with a new creative challenge. After meeting with Stevens and Queensbury Pictures, Steve signed on and recruited Tim Midyett, and Alison Chesley to complete the ensemble that would compose and record the soundtrack. Upon completion of the soundtrack, Albini refllected, "Tim and Alison are a joy to work with, very open-minded and eager, and master musicians. Just great. That whole part of it, writing and playing with them, was fucking fantastic and effortless, and I wish I could do it all the time."

Copy is close to NM!

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

Still shrink wrapped but opened.

First time on vinyl for this utterly top level score composed by Luciano Michelini for the slasher/crime flick directed by Sergio Margino, "The Suspicious Death of a Minor" (Morte sospetta di una minorenne), and recorded in 1975 at Ortophonic Studio in Rome. The main theme echoes certain passages from Goblin’s “Deep Red” - recognizable by the use of the same church organ played a few months earlier by Claudio Simonetti’s hands for Dario Argento’s masterpiece, whilst the entire soundtrack sounds somehow “Goblinesque”, thanks to the prog-rock & funk action themes 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.

Looks unplayed.

Ship to Shore PhonoCo. is very proud to present Vince Pope’s score to Issa López’s acclaimed dark fairy tale Tigers Are Not Afraid, on limited edition vinyl!

The film plays out as a dark fairytale, set against the harsh reality of a Mexican city in which a group of orphaned children living rough in the streets butt heads with the local murderous cartel, all the while their most recent addition - Estrella - is literally haunted by a dark presence…

The music helps weave the tapestry of the story together, dark ambient moments are punctuated with touching melodies that will pull at your heartstrings with a soundscape that is simultaneously creepy and melancholic in all the good ways.

The soundtrack is pressed onto an orange-with-black-splatter variant LP, and also comes with a voucher offering a 30 day free trial of Shudder!

Vinyl with light scuffs and hairlines.

It’s difficult being a stepmother at any time, so it’s going to be super-hard when your predecessor commits suicide and your partner has to be somewhere else, leaving the two whippersnappers behind for you to look after. This is what happens to Grace (Ril

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.

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.

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.

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

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.

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!

Orange Vinyl Edition.

Vinyls look uplayed. Posters and insert included. Cover has one slightly bent corner.

Record Store Day 2020 Release.
Limitation: 2000 copies.

Truly special picture disc featuring imagery unavailable elsewhere - side A features the cover art; side B features the floor of the Dark Crystal's chamber, a circle of 18 arcane symbols for each of the urSkeks that came to Thra during the first Great Conjunction. ''I wanted the music to be as magical as Thra itself - organic, imperfect, strange, mystical, otherworldly and wonderful. I wanted to create new sounds that felt like they came from the world itself'', composer Daniel Pemberton revealed. Side A - 1. The Dark Crystal: Age Of Resistance - Daniel Pemberton 2. Another World, Another Time - Daniel Pemberton 3. Story Of The Dark Crystal - Daniel Pemberton 4. Rian + Mira Dreamfast - Daniel Pemberton 5. Aughra Awakes - Daniel Pemberton 6. The Crystal Chamber - Daniel Pemberton 7. Essence Draining - Daniel Pemberton Side B - 1. What Lies At The Dream's End - Daniel Pemberton 2. Together We Fight - Daniel Pemberton 3. The Blue Flames Part 1 - Daniel Pemberton 4. Deet In The Woods - Samuel Sim 5. Speak For The Dead - Daniel Pemberton 6. Brea And The Library - Samuel Sim 7. Her Light Faded - Daniel Pemberton

Gatefold cover with slight wear and a bent corner!

Stuffed corner. Cover and vinyl are close to NM.

Franco Micalizzi composed and conducted one of his most iconic OSTs for the crime drama genre with this soundtrack. Within the soundtrack emerges a recurring main theme, using a Moog synthesizer, that is then developed by an energetic woodwind section. It is then reprised in slow and fast versions. There is plenty of instrumental dance music and a romantic ballad with vocals. The leitmotif is alternated with suspenseful phrases written for strings.

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.

The Complete Film Score by West Dylan Thordson
180 Gram Double LP Yellow Colored Vinyl
Old Style Tip-On Gatefold Jackets with Satin Coating
Deluxe Packaging
Pencil and Ink Illustrations by Jonas Scharf
Colors by Dennis Calero
Heavyweight Printed Insert

Split, a terrifying, breakneck thriller, centers on Kevin Wendell Crumb (James McAvoy), a man with dissociative identity disorder whose more sinister personalities (collectively known as The Horde) kidnap three teenage girls. The plan is to feed the “impure” girls to another of Crumb’s personalities, a superhuman creature known as The Beast. The final girl, Casey Cooke (Anya Taylor-Joy) is spared because The Beast sees scars covering Casey’s body, markers of child-hood abuse. Because Casey, unlike the other girls, has suffered, her heart is pure. “Rejoice,” The Beast tells her. “The broken are the more evolved.”

The Split score, by West Dylan Thordson, became the first collaboration between Shyamalan and the composer. Sonic, sinister and foreboding, the music was unlike any recorded for a film before. “I started by recording several loose takes of some simple harmonic bowing ideas with a cellist and violinist,” Thordson said. “The intention was to heavily modulate the captured sounds. While playing around with an idea in the past, I’d accidentally captured something like this and wanted to explore it more. The resulting sound was extremely chaotic, unpredictable, and scary. It felt haunted and seemed to capture the otherworldly, tortured, animalistic quality I was looking for. I wanted it to feel like “Jaws,” foreshadowing the existence of this malevolent being.”

"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!

Luciano Michelini created symphonic background music that alternates romanticism with drama and mystery. Our LP opens with the theme of the opening credits, a dark motif produced by strings, percussion and piano which is reprised later in the film. A second recurring motif is a love theme that is introduced in a slow, romantic version with a modern arrangement that alternates with a fast, extravagant march. Initially only the mono mixed tapes were found, but further research into the RCA archives brought to light the stereophonic tape of a previously unreleased LP montage.

Box with a bit of damage/scuffs on the front

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.

Waxwork Records proudly presents the debut LP release of 2014's STARRY EYES. Composed by SUB-POP recording artist Jonathan Snipes (clipping, Room 237), STARRY EYES has been hailed not only as one of the best horror movies of 2014, but one of the best horror films of the last decade. The LP features an incredible 100% analog synth score composed and performed by Snipes that has grabbed the attention of fans of the film worldwide.STARRY EYES and it's score has received countless awards and accolades. TIME has called the film one of the ten best films of South by Southwest.

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!

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.

Stelvio Cipriani wrote a rhythmic score with a nostalgic feeling which is then reprised in bossa, suspense, and action music versions. Maestro Cipriani also composed a folk theme to describe the Mafia and Camorra characters who are fighting each other in the film. The LP closes by reprising the folk theme and the main theme. Stelvio Cipriani’s bravura as a piano soloist is also found in this OST. This LP was made possible thanks to the mono masters preserved in the historical archives of the RCA.
Directed in 1979 by Stelvio Massi. Starring Maurizio Merli, Mario Merola, Carmen Scarpitta, Francisco Rabal, Nando Marineo, Massimo Dapporto, Matilde C. Tisano, Massimo Mirani, Remo Varisco, Lidia Costanzo, Gianni Casifa, Anna Canzi, Nino Carillo.

Original Soundtrack in a collectors edition.

Record Store Day 2020 Release.
Limitation: 200 copies.

The soundtrack for the documentary film, Record Safari, on standard vinyl. Record Safari is a feature documentary about vinyl record collectors. Vinyl Records are Alex Rodriguez's drug, and he's turned his addiction into a career. Running the Glass House Record Store and curating for Coachella Music Festival's on-site record store, Alex spends weeks on the road buying records and swapping stories with fellow collectors, musicians, enthusiasts and producers. Record Safari takes you on journey as Alex searches high and low for these sought after pieces of plastic and gives us an inside look into the world of record collecting. Side 1 (A Side) 1. Bikini Kill- This Is Not A test (1:59) 2. Deidre & The Dark- Which Way (3:02) 3. High Waisted- Hey Hey (3:07) 4. Atmosphere- Camera Thief (4:46) 5. Fiona Silver- Here Comes The Fall (3:38) 6. Deidre & The Dark- Tell Me (3:29) 7. Lenny Kaye- Record Collector Side 2 (B Side) 1. Fiona Silver- Housewife (4:09) 2. Atlantic Thrills- Day At The Beach (2:40) 3. Atmosphere- To All My Friends (3:17) 4. The Chamber Strings- Check Out Girls (3:38) 5. The Postmarks- You Drift Away (3:50) 6. Deidre & The Dark- Can't Believe You're Mine (1:52) 7. Outro: ''Thanks'' (:06)

"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.