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Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (With Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research and of course Kompakt, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'.

How To Train Your Dragon 2 was composed by John Powell, who has created the archetype for modern animation scoring. This soundtrack has never had a standard vinyl release, much less this deluxe edition which will be presented across two LP’s in a gatefold jacket and pressed on red mult-color splatter vinyl, in keeping with the theme of the green multi-color splatter on the How To Train Your Dragon 1 LP release, which was also produced exclusively for RSD in 2021. As with the first soundtrack, the theme song of the second film is done by Jonsi from the Icelandic band, Sigur Ros, and is unavailable anywhere else.

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)

Reissue on orange vinyl.

The Amazing Spider-Man (2012) is based on the Marvel Comics character Spider-Man and the fourth Spider-Man film produced by Columbia Pictures and Marvel Entertainment. Directed by Marc Webb, the film follows Peter Barker (Andrew Garfield) who is bitten by a genetically altered spider and gains newfound, spider-like powers. He ventures out to save the city from the machinations of a mysterious reptilian foe. The score is composed by James Horner. The American composer was known for the integration of choral and electronic elements and his frequent use of motifs associated with Celtic music. He established himself as an eminent film composer with his work on Avatar (2009), Braveheart (1995) and Titanic (1995). The latter is also the best-selling orchestral film soundtrack ever. Horner received a total of 2 Academy Awards and was nominated for an additional eight Oscars. The Amazing Spider-Man is available as a limited edition on translucent blue & red marbled vinyl. This 2LP set includes 2 printed innersleeves, an insert and an exclusive Spider-Man poster.

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.

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.

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.

Akira Ifukube Returns! It's 1996 AD and Toho decide to freeze their Godzilla franchise, so what better way to go out with than a nuclear meltdown, which happens in Godzilla VS. Destoroyah. Directed by Takao Okawara, the epic kaiju flick has Godzilla deadlier than ever before, with the absorption of uranium sending the temperature of his nuclear reactor heart soaring, which will ignite Earth's atmosphere and kill everybody when it explodes. Oh, and there's also another kaiju on the loose, the prehistoric mutation Destoroyah. It never rains but it pours!

Returning to score Godzilla VS. Destoroyah was Akira Ifukube, the man who created the Big G's sound in 1954. Fittingly, for his final film, he got to lay Godzilla to rest once again, but first brought back several of his older pieces for the mayhem, including the original Godzilla theme, with another repurposed for the amazing new Super-X3. Destoroyah also receives a terrifying theme with powerful brass, but even his strength isn't enough for Godzilla's awesome force. But with that comes the death of the Big G, and Ifukube composes a beautiful requiem for his final scene. The king is dead. Long live the king! (Charlie Brigden)

Working with two dozen bands and their labels, filmmaker BEN Johnson curated an amazing survey of dynamic underground music as a backdrop to his rock ‘n’ roll indie thriller Fanboy (Gnarlsberg Productions via Amazon, 2021). The limited edition colored vinyl double-LP culls together 22 of those songs. Features tracks from HOT Snakes, Deathe Eyes, BIG Business, RED Fang, MR. Tube, THE Black Heart Procession, Marsupials, THE Cherry Valence, and others. Enclosed download card offers an additional 6 songs (by film stars Xenos, Grammatical B, and Montalban Quintet).

For its 10th album, Blundetto drops his first soundtrack on LP, an ode to road trips and 70’s scores. VTC is a Canal + mini series and features Golshifteh Farahani as Nora, the main character. This soundtrack is the most « urban » and « electronic » work from Blundetto to date. 33 mins of funk grooves, hypnotic atmospheres and psychedelic landscapes. This is the first release of Blundetto’s new label: Les Rythmes Ruban.

Double BLACK Vinyl, Gatefold sleeve, DL card. René Laloux's celebrated 1973 sci-fi animation 'La Planète Sauvage (Fantastic Planet)', is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records' re-imagined score series. "No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop." The Vinyl FactoryIt's a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that's narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It's an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film.A must for fans of psyche electronica and Stealing Sheep's formidable 'Big Wows' album."Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks." The Guardian'La Planète Sauvage' is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments.

Cryptozoo is an animated feature-film drama, written and directed by Dash Shaw, featuring the voices of Lake Bell, Zoe Kazan, Michael Cera and Louisa Krause. The film won the Next Innovator Award at Sundance, and premiered internationally at the 2021 Berlinale. It will be released on August 20 in theaters and on demand.

This is John Carroll Kirby’s first time bringing his talents as a composer and producer to film scoring. His score resists easy genre classification, melding together sounds from New Age, exotica, library music, and the sweeter side of electronic music, and makes for a perfect match with artist and filmmaker Dash Shaw’s vibrant animated feature.

When I was approached to participate in Monsterland I was immediately attracted to the idea of working on a series where horror, science fiction and gore could converge. I had never done music for a project like this before and the sole idea of venturing into some new playground immediately sparked my interest. And just after reading the first two episodes I realized I had to get involved in the project.

Several things connected with me deeply. I found in the stories elements that reminded me of the “magical realism” that I grew up with in Latin America through writers like Horacio Quiroga and Gabriel García Márquez. Also, the idea of tapping into a landscape in which fear and horror have a metaphysical quality connected to the psyche of the characters appealed to me.

Working with Juan Luquí was key in making this score. His capacity to deeply understand my vision and his masterful skills add another dimension to Monsterland. A land of monsters so human in nature, that in many instances seemed extremely and frighteningly familiar.

Burning Witches Records are once again honoured to be working with Director Brian O’Malley (The Lodgers) to bring you the fantastic and atmospheric score to 2015’s cult horror Let Us Prey by composer Steve Lynch.

Rookie cop Rachel (Pollyanna McIntosh) is about to begin her first night-shift in a neglected police station in a Scottish backwater town--the kind of place where the tide has gone out and stranded a motley bunch of the aimless, the forgotten, the bitter-and-twisted who all think that they really deserve to be somewhere else. They all think they're there by accident and that, with a little luck, life will get better. Wrong on both counts. Six (Liam Cunningham) is about to arrive--and all hell will break loose

“The Minimoog pulsating bass throughout the score is a nod to 80’s horror, but I wanted to modernise it too, so all the synth textures are on a Dave Smith Prophet 12, which is a modern classic. Rachel’s Theme was a chance to bring in a more emotive organic tone using cellos, bowed bass guitar and voices. I think the combination of all these elements gave the score its own particular sound.” -Steve Lynch

Waxwork Records is proud to release Prisoners OF THE Ghostland (original Motion Picture Soundtrack) by critically-acclaimed composer Joseph Trapanese (Shadow and Bone, Straight Outta Compton, The Greatest Showman). The album features score music written by Trapanese for the Nicolas Cage starring Western directed by Sion Sono.

Of the soundtrack, composer Joseph Trapanese says, “My score for Prisoners of the Ghostland is a love letter to my favorite films and music. You’ll hear clear influences from Spaghetti Westerns and classic sci-fi, as well as from traditional Japanese music, Baroque Sarabande, and French Impressionism. For me, the collision of these musical styles with Nicolas’ expressive performance and Sion Sono's beautiful images is the most gratifying result of the film. What I love most about Sono-san’s work is that regardless of how dark, violent, or unconventional it may be, there is a clear, effusive, and vibrant joy for filmmaking. One cannot watch a Sion Sono film without being infected by his inventiveness, and I’m honored to have experienced his artistry firsthand. I’m thrilled to be sharing this music with you.”

Waxwork Records is thrilled to present a deluxe double vinyl edition of the soundtrack pressed on 180-gram colored vinyl with gatefold packaging, liner notes from composer Joseph Trapanese, a 12''x12'' art print insert, with layout and design by Matt Needle.

About Prisoners OF THE Ghostland

Story: In the treacherous frontier city of Samurai Town, a ruthless bank robber is sprung from jail by a wealthy warlord, The Governor, whose adopted granddaughter has run away. Strapped into a leather suit that will self-destruct within five days if he doesn’t find the missing girl, the bandit sets off on a journey to find the young woman — and his own path to redemption. Starring Nicolas Cage, Sofia Boutella, Bill Moseley, Nick Cassavetes, Tak Sakaaguchi. Directed by Sion Sono.

"L'Ultimo Treno della Notte" (Last Stop on the Night Train) is a 1975 thriller film directed by Aldo Lado, one of the most violent movies ever produced in Italy in the '70s (and beyond) that actually shows, even in the crudest scenes, for same admission of the director, a harsh attack against the bourgeois society and its powerful rich people. Despite the limited budget, the friendship between Aldo Lado and composer Ennio Morricone made this collaboration possible; nonetheless, only a 45rpm 7" was released at the time, containing the songs "Coincidenze" and a 'medley' version of the theme track with the train wheels rattling on the tracks in the background, while the song "A Flower's All You Need", sung by Demis Roussos of Aphrodite's Child, was included in a rare Japanese single. All these tracks can be found in this exclusive edition of Morricone's soundtrack, together with the various other versions of the film's main theme, characterized by a middle section filled with tension, pronounced rhythmic patterns and echoes of the legendary theme of “Investigation of a Citizen Above Suspicion". The notes of "Coincidenze" are just as worthy of the best Italian police movies, while the "Solitudine" theme adds sadness and melancholy notes to the mix. Franco De Gemini's harmonica also reminds us that this kind of films are nothing else than westerns set in modern times and contexts. Yet another exceptional work by the Maestro, released for the first time as a yellow Colored Vinyl enclosed in a gatefold cover!

Limited edition for Record Store Day 2022.

Limited edition for Record Store Day 2022.

Limited edition for Record Store Day 2022.

Limited edition for Record Store Day 2022.

Limited edition for Record Store Day 2022.

Limited edition for Record Store Day 2022.

Kein Geringerer als Oscar-, Grammy- und Emmy-Gewinner und Komponist Michael Giacchino hat den Soundtrack zu „Spider-Man: No Way Home“ geschrieben. Für den Soundtrack erweitert Giacchino die Klanglandschaft, die er mit „Spider-Man: Homecoming“ (2017) und „Spider-Man: Far From Home“ (2019) etabliert hat. Auch das ikonische und von den Fans geliebte Spider-Man Thema kommt in der Filmmusik vor.



„Es war wirklich etwas Besonderes, diese drei Filme mit Peter Parker und Regisseur Jon Watts zu drehen. Im Laufe der Filme entwickelt sich Peter von einem typischen Teenager mit den alltäglichen Ängsten, die so viele von uns in diesem Alter haben, zu einem selbstbewussten jungen Erwachsenen, der sich seiner großen Verantwortung bewusst ist. Der zusätzliche Bonus, dass er reisen und mit dem Multiversum spielen kann, hat mich um einige Jahre zurückversetzt und daran erinnert, warum ich diese Figur überhaupt so liebe. Es war mir eine Ehre, zum Vermächtnis des freundlichen Spider-Man aus der Nachbarschaft beizutragen“ erklärt Michael Giacchino.

LP Ltd edition RED Vinyl. This first release from the Deeper Into Movies label is the score for Dasha Nekrasova's notorious award-winning debut feature film 'The Scary of Sixty-First'. Eli Keszler's score meets at the confluence between the visceral electro-acoustic Giallo style and brooding acoustic drones, which feature his abstract and textural percussion playing he has explored in his solo music. All of this working together to evoke the very haunts of the film's Uptown locations.Speaking about the score Keszler said_ "The score was built around the 'pentagram melody' as we called it, a seven-note symmetrical pattern that formed the sign found on the tarot card, a repeated motif of dread and premonition found in the film. In the Scary Theme and later in Tarot Theme three variations occur, where each tonal triangle is introduced individually, followed by it playing in counterpoint to each other to complete the symbol.Nekrasova's work is a thriller centred on two young women who unknowingly move into a Manhattan apartment that used to belong to Jeffrey Epstein. The psychosexual drama is steeped in Giallo, with a touch of DePalma and Polanski. Premiering at this year's Berlin International Film Festival, it took home their prestigious 'Best First Feature' award.Keszler other film work includes contributions to Daniel Lopatin's score for the Safdie Brother's acclaimed, Uncut Gems, while his solo music has been released on LuckyMe, Empty Editions, ESP Disk and PAN. His album 'Stadium' released on Shelter Press was awarded Boomkat's 2018 'Album Of The Year' and Pitchfork claimed his most recent album 'Icons' (2021) as 'strangely wonderful'. Frequent collaborator to Oneohtrix Point Never, Laurel Halo, and Rashad Becker - Keszler's has shown and performed at The Lincoln Center, Victoria & Albert Museum, MoMA PS1, and The Barbican. He has worked across music, film and art with exhibitions at the South London Gallery, MIT List Center and collaborations with Turner Prize-winning artist Laure...

Limited edition for Record Store Day 2022.

Limited Edition for Record Store Day 2022.

Limited and exclusive Color Vinyl with Numbered alt art print for Rsd22: Art Print Image with sleeve images. 400 blue vinyl edition available for UK with the Abraham Lincoln print. Cinema Paradiso Recordings is proud to announce the release of the soundtrack to the motion picture The Parallax View, on vinyl for the first time ever. Based on the book by Loren Singer, The Parallax View is directed and produced by Alan J. Pakula as the second installment of his “political paranoia” trilogy—alongside Klute (1971) and All The President’s Men (1976). With cinematography by Gordon Willis (The Godfather trilogy, Annie Hall) and starring Warren Beatty, this political thriller from 1974 is perhaps even more relevant today than it was back then.

In conjunction with Milan Records, Death Waltz Recording Co. is thrilled to bring you Jim Williams' incredible score to Titane. Reuniting with director Julia Docouranu (he also scored Raw) and hot on the heels of his outstanding work on last year's Possessor, Williams once again proves that he is one of the very best composers working today. His work here is, at times, cold, pulsating and ominous. However, these pieces are interspersed with tender passages that offer glimmers of hope, shining through in the form of warm tones and intricate melodies.

Williams said, 'The score for Titane grows from a short theme for a scene where the protagonist leaves home in startling circumstances. Initially in a contemporary popular music style with a tinge of John Barry, later this was set with metal percussion and male voice choir using the Neapolitan Minor for a scene set in a car. As the film develops, the theme takes on an emotional, darker twist.' Williams continued, 'The main theme for the film ['Sarabande'] is finally set in a Baroque style – a sarabande – that at first has the pomp of George Frideric Handel, but that later becomes tender, if rather twisted.'

Limited to 1000 copies, foil numbered units pressed on red and black galaxy viny.

Inspired by the popular paranormal podcast The Midnight Society, A new record by The Rentals for Record Store Day 2022 Mondo & Death Waltz Recording Company are thrilled to be releasing a new record by The Rentals for Record Store Day 2022.

Inspired by the popular paranormal podcast The Midnight Society Matt Sharp (Weezer) & Nick Zinner (Yeah Yeah Yeahs) have created an expansive atmospheric soundtrack to some of life’s most bizarre and otherworldly unexplained paranormal activities.

This is an unsettling yet beautiful record, ambient passages give way to menacing jittering Synths amid Nick Zinner’s familiar guitar tones soaked in reverb, conjuring up long dark highways, deserted buildings and dense woods that never end. The artwork by Henry Abrams compliments the audio perfectly.

Richard Thompson's score for Grizzly Man - Werner Herzog's 2005 documentary film of real life and death in the Alaskan wilderness - is one of the best-kept secrets in the British guitarist's epic canon: an instrumental masterpiece disguised as a movie soundtrack. Recorded over two days as Thompson played live in the studio to Herzog's footage - mostly alone, at times in chamber settings with cello, piano and percussion - these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson's lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting. Here is Thompson at his natural best - finger-picking dance; snake-curl twang and singing-wire harmonics - in a solo clarity that runs from jig-like joy to deep-note meditation, the "Main Title" blues march with its echoes of Fairport Convention's "Sloth" to the long night of "Treadwell No More," a harrowing darkness in slicing treble and tremolo shiver. Produced by guitarist Henry Kaiser, Grizzly Man is a record of powerful solitude - as bold and majestic as the land in Herzog's film; as intimate as prayer - and essential Richard Thompson.

Finally back to life after decades of obscurity, Berto Pisano’s exquisite soundtrack to La Novizia encapsulates the Italian erotic sound of the 70s in all of its nuances, from the classic lounge sound to psychedelic rock influences. Previously unreleased in any format.

Nate Archer’s new score to his brother Cam’s celebrated 2006 feature film Wild Tigers I Have Known was conceived as radio transmissions coloring the emotional landscape of the confused adolescent protagonist, Logan. A mix of glittering synths, sampled voice, stark rhythm, and surreal moods, the tracks conjure a sense of “slight menace, or a slowly lifting veil,” as Logan wanders Santa Cruz suburbia, at the threshold of the wilderness of adulthood.Archer’s background in basement psychedelia (Rahdunes) and leftfield tribal electronics (Leisure Connection) bleed through in the soundtrack’s disorienting diversity, alternately ominous and innocent, hedonistic and hallucinatory. These are less songs than wavelengths, as much internal as external, pulsing with the promise and pain of desires still unnamed, futures yet unknown.

Kein Geringerer als Oscar-, Grammy- und Emmy-Gewinner und Komponist Michael Giacchino hat den Soundtrack zu „Spider-Man: No Way Home“ geschrieben. Für den Soundtrack erweitert Giacchino die Klanglandschaft, die er mit „Spider-Man: Homecoming“ (2017) und „Spider-Man: Far From Home“ (2019) etabliert hat. Auch das ikonische und von den Fans geliebte Spider-Man Thema kommt in der Filmmusik vor.



„Es war wirklich etwas Besonderes, diese drei Filme mit Peter Parker und Regisseur Jon Watts zu drehen. Im Laufe der Filme entwickelt sich Peter von einem typischen Teenager mit den alltäglichen Ängsten, die so viele von uns in diesem Alter haben, zu einem selbstbewussten jungen Erwachsenen, der sich seiner großen Verantwortung bewusst ist. Der zusätzliche Bonus, dass er reisen und mit dem Multiversum spielen kann, hat mich um einige Jahre zurückversetzt und daran erinnert, warum ich diese Figur überhaupt so liebe. Es war mir eine Ehre, zum Vermächtnis des freundlichen Spider-Man aus der Nachbarschaft beizutragen“ erklärt Michael Giacchino.