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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.

CD comes in a soft case, instead of the original crystal case. All booklets included.

* Debut7' 45rpm * Mastered byMell Dettmer in Seattle, WA * Art, Design, and layout by Andy Reichel

“Nightshade” creeps in on sly keyboards, haunting cuica moans reminiscent of Airto Moreira’s work with Miles Davis, and skewed cha-cha beats before an incongruously jaunty synth melody plinks skyward, and releases all the tension that the intro built up. It proceeds to stack up three distinct keyboard motifs, each one more enchanting than the last. – Dave Segal

Andrew Tasselmyer already has quite an extensive discography, with solo albums released on labels like Laaps, Eilean Recs, Constellation Tatsu, Home Normal, etcetera – but also as a member of Hotel Neon, Gray Acres, Mordançage as well as various collaborative projects.

Music For Nonexistent Films, released on Somewherecold Records this time, consists of largely improvised material, inspired by photographs of Philadelphia (where he currently lives). As far as I know, the photos are not included in the release (apart from the cover image of course), so it’s up to you to relate the music to images of your own surroundings. This should not be too hard because, as the album title already suggests, this is very ‘visual’ music.

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.

The horror master John Carpenter is back with his Halloween franchise collaborators Daniel Davies and Cody Carpenter for their infectious new soundtrack to the 2022 adaptation of Stephen King's Firestarter. This marks the first official soundtrack that the team has composed together outside of the Halloween franchise and their inspiration and evolution as a creative team is on full display. The film is a new take on the thriller examining a girl with extraordinary pyrokinetic powers and her fight to protect her family and herself from sinister forces that seek to capture and control her. The film releases theatrically on May 13th, 2022 and stars Zac Efron, Sydney Lemmon, Ryan Kiera, is directed by Keith Thomas (The Vigil) and created by the producers of The Invisible Man. The story has become a classic and the intense nature of the film creates a canvas for a dynamic soundtrack. The Firestarter soundtrack utilizes some of the best elements of Carpenter's famous musical repertoire and charts exciting new territory. The tracks range from fist pumping sci-fi anthems to slow reverb drenched piano ballads and each utilizes a variety of sonic applications. Skulking beats, skittering synths, crushing guitars and an ever-lurking echo come together to create an album that is atmospheric and also deeply melodic, cohesive and eclectic. These three musicians are all working in the peak of their individual and collaborative creativity and this soundtrack further solidifies them as masters of the craft.

"Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that." Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film. While arranging the score the composers consulted musician and ethnographer Poul Hoxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. "Electronic music has almost limitless potential when it comes to making sounds and that's obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There's no risk of that happening when you only have a few primary instruments to draw upon." Robin remarked. They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn't have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. "One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances." Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

"Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that." Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film. While arranging the score the composers consulted musician and ethnographer Poul Hoxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. "Electronic music has almost limitless potential when it comes to making sounds and that's obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There's no risk of that happening when you only have a few primary instruments to draw upon." Robin remarked. They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn't have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. "One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances." Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

Limited to 1 copy per customer.

Introducing PIOMBO, a new CAM Sugar collection on Italian crime soundtracks. Fused with American jazz-funk, acid progressive rock, synth-infused disco and more. PIOMBO journeys into the scores that captured the sociopolitical turmoil of 1970s Italy. Restored and remastered from the original tapes, this compilation features rare and previously unreleased music by Luis Bacalov, Stelvio Cipriani, Riz Ortolani, Franco Micalizzi and more. 2 LP.

In partnership with Universal Pictures, Metro Goldwyn Mayer (mgm) and Monkeypaw Productions, Waxwork Records is thrilled to present Candyman Original Motion Picture Soundtrack by Robert Aiki Aubrey Lowe. Directed by Nia DaCosta (next year’s The Marvels) from a screenplay by Oscar® winner Jordan Peele, Win Rosenfeld and DaCosta, Candyman, currently in theaters nationwide, is a fresh take on the blood-chilling urban legend and a contemporary incarnation of the 1992 cult horror classic.

About Robert Aiki Aubrey Lowe:

Robert Aiki Aubrey Lowe (b.1975) is an artist, curator and composer who works primarily with, but not limited to, voice and modular synthesizer for sound in the realm of spontaneous music. Along with analog video synthesis works, he has brought forth an A/V proposal that has been a focus of live performance and installation / exhibition.

The marriage of synthesis and the voice has allowed for a heightened physicality in the way of ecstatic music, both in a live setting and recorded. The sensitivity of analogue modular synthesis echoes the organic nature of vocal expression, which in this case is meant to put forth a trancelike state. Lowe’s works on paper tend towards human relations to the natural/magical world and the repetition of motifs.

Waxwork Records is proud to present the soundtrack to Candyman in multiple formats, including vinyl, CD and digital. The deluxe 2xLP vinyl release features 180-gram colored vinyl, old-style tip-on gatefold jackets with satin coating and a built-in booklet page, liner notes by composer Robert Aiki Aubrey Lowe, a 12-page art gallery exhibition catalogue, artwork by Sherwin Ovid and Julian Williams and puppetry art by Manual Cinema.

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.

From deep in the heart of Moominvalley, frozen in time for many midwinters passed, comes a genuine treasure chest of never heard Moomin melodies and instrumental comet songs composed for the continued animated adventures of our Fuzzy-Felt freak folk friends who disappeared from UK TV pastures in the mid-1980s. From the top of the Hobgoblin’s Hat and the bottom of Snufkin’s satchel, original Moomin’s composer Graeme Miller (The Carrier Frequency) kindly shares this patchwork selection of spellbinding sound poems and percussive peons made using the very same selection of ocarinas, kalimbas, miniature squeak boxes, Waspy synths, cornflake box shakers and a seemingly endless array of talent and lo-fi home studio trickery. Regarded as one of the most enigmatic, beguiling and haunting imported children’s programmes to ever grace UK TV screens, The Moomins was one of the first-ever commissions by Anne Wood (The Teletubbies) who ingeniously replaced the original Polish/ Austrian/Finnish soundtrack with homemade music experiments by unknown post-punk theatre students Graeme Miller and Steve Shill (aka The Commies From Mars) who after the screening of two unforgettable series in 1983 and 1985 were left in eager anticipation of rescoring further Moomin adventures with new melodies, arrangements and sound designs which then lingered in the ether waiting until the Groke awoke and Snorkmaiden sang once more. With future felt adventures screened exclusively in Poland and Germany for many years (often as feature films) these unheard recordings are the only genuine musical sequel to the bizarre UK version of The Moomins and stand as important inclusions the Graeme Miller’s own portfolio of theatrical theme music and sound installations as part of The Impact Theatre Cooperative including collaborations with artists and writers such as Russell Hoban. Witnessed in fragmented form during a short run of incredible rare live screenings at The Barbican Theatre and various film festival this record marks the first time this music has been heard in its original full-length form, free from sound effects, dialogue and whimpers of euphoric joy and nostalgia from those who have continued to crave the company of our Moomintrolls and their mysterious music over the last five decades.

Red Vinyl.
Still shrink wrapped but opened.
Includes original inner sleeve.
Cover corners slightly dented.

Waxwork Records is honored to present THE Sword OF Doom Original Motion Picture Soundtrack by Masaru Satô! Directed by Kihachi Okamoto, The Sword of Doom is a 1966 Japanese samurai movie that tells the bloody and brutal tale of revenge and redemption. This deluxe LP features new artwork from Yuko Shimizu and marks the first time that the soundtrack is available on vinyl!

Starring Tatsuya Nakadai and featuring Toshirô Mifune, The Sword of Doom tells the story of Ryunosuke Tsukue, a masterful but heartless swordsman in feudal Japan. After deliberately killing an opponent in a training exercise, Tsukue then murders his mistress and flees town. After spending time in a haunted geisha house, Tsukue sees the ghosts of all his victims and spirals into madness, leaving a trail of destruction and bloodshed in his wake. As time passes, the years of brutal killings and evil deeds begin to weigh on his mind, ending in a climactic battle between Tsukue, a group of assassins, and the ghost of his past.

The Sword of Doom soundtrack, composed by Masaru Satô (Yojimbo, Godzilla vs. Mechagodzilla), is full of dark and yet melodic cues, and takes many influences from traditional Japanese instruments and music. A minimalist yet powerful score that brings to life the struggles of Tsukue’s inner demons. The tone ranges from brash fight scene orchestrations into quiet and lilting flute themes, but underscoring it all, Satô's music feels the evils of Tsukue.

Available for the very first time on vinyl, Waxwork Records is honored to work with Toho to present The Sword Of Doom re-mastered on 180 gram Snow, Blood, Flames, and Katana swirled color vinyl, deluxe packaging, new artwork by Yuko Shimizu, heavyweight gatefold jackets with matte satin coating, a 12"x12" art print, and more!

THE Sword OF Doom Original Motion Picture Soundtrack Features:

The Complete Soundrack by Masaru Satô Available For The First Time On Vinyl 180 Gram "Snow, Blood, Flames, and Katana" Swirled Color Vinyl New Artwork By Yuko Shimizu Heavyweight Gatefold Jackets with Matte Satin Coating 12"x12" Art Print

Since its opening in spring 2021, Jubg, a still young Cologne gallery for contemporary art, has specialized in the broad field of artists and collaborations working along artistic interfaces, especially those between visual art and experimental and/or electronic music. For example, Jubg has already hosted exhibitions by Markus Oehlen, Kim Gordon, Wolfgang Voigt, Matthias and Aksel "Superpitcher" Schaufler, Sven-Åke Johansson, and Emil Schult. Albert Oehlen, who is a kind of mentor and supporter of the gallery, was also a guest at Albertusstraße this summer, where he presented the exhibition D-i-e Orpheusmaschine together with Michael Wertmüller, Thomas Stammer and the poet Rainald Goetz.

It is only logical that the gallery now expands its sphere of activity to include its own label, on which music appears that comes from similar contexts as the artists listed above already suggest.

As catalog number 1, Jubg is now releasing the official soundtrack to "The Painter" from 2021. The film, German title "Der Maler", is a mixture of feature film and documentary and a collaboration between German director Oliver Hirschbiegel, best known for his Oscar-nominated film "Downfall", and Albert Oehlen, with whom Hirschbiegel has a long friendship, as they both once studied together at the Hochschule der Bildenden Künste in Hamburg.

The docu-fiction shows Oehlen struggling with a painting and pondering the meaning of his work. Oehlen is played by German actor and musician Ben Becker, accompanied by the off-screen voice of Charlotte Rampling. In the film, Becker makes a painting that Oehlen himself creates step by step behind the camera, while the actor improvises the process in front of the camera.

The wonderful music for this film comes from no less than two outstanding personalities whose individual biographies and musical signatures could hardly be better suited to this project. On the A-side it is Gudrun Gut, icon not only of the German electronic music scene since at least the 90's, singer, composer, DJ, label owner (Monika Enterprise) and of course founding member of the legendary 80's New Wave band Malaria. On the B-side it’s the world famous and award winning US avant-garde trumpeter and improvisational musician Nathan "Nate" Wooley, who has played with Fred Frith and John Zorn among others.

Gudrun Gut's tracks bear such beautiful titles as "Bewegung", "Küste" or "Weinen" and she once again pulls out all the stops of her great skills and decades of experience as a producer of the most diverse electronic music genres. These are unusual and much more experimental musical paintings that she creates here than on her recent solo works. Edgy, angular, raw and unpolished, yet always elegant and clever, she subverts the male artist madness depicted extensively in the film in her own unique way.

Nathan Wooley answers with the instrument he has been familiar with since childhood, the trumpet, with which he is able to create a ravishingly virtuosic noise. His pieces are more like sketches, often only 90 seconds or a few minutes long, but in all their abstractness underpin the narrative of the film almost perfectly.

Cover with bumped corner

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

Ted K. Kaczynski is notorious for both tragically murdering three people (and wounding an additional 23) via bombs sent in the mail and for his numerous writings on the evils of technology he composed during his primitive residency in the woods of Montana. Film director Tony Stone's choice to have the renowned electronic artist Blanck Mass score the film is somewhat ironic and creates an obvious tension perfect for the controversial and complex subject matter. 2020 saw the first Blanck Mass movie score, for the soundtrack to Nick Rowland's acclaimed cinematic debut Calm with Horses. This expansion into new areas of melodic composition and textural exploration won Blanck Mass many new fans, with the BBC's acknowledged number one film buff Mark Kermode proclaiming the work the soundtrack of the year. In 2021, Blanck Mass won the prestigious Ivor Novello Award for Best Original Film Score and has firmly established himself at the forefront of the latest wave of experimental soundscape wizards. Recording during lockdown at his studio in Edinburgh, Scotland, Blanck Mass's Ben Power was in the perfect setting for a musical piece intended to capture the isolation central to Kaczynski's story. Power was also working with a director in a time zone 10 hours behind and thus many sessions required working in the middle of the night, which added a fitting intensity to the composition process. He said of the project "I wanted it to feel like an `epic'" and drew on the legends Sergio Leone and Ennio Morricone for inspiration in encapsulating the energy of the perceived good vs. evil. The gentle madness of sound achieved is exquisite and slowly builds in intensity and desperation as the score moves along. Power is able to perfectly capture the complexity, the terror and the deep emotionality of the film while presenting an often breathtakingly beautiful and always masterful album that stands on its own as a work of art. For Fans of Tim Hecker, Oneohtrix Point Never, DJ Shadow, Coil, Arca, Andy Stott, Fuck Buttons.

Vinyl with a couple of light scuffs

Cover with hype sticker on cover

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.

The horror master John Carpenter is back with his Halloween franchise collaborators Daniel Davies and Cody Carpenter for their infectious new soundtrack to the 2022 adaptation of Stephen King's Firestarter. This marks the first official soundtrack that the team has composed together outside of the Halloween franchise and their inspiration and evolution as a creative team is on full display. The film is a new take on the thriller examining a girl with extraordinary pyrokinetic powers and her fight to protect her family and herself from sinister forces that seek to capture and control her. The film releases theatrically on May 13th, 2022 and stars Zac Efron, Sydney Lemmon, Ryan Kiera, is directed by Keith Thomas (The Vigil) and created by the producers of The Invisible Man. The story has become a classic and the intense nature of the film creates a canvas for a dynamic soundtrack. The Firestarter soundtrack utilizes some of the best elements of Carpenter's famous musical repertoire and charts exciting new territory. The tracks range from fist pumping sci-fi anthems to slow reverb drenched piano ballads and each utilizes a variety of sonic applications. Skulking beats, skittering synths, crushing guitars and an ever-lurking echo come together to create an album that is atmospheric and also deeply melodic, cohesive and eclectic. These three musicians are all working in the peak of their individual and collaborative creativity and this soundtrack further solidifies them as masters of the craft.