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Pressed on Black Eco Vinyl
Artwork by Paul Mann
Music to the 1981 film directed by Rick Rosenthal
DESCRIPTION

Death Waltz Recording Company is proud to present the return of one of horror’s scariest boogeymen, as well as one of the genre’s most iconic theme tunes with John Carpenter and Alan Howarth’s score to HALLOWEEN II. Set directly after the events of the first film, Rick Rosenthal’s sequel sets itself up as the slasher equivalent of THE EMPIRE STRIKES BACK, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth’s score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. HALLOWEEN II is more overtly synth and is perhaps less focused than the original score, although that certainly means it’s nastier and more schizophrenic. The score also brings back the evocative ’Laurie’s Theme’, incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time ‘Mr. Sandman’ comes around, you’ll feel just like the final girl, delirious at having survived the aural ordeal. And that’s just when The Shape wakes up.

Pressed on Black Eco Vinyl
Packaging by Alan Hynes
Music to the 1982 film directed by Tommy Lee Wallace
DESCRIPTION

Death Waltz Recording Co. is delighted to revisit not only one of our favorite HALLOWEEN sequels, but one of our favorite sequels period. It’s been a long, hard road for HALLOWEEN III: THE SEASON OF THE WITCH to be accepted within the HALLOWEEN franchise, but it is now widely considered to be one of the best horror movies of the ‘80s.

The packaging for this release is also completely singular and jaw-dropping; designed by Alan Hynes (the wizard behind our FIGHT CLUB and ANOMALISA releases) it’s unlike all of our other re-issues in this series. It’s still designed to fit in the collectors box and really helps solidify what an outlier HALLOWEEN III is in the overall series.

The film is unique not only due to it lacking Michael Myers (save for a brief appearance on a TV screen) but also for its score. John Carpenter and Alan Howarth completely jettisoned their previous work and deliver nothing short of an electronic masterpiece. The lead track ‘Chariots Of Pumpkins’ is an epic 4/4 beat-driven synth-banger that has regularly been played by DJs over the last 10 years. The rest of the score features lush pads, Linn drums aplenty and veers from beautiful blissed-out ambient drones to sinister stinger-driven mood pieces. Absolutely outstanding stuff.

The release comes with a download code. Betbeder, asked Sebastien Tellier to compose the music of his new film, "Marie et les naufragés" (Translated: "Marie and The Castaways"). For this score, Tellier chose a retro-futuristic electronic path in the tradition of Giorgio Moroder's music in keeping with the with free and off-the-beaten path tone of this film starring Eric Cantona. With the help of friend and fellow musician John Kirby, Sebastien has diffused film‘s languid themes with tributes to Marvin Gaye or to Ennio Morricone.

“The Last Wave” (also known as “Black Rain” in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir. “The Last Wave” was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. “Long Weekend”) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself. With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer ‘Charles Wain’, the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter. Tense atonal electronics, synthesizer drones and manipulated Didgeridoo all perfectly capture the film’s ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller. All original 12 tracks have been sourced from the original stereo master tapes and pressed on 180g vinyl. The deluxe packaging includes archival film stills and original press material.

PRESSED ON 180G BLACK VINYL. HOUSE INSIDE A SPOT VARNISHED 425GSM GATEFOLD JACKET WITH INSERT. Artwork By Matt Ryan Tobin

We are thrilled to be releasing the score to A Quiet Place in conjunction with our friends over at Milan Records. The film has been one of the breakout hits of 2018. This is only the second directorial feature for John Krasinski and is an absolutely incredibly tense monster movie, that is as original as it is scary.

The score by Marco Beltrami is an absolute tour de force, it's basically another character in the film, it can be forceful and bludgeoning one minute and quiet and reflective the next. His players twist their instruments to generate tones and textures not usually associated with them, the layers of sound and percussion on display are incredible, the opening track 'It Hears You' reminds me of a classic Planet Of The Apes cue it's disquieting and slightly wonky but has an incredible hook that immediately lets you know you are in horror territory whereas say 'A Quiet Family' is a beautiful piano track that reminds you of the life the family lived before a world of monsters took over. Pianos are detuned, Electronics are layered over traditional instruments to create something truly unsettling

Available For The Very First Time On Vinyl
180 Gram Pumpkin Orange, Candy Apple Red, and Magenta Swirled Colored Vinyl
Includes Soundtrack Songs, Score Cues, and Dialogue
Exclusive Liner Notes By Rob Zombie
New Art By Robert Sammelin
12”x12” Twenty Page Booklet
Unreleased Set Photography From Rob Zombie’s Personal Collection
A 12”x12” Art Print
Printed Inner LP Sleeves with Set Photography
Old Style Tip-On Gatefold Jackets with Matte Satin Coating
Waxwork Records is proud to announce the debut vinyl release of Rob Zombie’s Halloween II Original Motion Picture Soundtrack. Released in 2009, Rob Zombie’s Halloween II is an American slasher film written, directed, and produced by Rob Zombie. The film is a sequel to Zombie’s 2007 reimagining of 1978’s Halloween and the tenth installment in the Halloween franchise starring Tyler Mane as Michael Myers, Malcolm McDowell as Dr. Sam Loomis, Sheri Moon Zombie, Scout Taylor-Compton, and Brad Douriff. The film picks up where the 2007 film ended and then jumping ahead one year. Halloween II follows Laurie Strode as she deals with the aftermath of the previous film’s events, Dr. Loomis trying to capitalize on those events by publishing a book that chronicles the events, and Michael Myers as he continues his search for Laurie so he can reunite with his sister.

Waxwork Records is proud to present the soundtrack for the very first time on vinyl. The deluxe release features score cues by Tyler Bates, select dialogue from the movie, and soundtrack songs including tracks by The Moody Blues, Motörhead, Void, Scream, Foghat, Captain Clegg and the Nightcreatures, and more.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

The original Soundtrack to Greek-German director Nikias Chrssos’ new feature, ‘A Pure Place’, scored by John Gürtler (Eigenlicht, Counter019), with his studio partner Jan Miserre, and featuring a track by chameleonic British artist Shackleton. Full Info: The script for A Pure Place had a dizzying effect on John Gürtler & Jan Miserre; their minds reeling with the possibilities. From Persian sheep bells, Chinese sheng, prepared trombone, quarter-tone piano, a beaten-up cembalo, hand percussion, and a room full of synthesizers, embryonic compositions and experiments came to life early on in the project. An electro-acoustic extravaganza, the soundtrack for A Pure Place takes a deep bow towards the many magnificent composers and scores from the late 60s and 70s where orchestral arrangements met with tape loops, psychedelia, and instruments from across the globe. Listening to that era of film music, anything seems possible. The minimalist tones of ‘Ritual Bells’ set the dial to weird in the opening sequence of the movie, whilst ‘The Island’ makes use of ambient vocals recorded through an oil drum, gently introducing one of the score’s main themes with a distant quarter-tone cembalo. Acclaimed British artist Shackleton’s eerie original version of ‘Fust’s Song’ (also included) was a tonal keystone for the entire soundtrack. Gürtler and Miserre translated his psychedelic electronic blueprint, layering acoustic instruments and bottom-heavy percussion in their ‘Paradox Paradise’ production style.

Orange vinyl with a couple of light scuffs. Cover with bumped corner

Black Screen Recordshas teamed up withModus Gamesto releaseTyson Wernli's beautiful soundtrack toCris Tales-a gorgeous, indie love letter to classic JRPGs developed byDreams Uncorporated & Syck - on limited edition gold/white marbled & translucent curacao double vinyl and 2xCD this year. The vinylcomes in a beautiful gatefold sleeve and includes a Bandcamp Code for the full digital soundtrack (70 songs!)

ComposerTyson Wernligrew upinspired by the music ofYasunori Mitsuda,Nobuo Uematsu, andKoji KondoandwithCris Tales,Wernliset out to create a soundtrack which paid homage to the games of his childhood while also establishing his own voice in the genre through use of leitmotifs, strong rhythms, and lyrical melodies.

Experience Past, Present, and Future simultaneously in this gorgeous, indie love letter to classic JRPGs.Discover a unique combination of branching stories, innovative combat, and classic RPG gameplay inCrisTales’ exciting and unforgettable exploration of how our actions echo through time.Join the newly awakened Time Mage, Crisbell,and her fantastical companionsin afantasyworld facing a grim future.The powerful Time Empress and her forces threaten to bring about a cataclysm tearing apartCrystallisand the other fourKingdoms of the region. For more info about the game check outhttps://modusgames.com/cris-tales/

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.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument. Faitiche presents Jan Jelinek's soundtrack for Seascape – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022. Seascape – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes. In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, Seascape – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events. Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers? If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

Audiences who were lucky enough to have seen the film during its special theatrical sneak preview have already discovered that this highly anticipated sequel is nothing short of epic - and much of that is due to the gorgeous, sweeping score by Nathan Johnson. Johnson keeps intact the delicate balance that made Knives OUT such a clever score, never undermining the danger that is around every corner, but also brings an intoxicating romanticism to every gorgeous landscape. It’s playful, and sinister all at once. “I’m thrilled to announce the release of my score for Glass Onion on vinyl, but more specifically, I’m over the moon to be able to join forces again with the wonderful folks at Mondo,” says Johnson. “Everything they do is one-of-a-kind, but with this release they’ve gone above and beyond. We’ve mastered this version specifically for vinyl so that it retains all the orchestral dynamics I’ve written into the score, and I can’t wait for people to get their hands on the artwork and peel back all of the beautiful layers. I know we live in a world of digital ephemera, but I’ll say it again and again: thank God for Mondo.” The package, carefully constructed by Jay Shaw and Mo Shafeek, pays homage to the film's central mystery in multiple ways. Pressed on 2x 140 Gram Crystal Clear vinyl, and housed in a die-cut jacket, with an acrylic o-card, and multiple inserts.

Based on Terry Pratchett and Neil Gaiman’s international best-selling novel, the first series of Good Omens was released in 2019 and became a worldwide hit. Good Omens 2 explores storylines that go beyond the original source material to illuminate the ineffable friendship between Aziraphale (Michael Sheen), a fussy angel and rare-book dealer, and the fast-living demon Crowley (David Tennant).

Multi-faceted composer David Arnold returns having received two Primetime Emmy nominations for the first series. His many awards include a Grammy (Independence Day) and a Primetime Emmy (Sherlock). Taking over the mantle from John Barry as the Bond composer he scored five in total ranging from Tomorrow Never Dies through to Quantum of Solace. Other film successes include Stargate, 2 Fast 2 Furious, Hot Fuzz and Made in Dagenham. TV highlights include Little Britain, Sherlock and Dracula. This debut vinyl edition is pressed on Pearl White and Transparent Green vinyl.

It's been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood's great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green's trilogy of Halloween reboots. With Lost Themes IV: Noir, they've struck gold again, this time mining the rich history of the film noir genre for inspiration.Since the first Lost Themes, John has referred to these compositions as "soundtracks for the movies in your mind." On the fourth installment in theseries, those movies are noirs. Like the film genre they were influenced by, what makes these songs "noirish" is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it, as in connected in an emotional way.The trio's free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine_the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John's own Christine. It's a chemistry that's helped power one of the most productive stretches of John's creative life, and Noir proves that it's nowhere near done yielding brilliant results.

Join the footbrawl with a selection of songs from the Omega Strikers soundtrack, now on vinyl!

The soundtrack to the iconic sports brawler comes to wax courtesy of Materia Collective and Rare Drop. Many of the industry's top players are here, including James Landino, Mason Lieberman, VGR, Garrett Williamson, and many more.

We've modeled the records to look like the iconic Core from Omega Strikers. The base version looks like a standard yellow Core, and the limited edition Core Flip variant is modeled after the special flipped Core you see when you use your Energy Burst. The Core Flip edition has limited stock and will never be pressed again, so don't miss them!