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Blue Giant" (original story by Shinichi Ishizuka), a popular jazz manga series that has sold over 9.2 million copies since its serialization began in 2013, has finally been made into a movie.

The music of "Blue Giant" was composed by pianist Hiromi Uehara, who has been highly acclaimed for her "manga that you can hear the sound of. The original music (first Note, N.E.W., WE Will) and end-roll music (Blue Giant) for the trio "jass" formed by the main character, Dai Miyamoto, and his friends were also written for this film.

The saxophone player for Dai Miyamoto, who aspires to be the best jazz player in the world, is Tomoaki Baba, who was unanimously selected in an audition of leading players from Japan and abroad. Shunji Tamada, who was a high school classmate of Dai from Sendai, plays drums, and Shun Ishiwaka, who is also a member of millennium parade, joins him at the love call of Hiromi Uehara. And Hiromi Uehara plays the piano for the pianist Yukinori Sawabe, whom Dai meets in Tokyo.

Top musicians from the classical to jazz worlds, including string members of "Hiromi Uehara the Piano Quintet," also participated in the recording of the film's accompaniment music and band performances.

A high-impact album that includes "sakuranbokissu~bakuhatsudamo~n~" by Kotoko!! I've's first bright, pop, cute, and impactful concept album of Denpa song is being reissued on analog vinyl! The original CD was released by Factory Records in 2003 and was a big hit. This is a reissue on analog vinyl of the best of the best, featuring only the bright and cute songs sung by the now well-known singers "Kotoko" and "Kaori Utsutsuki" from the high-quality music production group "I've", and adding previously unreleased songs and remixes. Reevaluate once again in analog form one of the best songs of all time that will never fade away!

Reale Impero Britannico surely is the rarest record of the Goblin universe, together with Cherry Five of course. Released in a very small batch of copies in January 1976, as the soundtrack of an obscure movie called "Perché si uccidono" tough it was recorded some time before, when the members of Goblin still called themselves Cherry Five, as the band still featured Cherry Five singer Tony Tartarini (who sings in the excellent "My damned shit") and drummer Walter Martino. Afterwards the band will change its name in Goblin recording its breakthrough record bestseller: the soundtrack of Profondo Rosso.

This is also why "Perché si uccidono" is the perfect musical hook-up between Cherry Five and Goblin. Some tracks where composed by Fabio Frizzi, a famous composer of thriller and horror scores, one alone namely "Kalì", and the other four, "Epopea", "Ammoniaca", "Epopea (Reprise)" and "Edda" (sung by the Italian actress Edda dell'Orso) together with the musicians that soon will call themselves Goblin: Simonetti, Morante, Pignatelli and Martino.

Willy Brezza has composed the remaining instrumental five tracks: "My damned shit", with A. Pietravalle, "Dodici e un quarto", "Block", "R.I.B.", "Apotheke" and "Distrazioni". An essential and rare record for Goblin lovers!

At The Movies is very proud to present this epic soundtrack on vinyl for the first time!
James Horner (Titanic, Braveheart, The Magnificent Seven) knew when he took on the scoring of Avatar that it would be the challenge of a lifetime. The music is both classic in its orchestral power, but also connects us to the soul of the Na'vi through the use of indigenous rhythms and vocals. Includes the Leona Lewis track "I See You" (Theme from Avatar).

The Complete Film Score by James Newton Howard
180 Gram Double LP "Aqua" 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

Unbreakable, about a security guard named David Dunn (Bruce Willis) who becomes the sole survivor of a train wreck, posed the question of what would happen if superheroes were real. At the insistence of a mysterious, rare-comic-book collector named Elijah Price (Samuel L. Jack-son), who suffers from a medical condition that makes his bones shatter on the slightest impact, Dunn comes to believe that he has super strength and is impervious to injury or illness. Not only that, he has the ability to see or sense the evil deeds of others simply by touching them.

The Unbreakable score, by James Newton Howard, was the second collaboration between Shyamalan and Howard, following their work together on The Sixth Sense. The Unbreakable score experience was unlike any the composer had had before. “Night sat there and story-boarded the whole movie for me,” Howard said. “I’ve never had a director do that for me. He wanted something that was very different, very distinctive, that immediately evoked the movie when people heard it.”

Howard and Shyamalan chose to simplify the score, and minimized the number of instruments (strings, trumpets, and piano), with limited orchestrations. Some compositions were recorded in a converted church in London. “You could have recorded the same music in a studio in Los Angeles, and it would have been great, but there is something about the sound of that church studio,” Howard said. “It's definitely more misterioso.”

James Newton Howard is an American composer, conductor, and producer. He has scored more than 100 films and is the recipient of a Grammy Award, Emmy Award, and eight Academy Award nominations. His scores include The Fugitive, Batman Begins, The Dark Knight, and The Hunger Games film series.

"After being sold out for years, we're very excited to finally announce a repress of one our earliest releases, the iconic Another World soundtrack by French composer Jean-François Freitas. The repress will be available on translucent green vinyl.The soundtrack features songs from the original Amiga version (all carefully remastered for vinyl). The repress doesn't come with a download code for the digital soundtrack. Artwork and layout by our friend Dane Baudoin based on Original Artwork by Éric Chahi. ""A superb collector's edition. Jean-François's original music is enhanced by the unique warmth of vinyl."" - Éric Chahi (creator and designer of Another World)

Repressed. "In addition to his day job transforming pop music with his own records, as well as those of Gastr del Sol, Loose Fur and Sonic Youth over the past few decades, Jim O'Rourke has been contracted for several dozen film scores over the years as well. It makes sense -- his abilities as an improviser, composer and producer allow him to interpret cinematic moments with a unique understanding for their construction and how they work. It doesn't hurt that Jim's a well-versed cineaste, a complete and total fan of watching films, which has given him a preternatural understanding of the role of music in movies. What doesn't make sense is how Hands That Bind is the first film soundtrack of Jim's to ever receive worldwide release! He's worked with filmmakers of international repute, like Olivier Assayas, Allison Anders, Werner Herzog and Kôji Wakamatsu! He served as music consultant on Richard Linklater's 2003 laff-fest, School of Rock! He's played in ensembles of award-winning documentaries and films alike! ... Made for an indie film that's been seen by festival audiences and not enough others, the soundtrack for Hands That Bind is a moody, atmospheric delight. Jim's roots in composition via tape-editing have evolved into a sophisticated assembly of found-and-processed sounds that achieve highly musical, near-orchestral majesty as they hang in the very air of the drama that unfolds in Kyle Armstrong's Hands That Bind. Described as a 'slow-burn prairie gothic drama' set in the farmland of Canada's Alberta province, and starring Paul Sparks, Susan Kent, Landon Liboiron, Nicholas Campbell, Will Oldham, and Bruce Dern, Hands That Bind is a spellbinding trip to the existential bone of rural working life in North America. As conflict rises over the hard-worked patches of land that provide a mere and mean existence, a desperate air settles in, as a series of mysterious, often supernatural occurrences rock the small community. O'Rourke's vaporous, serpentine musical backdrops and atmospheres reflect the obsessions and distractions of the film's principles; moods of all sorts seen or otherwise implied. Additionally, the music highlights cinematographer Mike McLaughlin's closely observed accounting of the farmers' environment, as well as the striking widescreen images of the big sky country with unnerving flair. For fans of Jim's ongoing steamroom series as well as collectors of soundtracks, Hands That Bind will provide hours of engrossing listening..."

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.'

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.

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians.

The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016.

"Anthology: Movie Themes 1974-1998" collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time.

Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

Anthology is a near-comprehensive survey of John Carpenter's greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998's supernatural Western, Vampires.

Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween's iconic 5/4 piano riff, and the eerie synth work of The Fog.

Carpenter and his band also cover Ennio Morricone's bleak, minimalist theme for The Thing.

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.

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.

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.

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.

Memoirs Of A Geisha (2005) is the award winning drama film adaptation of the novel of the same name. The original score and songs were composed and conducted by John Williams. The album won the Golden Globe Award for Best Original Score, BAFTA Award for Best Film Music and the Grammy Award for Best Score Soundtrack for Visual Media. It was also nominated for the Academy Award for Best Original Score.

12 tracks incl. 'are you man enough' performed by The Four Tops ... classic blaxploitation soundtrack!!

- "Shaft in Africa" sampled by Beatnuts for "It's Da Nuts",
Cookie Crew for "Born this Way",
Diamond D for "Best Kept Secret",
Dismasters for "Black and Proud",
Hakeem for "Hip Hop Reborn",
Naughty by Nature for "The Hood Comes First",
Ras Kass for "Rasassination",
Tony Scott for "Get Into It" and
Tuff Crew for "Soul Food"

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.

'JUSTIN TIME' is the first Vinyl LP compilation by Children's favourite, Justin Fletcher. Justin Fletcher has starred in the hit CBBC shows Mr. Tumble, Gigglebiz, Justin's House, Fun Song Factory, Something Special and the GiggleQuiz comedy observational panel show for the pre school audience. Justin is a multiple BAFTA Children's' Award winner, received an MBE in 2008, regularly tours with a live sell out live Christmas show, has his own monthly magazine, and is the voice in numerous blockbuster film animations including the four Shaun The Sheep movies! This 12" Vinyl LP Picture Disc features his best known songs on Side One, with Side Two is jam packed with sing a long nursery rhymes.

"King Khan is that fiery arrow shot into the night sky which no one knows how high or far it will travel, however we do know that as that fiery arrow streaks across the heavens, along the way its flames will light up dark places. King Khan's music can become the voice of many around the world, some who have never been heard from before." - John B. Smith (Leader of The Invaders) Documentary film The Invaders (2022) follows the rise and fall of a militant black power group based in Memphis, TN in the late 1960's, from its creation, to their final negotiations with Martin Luther King Jr. minutes before his assassination. Filmmaker Prichard Smith's striking documentary features all new music composed by the legendary King Khan, which is now being released as a beautiful 18-track double LP featuring contributions from Adan Jodorowsky, Saba Lou (Khan's daughter), Ian Svenonius and more. From full throttle rock tracks to haunting string pieces and propulsive instrumental grooves, these songs also mark a return to the rock world after Khan's adventurous and acclaimed pair of instrumental jazz/soul albums (2003's The Nature of Things and 2020's The Infinite Ones). A handful of these tracks have previously appeared on limited and now out of print 7"s during the filmmaking process, often in alternate versions, but this mark's the first time all of Khan's contributions to The Invaders will be available in one place (and many for the first time). On his musical contributions herein and the film in general Khan waxes: "The Mighty Hannibal taught me an amazing lesson about blindness. When the doctors told him that he would go blind if he didn't take his glaucoma meds he responded simply "Ugh, I've seen enough'"Hannibal then sent me a gospel song he wrote about how lucky he was to have gone blind because he could never judge anyone based on what they looked like - rather it was now by their actions. When he told this to me I decided to do the entire soundtrack "blind. This meant I made the music without seeing the images. Any beautiful synchronicities that would occur between the celluloid and my music would be magical. This simple approach made the film give me shivers upon seeing it completed, a feeling I rarely get these days from films let alone documentaries. I never got to thank Hannibal for his sage advice, but I feel like he guided me in so many ways that he is always above me watching what I do. He taught me to be a better father and husband and listener. The struggle of the Invaders never ended, in the same way the hidden agenda of fascists is still very strong and we see hints of it in every police commissioner or government official that wishes death upon the poor huddled masses rather than trying to help them have simple basic human rights. He continues: "The Invaders film is not just a documentary it's a hard core lesson to all activists to put in the work and find out what every community needs, addressing these individual needs and simply caring for the wounds that rot when ignored. Before you wallow in self pity and misery, take a deep breath and learn to breathe. Just a simple act of inhalation and exhalation is what brings us back to reality and calms our nerves and prepares us for the task at hand. Never forget what Malcolm said... "When the "i" is replaced by "we" even "illness" becomes "wellness." Add to it Mike Stand Up's version... "When the "I" is replaced by "One" even illness becomes "Oneness." Follow the Mohawk 10 commandments and meet me on top of that mountain."

A young doctor on the verge of greatness finds his career and life shattered after choosing to treat two children rather than the town mayor. The deaths of one of the children are inexplicable. What if he had saved a monster?

Monster, the manga created by Naoki Urasawa, is an acclaimed psychological thriller that has been a huge critical and commercial success. The complex and gripping story, which follows the moral choices of a surgeon confronted with a serial killer he has saved, has attracted a wide international audience. Monster has won several awards and is regarded as one of Urasawa's major works, affirming her place as a master of suspense in the world of manga.

Kuniaki Haishima is a Japanese composer best known for creating the soundtrack to the anime Monster. In addition to his contribution to Monster, Haishima has also composed music for TV series (Terra Formars and S-CRY-ed) and films (Tokyo Tribe and Helter Skelter).

This is the first-ever release of the soundtrack to Massimo Pirri’s 1977 film, which explores the controversial and then very current topic of left-wing armed struggle in Italy. By combining dark and haunting jazz-funk with ambient atmospheres and suspenseful electronic sounds, Lallo Gori creates a brilliant score that ends up sounding like an instrumental proto-hip hop record where Moog synths and drums take the lead.

A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control.
Very up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, "Bullitt": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.
Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is "Shifting Gears": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Waxwork Records is proud to present the Lovecraft Country Soundtrack From The HBO Original Series by Laura Karpman and Raphael Saadiq.

Lovecraft Country is an American horror drama television series based on and serving as a continuation of the 2016 novel of the same name. The series follows a young black man who travels across the segregated United States in the 1950’s in search of his missing father, learning of dark secrets plaguing a town on which famous horror writer H.P. Lovecraft based the location of many of his fictional tales.. This begins a struggle to survive and overcome the racist horrors of Jim Crow era America and terrifying monsters that could be ripped from a Lovecraft paperback novel.

Showrunner Misha Green asked composers Laura Karpman and Raphael Saadiq to capture a sound she coined ‘gothic R&B,’ which the pair flawlessly produced, combining influences from J Dilla, 1960’s string work, & 18th century classical. Karpman describes the score as “the Twilight Zone meets Raphael Saadiq.”

Due to the Covid-19 pandemic, Karpman and Saadiq faced many challenges creating the score, but agree that ultimately, they wouldn’t have gotten the extraordinary sound they achieved had they undergone the traditional recording process. To achieve the full orchestra sound the creators wanted during the height of the pandemic, each member of the orchestra had to learn how to use pro-tools in order to record themselves while isolating in their own homes all over the world. To ensure the best sound quality, everything was close-miked, giving the score period authenticity by using the same techniques composers like Bernard Hermann (Psycho, Taxi Driver)l & Jerry Goldsmith (Planet of the Apes) would have used in the 1950’s and 60’s. Additionally, the musicians had no conductor, so Karpman relied heavily on music notation to achieve ‘aleatoric music’ or ‘chance music,’ which is usually attained directly from conductor cues.

Waxwork Records is thrilled to present Lovecraft Country Soundtrack From The HBO Original Series by Laura Karpman and Raphael Saadiq as a deluxe and expansive triple album set. Pressed across three 180 gram colored vinyl records and housed in a heavyweight triple gatefold jacket featuring matte satin coating and artwork by Ngabo D. Cesar (El'Cesart) and Sam Gilbey.

Lovecraft Country Soundtrack From The HBO Original Series Features:

The Complete Soundtrack by Laura Karpman and Raphael Saadiq 180 Gram 3xLP Colored Vinyl Artwork by Ngabo D. Cesar (El'Cesart) and Sam Gilbey Heavyweight Triple Gatefold Jackets with Matte Satin Coating

Lawa is the acronym for the duo of Austrian soundtrack wizards Alain Leonard and Alex Wank. Once again they are honouring the world of film music in their idiosyncratic, very personal way. After their first Cineploit release, "Omaggio a Lucio Fulci and Fabio Frizzi“ (Exploit 02, 2012, Vinyl only) and the follow up, "Omaggio a Riz Ortolani“ (Exploit 06, 2015, Vinyl only) Lawa now takes a ride through the furthest reaches of '70s and '80s French and Italian cinema. From Michel Colombier, Michel Legrand and Jacques Revaux to Alessandro Alessandroni, Daniele Patucchi, Nico Catanese and G & M de Angelis, every base is covered. And, of course, not to forget the Master of them all: Ennio Morricone (rip).

These very special tracks have been renewed in Lawa's dark electronic style, proving without a doubt the high-level craft of the composers extraordinaire that created them. Some versions are close to the original, but others have acted as springboards for new ideas and creations. This release is probably Lawa's final reinterpretation of classic obscure film scores, as Messrs Leonard and Wank are creating more and more of their own atmospheric soundtrack music for documentaries, shorts and feature films - hopefully soon to be released via Cineploit as well. Now take a deep dive into this dark ride through European cinema, brought to you in the inimitable Lawa way!

Lawa is the acronym for the duo of Austrian soundtrack wizards Alain Leonard and Alex Wank. Once again they are honouring the world of film music in their idiosyncratic, very personal way. After their first Cineploit release, "Omaggio a Lucio Fulci and Fabio Frizzi“ (Exploit 02, 2012, Vinyl only) and the follow up, "Omaggio a Riz Ortolani“ (Exploit 06, 2015, Vinyl only) Lawa now takes a ride through the furthest reaches of '70s and '80s French and Italian cinema. From Michel Colombier, Michel Legrand and Jacques Revaux to Alessandro Alessandroni, Daniele Patucchi, Nico Catanese and G & M de Angelis, every base is covered. And, of course, not to forget the Master of them all: Ennio Morricone (rip).

These very special tracks have been renewed in Lawa's dark electronic style, proving without a doubt the high-level craft of the composers extraordinaire that created them. Some versions are close to the original, but others have acted as springboards for new ideas and creations. This release is probably Lawa's final reinterpretation of classic obscure film scores, as Messrs Leonard and Wank are creating more and more of their own atmospheric soundtrack music for documentaries, shorts and feature films - hopefully soon to be released via Cineploit as well. Now take a deep dive into this dark ride through European cinema, brought to you in the inimitable Lawa way!

Famous songs from Studio Ghibli films with soothing violin playing. An instrumental cover album that delivers famous songs from Studio Ghibli films with soothing arrangements and performances by Lisako Oshima, a young violinist from an art college who is based on classical music. In a small classical style, we will recreate the masterpieces of Studio Ghibli works that you will want to listen to forever. The artwork on the jacket was done by Yoichi Watanabe, a painter who works on the background of Studio Ghibli's works. Newly drawn jacket by anime artist Shinichiro Yamada from Ghibli! We will deliver it with the best art for LPs. Lisako Oshima is a violinist from Aichi Prefecture. He began playing the violin in the United States at the age of five. Graduated from the Faculty of Music, Tokyo University of the Arts. He has won national and international competitions. He has appeared in many media such as TV and Live. He is also active in recording many other anime and movies. Arrangement : Lisako Oshima Violin & Viola : Lisako Oshima Cello : Lisa Gray Piano : Keigo Takakura

At the time of the film’s release only a 45 rpm single of this OST was issued which contained the song “Can be done”, with lyrics by Sergio Bardotti and sung by Rocky Roberts (in 1966 Bacalov had already collaborated with Roberts, performer of the main theme from the highly successful western movie “Django”). Only in 1995 Point Records released a CD (PRCD 120) which contained the istrumental score coupled with the OST from “Il grande duello”. For this our very brand new digitally restored and remastered CD, we again had access to the mono master tapes of the recording session that gave us the chance to discover some unreleased takes which we have assembled in a 7:46 suite. In addition a special bonus track (Tr.16) features the very rare stereo-mixed version of the original 45 rpm single song. Luis Bacalov succeeds in representing in his music the whole sentimental side of the plot (the friendship between the corpulent, but good-hearted Thompson and the child Chip) by writing a sweet and cheerful main theme that is introduced in Titoli di testa in a pop key and with a little Bacharach flavour called “Can be done”, sung by Rocky Roberts and accompanied by a children’s choir (Tr.1). This theme is reprised with orchestral variations sometimes dramatically, sometimes in an epic western context with the use of the harmonica of the great Franco De Gemini (Tr.2, Tr.3, Tr.4, Tr.5, Tr.9, Tr.11, Tr.14) and alternated with saloon as well as instrumental and choir folk music (Tr.6, Tr.8, Tr.12, Tr.13). This CD is dedicated to all the fans of the mythic Bud Spencer, of the Italian Western and of the music art of the Academy Award winner Luis Bacalov.

Double LP in White Vinyl
Housed in a full color deluxe gatefold sleeve with double-sided printed insert
Includes a spray-paint art stencil and download card

Under licence from Lakeshore Records, Invada Records are thrilled to announce that the Mac Quayle soundtrack to Mr Robot Season 1. Screened on the USA Network, Mr. Robot is regarded as one of the best and most innovative shows of 2015, and recently stormed the Golden Globe Awards winning “Best Television Series”, along with a win for Christian Slater as “Best Supporting Actor”, and a nomination for Rami Malek as “Best Actor”.

Quayle’s score draws to mind works by great composers such as Cliff Martinez, Cabaret Voltaire and Vangelis, but is ultimately its own dark unnerving beast, at times strange dreamy and atmospheric, whilst being almost unbearably claustrophobic at others.
Much like the show itself, the soundtrack is destined to be a classic.

If conceivable, imagine a collaboration between Brian Eno and Aphex Twin, both in their ambient periods, recording stock music for an Italian Library music label. If so, then behold Psycorama!, a collection of experimental music used to soundtrack a series of films and documentaries produced by the Italian filmmaker Roberto Rossellini. Composed by Mario Nascimbene, a name synonymous with the golden age of Italian film music, a composer whose grandiose scores of the 1950s and 60s defined the very essence of Cinecitta. While the widespread influence of these soundtracks is undeniable, it is beyond the commercial domain of the major studios where this compendium takes focus, revealing a deeper, darker and more complex composer. Forged on the 'Mixerama', a unique homemade sampling instrument, Nascimbene employed visionary techniques to deconstruct and render sound, sculpting pre-existing recordings into intense and evocative other-worldly soundscapes (most notably used for the 1971 existential TV drama Socrates and the 1969 Egyptian modernist film Al-Mummia (The Night Of Counting The Years). Previously unpublished except for a lone and mysterious Library music LP, the soundtrack cues are collected here for their first commercial release. Psycorama is a fascinating document of electro-acoustic music comparable to the beautifully dark music of fellow colleague Egisto Macchi. Including liner notes and rare photos.

Reissue of a rare Italian experimental Library LP.
Music used to soundtrack Roberto Rossellini films.
Pioneering sampling techniques and tape manipulation.
Brian Eno's Music For Airports meets Aphex Twin's Ambient Works II!

Waxwork Records in partnership with Back Lot Music is thrilled to release Cocaine Bear Original Motion Picture Soundtrack Music by Mark Mothersbaugh!

Directed by Elizabeth Banks and inspired by the 1985 true story of a drug runner's plane crash, missing cocaine, and the black bear that ate it, this wild dark comedy finds an oddball group of cops, criminals, tourists and teens converging in a Georgia forest where a 500- pound apex predator has ingested a staggering amount of cocaine and gone on a coke-fueled rampage for more blow … and blood.

About the composer:

Mark Mothersbaugh is a Grammy, Bafta, and Emmy nominated composer, producer, designer, and visual artist whose work has become part of the pop culture consciousness. He started his career as co-creator and front man for the seminal New Wave band Devo. Their Brian Eno/David Bowie-produced debut album “Q: Are We Not Men? A: We Are Devo” was certified Gold before their hit album “Freedom of Choice” went Platinum.

For Cocaine Bear, Mothersbaugh wanted a score that reflected and captured the culture of the ’80s, with a personality that evolved as the decade’s music evolved. “At the beginning of the film, it starts out very pop,” Mothersbaugh says. “But as it goes through it, it gets heavier. The guitars change up from being acoustic and lighter to being distorted and more aggressive and there are synths throughout that provide a pulse that keeps things moving.”

To make it as authentic as possible, Mothersbaugh used the instruments that created some of the most distinctive and memorable sounds of the ’80s music scene. “Once we decided we were going to let it soak a bit in an ’80s sound, I went to the warehouse where I store equipment and my old Devo road cases full of synths,” Mothersbaugh says. “I pulled out old synths that we used on albums in the ’80s and used the same synths and a lot of the same amps and foot pedals.”

Cocaine Bear Original Motion Picture Soundtrack Music Features:

The Complete Score by Composer Mark Mothersbaugh Compact Disc Design and Layout by Matt Needle 4.75" Insert

Waxwork Records in partnership with Back Lot Music is thrilled to release Cocaine Bear Original Motion Picture Soundtrack Music by Mark Mothersbaugh!

Directed by Elizabeth Banks and inspired by the 1985 true story of a drug runner's plane crash, missing cocaine, and the black bear that ate it, this wild dark comedy finds an oddball group of cops, criminals, tourists and teens converging in a Georgia forest where a 500- pound apex predator has ingested a staggering amount of cocaine and gone on a coke-fueled rampage for more blow … and blood.

About the composer:

Mark Mothersbaugh is a Grammy, Bafta, and Emmy nominated composer, producer, designer, and visual artist whose work has become part of the pop culture consciousness. He started his career as co-creator and front man for the seminal New Wave band Devo. Their Brian Eno/David Bowie-produced debut album “Q: Are We Not Men? A: We Are Devo” was certified Gold before their hit album “Freedom of Choice” went Platinum.

For Cocaine Bear, Mothersbaugh wanted a score that reflected and captured the culture of the ’80s, with a personality that evolved as the decade’s music evolved. “At the beginning of the film, it starts out very pop,” Mothersbaugh says. “But as it goes through it, it gets heavier. The guitars change up from being acoustic and lighter to being distorted and more aggressive and there are synths throughout that provide a pulse that keeps things moving.”

To make it as authentic as possible, Mothersbaugh used the instruments that created some of the most distinctive and memorable sounds of the ’80s music scene. “Once we decided we were going to let it soak a bit in an ’80s sound, I went to the warehouse where I store equipment and my old Devo road cases full of synths,” Mothersbaugh says. “I pulled out old synths that we used on albums in the ’80s and used the same synths and a lot of the same amps and foot pedals.”

Cocaine Bear Original Motion Picture Soundtrack Music Features:

The Complete Score by Composer Mark Mothersbaugh 180 Gram Cocaine and Crystal Clear Colored Vinyl Heavyweight Gatefold Jackets Design and Layout by Matt Needle 12"x12" Insert

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

A Fantastic Woman (Spanish: Una mujer fantástica) is a 2017 drama film directed by Sebastián Lelio and written by Lelio and Gonzalo Maza. It was selected as the Chilean entry for the Best Foreign Language Film where it won in the 90th Academy Awards. The film is about Marina, a transgender woman who works as a waitress and moonlights as a nightclub singer, is bowled over by the death of her older boyfriend. It premiered at the 67th Berlin International Film Festival in 2017 where it won the Silver Bear for Best Screenplay and the Teddy Award, an award given to films with a LGBT theme. Matthew Herbert is an award-winning composer, artist, producer and writer. He has had work commissioned by the Royal Opera House, the BBC and has remixed iconic artists such as Quincy Jones, Ennio Morricone and been a long-time collaborator of Bjork's, but he is best known for working with sound, turning ordinary or so-called found sound in to electronic music. This is a limited edition on transparent pink coloured vinyl. The LP package contains an insert with notes from director Sebastián Lelio.

'Waxwork Records is thrilled to announce the release of GET OUT Original Motion Picture Soundtrack Music By Michael Abels. Written and directed by Jordan Peele, GET OUT is a critically acclaimed 2017 American horror film starring Daniel Kaluuya and Allison Williams. The film received numerous accolades and won the Academy Award for Best Original Screenplay. It was also nominated for Best Picture, Best Director, and Best Actor for Kaluuya.

GET OUT is the directorial debut of accomplished actor and long time horror-fanatic, Jordan Peele. The film’s music was scored by composer Michael Abels, and it also features his debut as a film composer.

Included in the new deluxe double LP release of GET OUT are exclusive liner notes in the form of an in depth essay by Peele that illustrates the director’s first meeting with Michael Abels, their approach to the film’s music, and how it all came together to conjure a new sound. “I had some ideas. I envisioned distinctly black voices harmonically creating an unnatural sound. The absence of hope. The void of the voiceless. A disembodied Negro spiritual. The Sunken Place.”

GET OUT Original Motion Picture Soundtrack features the complete soundtrack by composer Michael Abels, deluxe packaging, new artwork by Leslie Herman, a printed insert with exclusive liner notes by Jordan Peele, 180 gram “The Sunken Place” Black with White Splatter colored vinyl, and old style tip-on gatefold jackets with satin coating.

Clear w/ green marbled VinylTo celebrate their seventh anniversary, Black Screen Records have repressed their first vinyl release in a very long time. The soundtrack to Oddworld: New 'n' Tasty is finally back in stock - this time on 180g clear w/ green marbled vinyl.Composed, mixed and mastered by Michael Bross, the soundtrack comes in a full-coloured gatefold sleeve with RuptureFarms artwork by Raymond Swanland. This repress does not include the poster and Steam Key. ABOUT THE GAME:It was a long way from Abe's debut in the 1997s Playstation One classic Oddworld: Abe's Oddysee to the beautiful ground-up remake Oddworld: New 'N' Tasty in 2014 but Abe is still looking great. Not only the graphics but also the complete video game soundtrack got an overall makeover - in 2015 Oddworld looks and sounds better than ever before.

The daring movie is a sweeping emotional drama powerfully exploring the unbreakable bond between fathers and sons. It tells the story of a motorcycle stunt rider (Gosling), who considers committing a crime in order to provide for his newborn child, an act that puts him on a collision course with a cop-turnedpolitician (Cooper). Mike Patton, American singer-songwriter and multi-instrumentalist best known as the lead singer of the alternative metal/experimental rock bands Faith No More and Mr. Bungle delivers a sweeping and brooding score. Like a red thread, his music guides the audience through this multi-generational story often linking characters and locations.

Urpa i musell feels very fortunate to announce its third release (UiM 003) after a long period of fertile collaboration with the film production company Andergraun Films: the 4-LP Box Set Les músiques per a Albert Serra by the inscrutable band Molforts.
The box set puts together the main musical works that the band created between 2006 and 2018 for the Catalan film director Albert Serra. It includes the soundtracks for three films —Honor de cavalleria / Honour of the Knights (2006), Història de la meva mort / Story of My Death (2013) and La mort de Louis XIV / Last Days of Louis XIV (2016)—, two art pieces —Cubalibre (2012, Documenta, Kassel) and Singularity (2015, Biennale di Venezia)— and the recent play Liberté (2018, Volksbühne, Berlin).
Albert Serra is considered one of the most singular, radical and also controversial filmmakers working today. Tirelessly seeking never-before-seen images, his films and other works are characterised by an improbable balance between wild freedom and exquisite sophistication.
The band Molforts are the creators of all the music in his works and integral members of the creative milieu around Andergraun Films. Their work links intimately with the pieces it is made for. The relationship between music and image is deeply eloquent, not obvious, resulting in unique, suggestive soundscapes.
For the first time we can enjoy the music of Molforts in it's own right. The recontextualization of the recordings, without the images that they deeply evoke, offers

My Story, The Buraku Story is a new feature-length documentary film that explores the discrimination against a group of people - commonly called "the burakumin" - who were classed into lowly groups and segregated from the rest of Japanese society. This discrimination is not by race or ethnicity, but rather by place of residence and bloodline, and has existed for centuries - albeit very rarely acknowledged or discussed in Japan. When director Yusaku Mitsuwaka imagined the exemplary score for such a culturally sensitive and significant subject, he idealized Mono to help tell this story through their legendarily cinematic music. Following their recent experiments with electronic textures infused into their trademark dynamic rock compositions, My Story, The Buraku Story finds Mono at their most understated and elegiac. The songs that make up My Story, The Buraku Story are largely built around piano, strings, synths, and choral vocal loops. As one might expect from Mono, the arrangements are masterworks of understated execution with oversized emotional resonance. By far Mono's most delicate album, it is a fitting document of the band's first-ever full-length film soundtrack.

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

Limited to 500 copies.

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