Soundtracks Vinyl 252 Items

Reissue on orange vinyl.

Super deluxe lo fi 7″ grape-colored vinyl housed in DIY low-budget sleeve, + includes “I love my VCR Sticker

7 track mini album. 'Waterpark' is a film score written for Director Evan Prosofsky's same titled film, and explores the neutral element of sound in a massive indoor water park located in west Edmonton Mall, in the province of Alberta. A vacation home to countless stranded Canadians with no vacation in sight.

The instrumentation of oscillators, heavily reverberated strings, mellotron/chamberlain, and experimental electric guitar sets the mood for this bizarre plastic tropical paradise thats within a shopping mall.

What we have here are three of the most obscure but still beautiful italian music libraries ever released.
Originally conceived in the early eighties as soundtracks for special tv shows about space, aliens and thrilling in general, the songs included in the three lp's are masterpieces of obscure electronic music with hints of krautrock, electro-ambient and spacey suites a la Tangerine Dream. Obscure artists that played great music!!!

A must have for fans of Tangerine Dream, Brian Eno, Neu!…

Remastered from the original analog master tapes.

Limited to 400 copies. Two terrific shake signed by Sante Maria Romitelli, and taken from the original soundtrack of TOP SENSATION, also known as THE SEDUCERS. A late sixties giallo erotic cult movie starring Edwige Fenech and Rosalba Neri. Hammond groove a go-go!

This almost unheard score holds some never before heard Budd gems. Dynamite Cuts release for the first time a 7” 45 with a selection of original cues and dialogue taken from the Film. How, James Coburn as Professor Robert Elliot creates a masterful plan to get four people, who know too much, to kill each other is a fine example of a classic British thriller with a superb twist at the finale. This 45 is a journey through the film that includes some never before heard tracks. A must have!

Pre-Cert, short for pre-certi?cation video, is a UK phrase that refers to a VHS tape released prior to the introduction of the 1984 Video Recordings Act. As the then new VHS market was completely unregulated, these editions were not required to be submitted to the BBFC, meaning the releases were completely uncensored - soon leading to the "video nasties" outrage. Today these tapes are sought after items on the collector's market. With his Cineploit debut, Magnus Sellergren set out to further and improve on the concept of Videogram's previous "S/T" 2014 album. Inspiration was drawn from the same sources as the previous full length effort, with the key words being bigger, better, and more produced. The result is an album created during a six-month period, between January and June 2015, starting with a total of thirty-some tracks that were written, then re-written - in some cases even completely rearranged - polished, and ?nally whittled down to a thirteen-track, 40+ minute full length LP/CD. Starting off with the now-familiar Videogram idents, Pre-Cert covers an assortment of classic genre-in?uenced sounds; from occult horror, 1980s Cannon action, thrillers and post-apocalyptics to "cannibal freakouts" (as he affectionately calls them), Italian-produced erotica, 1970s Spanish horror, the iconic Friday the 13th series and climaxing with a mammoth ?ve-part, 13-minute tribute to John Carpenter's sci-? horror classic "The Thing". The journey Videogram started in 2014 is now taking a huge step forward, offering the same amount of affection for the VHS format and genres as his previous efforts, but more focused, polished and well executed!

Original Soundtrack in a collectors edition.

Limited to 200 copies.

Originally issued in 2011, Ashcan Copy is the third instalment in Rashomon's Film Music series of LPs. Cineploit Records is proud to present this re-release, and to introduce the record to a wider audience than the 150 lucky souls who snagged a copy of the ultra-limited initial release on Hlava Records.
Active since 2009, Rashomon is the solo project of Matt Thompson, also of Cineploit mainstays Zoltan. This is his second release on the label under the Rashomon name, following 2014's LP/DVD extravaganza The Cameraman's Revenge: Film Music Vol. 4 – the final release in the Film Music series to date.
The previous edition to this, 2009's The Finishing Line: Film Music Vol. 2, had focused on re-creating the psychological mind-state of the wilder end of 1970s British public information films. By way of change Ashcan Copy is presented as an album of soundtrack cues from films that were, for one reason or another, never released. The films, hailing from Italy, Japan and the USA (among others) supposedly date from the 1950s to the 1970s, and were (according to the extensive sleeve notes) exactingly sourced from film archives across Europe.
In reality, all the music is self-composed. The eight tracks include elements of noise, folk, psychedelia, prog and noir-jazz within their elaborate constructions, created with a panoply of instrumentation including Mellotron, zither, home-made percussion, Fender Rhodes, harmonium, MiniMoog and more. Delicate and sensuous, heavy and oppressive – the record negotiates these musical contradictions while retaining a single-minded pursuit of strangeness and surprise.
Having finally found its spiritual home on soundtrack specialist label Cineploit, Ashcan Copy can at last be heard by all.

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.

Russian occultists Old Komm collaborate with the south Californian dons of austere electronics German Army, bringing to life the made up soundtrack to a film that never was. 'Disquiet' tells the story of a child born to a desolate, post-apocalyptic world, war torn and fractured by greed. As far as the music is concerned, organ tones and broken exoteric bumps coexist with dark ambient themes and cavernous beats.

The Score to the short film "Ellis" starring Robert De Niro, written by Eric Roth and directed by (Street) Artist JR.

My Hero Academia: Heroes Rising is a film set in the My Hero Academia universe. After the events of Season 4 of the Anime, Izuku and Katsuki go from fighting against each other to fighting side by side as they face the biggest threat that dares to dominate the domain: Nine! Beautifully animated and written, My Hero Academia: Heroes Rising received enormous critical praise, as well as massive admiration from fans. Composed and performed by Yuki Hayashi, the music of My Hero Academia: Heroes Rising is a complete standout. The live wire pieces pulse with life and power, and have never sounded better than this vinyl pressing.

The 'Pipeline' O.S.T. is the result of a collaboration between L'Ironie Du Son, Guillaume Peitrequin and Fabio Poujouly. It's an experimental soundtrack featuring material fitting in between ethnic and organic sounds, and electronic atmospheres giving birth to a splendid world of textures, ambiences and noises that are predominant in the movie. Limited to 400 copies in silkscreen printed cover with insert.

180 gram LP limited edition. This is the movie event of the year, winner of the Public Prize at the Berlinale in February 2012! Finally on 180 gram HQ vinyl the original soundtrack to the docufiction Diaz - Don't Clean Up This Blood by Daniele Vicari about the Videla-esque police brutalities that took place in 2001 during the G8 in Genoa.

Recorded and mixed by Mauro Teho Teardo a versatile composer, researcher and performer with the help of the Balanescu Quartet and a number of eclectic guests.

Featuring "Evolution Revolution Love" by Tricky. ++ Music by Teho Teardo featuring The Balanescu Quartet.

Music written, recorded, mixed and produced by Teho Teardo at Basement Recordings, Rome and Studio 108, London march/december 2011.

(Teho Teardo - guitars, bass, rhodes, piano, electronics, synth, theremin; Balanescu Quartet: Alexander Balanescu - violin, James Shenton - violin, Katie Wilkinson - viola, Nick Holland - cello; Martina Bertoni - cello, Alexis Fletcher, Giacomo Orsi, Henry Marseille - violin, Remy Dault, JC Goodwin, Susan Rosenthal - viola, Lee Leibowitz, Doug Pierce, Matthew Quinlan - bass)

Classic Edition & Special Edition - Available Now on We Release Whatever The Fuck We Want !

Wrwtfww Records is delighted to unleash the complete uncut soundtrack for Lucio Fulci & Bruno Mattei's cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2 aka Sanguelia 2, 1988) available on 2 different collector's edition vinyls for the first time ever.

The Classic Edition comes in red is dead colored vinyl with a red Japanese Sanguelia 2 VHS obi and has a helicopter pictured on the back cover.

The Special Edition has the same songs as the Classic Edition Plus bonus skits/interludes with DJ Blue Heart talking (taken from the movie) on the b-side and comes in green inferno colored vinyl with a green Japanese Sanguelia 2 VHS obi and DJ Blue Heart pictured on the back cover.

Both versions are housed in heavy old style Stoughton casebound tip-on jackets - pick your poison - get infected!

This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems remastered directly from the rare original reels of maestro Stefano Mainetti which were found at an abandoned top secret research facility.

We're pleased to announce the release of a previously totally unreleased Italian soundtrack on 45. Claudio Tallino "SPELL – DOLCE MATTATOIO" from 1977, originally composed for the censored erotic thriller movie directed by the visionary genius Alberto Cavallone. A shocking, freaking and occult storyline set in the province of Rome, scene of shady affairs and private dramas that protagonists try to hide behind a respectable front. Stunning and booming Italian OST production with 2 killer sleazy Funk shots selected from the original recording sessions.

Limited to 300 copies.

Originally issued in 2011, Ashcan Copy is the third instalment in Rashomon's Film Music series of LPs. Cineploit Records is proud to present this re-release, and to introduce the record to a wider audience than the 150 lucky souls who snagged a copy of the ultra-limited initial release on Hlava Records.
Active since 2009, Rashomon is the solo project of Matt Thompson, also of Cineploit mainstays Zoltan. This is his second release on the label under the Rashomon name, following 2014's LP/DVD extravaganza The Cameraman's Revenge: Film Music Vol. 4 – the final release in the Film Music series to date.
The previous edition to this, 2009's The Finishing Line: Film Music Vol. 2, had focused on re-creating the psychological mind-state of the wilder end of 1970s British public information films. By way of change Ashcan Copy is presented as an album of soundtrack cues from films that were, for one reason or another, never released. The films, hailing from Italy, Japan and the USA (among others) supposedly date from the 1950s to the 1970s, and were (according to the extensive sleeve notes) exactingly sourced from film archives across Europe.
In reality, all the music is self-composed. The eight tracks include elements of noise, folk, psychedelia, prog and noir-jazz within their elaborate constructions, created with a panoply of instrumentation including Mellotron, zither, home-made percussion, Fender Rhodes, harmonium, MiniMoog and more. Delicate and sensuous, heavy and oppressive – the record negotiates these musical contradictions while retaining a single-minded pursuit of strangeness and surprise.
Having finally found its spiritual home on soundtrack specialist label Cineploit, Ashcan Copy can at last be heard by all.

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.

During the '60s and '70s, three distinguished gentlemen who had built their careers playing French-made exotic jazz (Roger Roger, Nino Nardini and orchestra leader Eddie Warner) met each evening in the Ganaro recording studio. They mainly experimented -or simply played- with keyboards that looked like prototypes of spaceships. Flying high on whimsical and joyful inspiration, the improbable trio used their strange instruments to sketch out the beginnings of something that, at that time, resembled the future of music. This collection presents some of the highlights that resulted from their light-hearted, electronic pop sessions.

1983's 'Amore Tossico' is a legendary cult film, directed by Claudio Caligari. Arranger and pianist Detto Mariano wrote the entire score on his Fairlight series IIx, a now revered synthesizer that had just entered the market that year. The sound is therefore scary and up to date, a true companion to the vivid and rough imagery of the movie. Featuring sound from the original tapes, the LP is pressed on deluxe 140-gram vinyl and packaged in a gatefold sleeve. You also get a bonus CD of the entire album plus a reproduction of the original film poster.

Original live re-score composed and performed by Morricone Youth to F.W. Murnau's 1927 silent film Sunrise: A Song Of Two Humans. Pressed on sunrise orange vinyl in an edition of 500 copies. Includes a download.

Scored by the legendary Italian film composer Armando Sciascia, Sea Fantasy is a conceptual suite of twelve exotic themes evoking the many moods and dramas of life under the sea. Recorded in 1972 for Sciascia's own Vedette label, the album is a key recording within the micro-genre of Italian underwater library music. A mosaic of evocative modern classical, flamenco textures and a surge of raw analogue synthesizers. Mysterious aquatic music that sits comfortably alongside other Italian Soundtrack and Library recordings including the lush bossa of Daniele Patucchi's Men Of The Sea (CAM) as well as the experimental electronics of Biologia Marina by Amedeo Tommasi & Alessandro Alessandroni (Rhombus). With several cues used for the English-version soundtrack to Harald Reinl's 1976 (Erich von Däniken inspired) mondo-documentary Mysteries Of The Gods, Sea Fantasy is reminiscent of the exotic mood-music scored for Folco Quilici's documentary Oceano composed by Ennio Morricone as well as Luigi Scattina's legendary tropical sexploitation film Il Corpo composed by Piero Umiliani. This new 2019 edition has been newly remastered and expanded with additional liner notes and photos.

2019 remastered and expanded edition.
Legendary Italian underwater Library recording
Replica vinyl reissue of the rare 1972 LP
Mysterious aquatic mood music

This score is pound-for-pound the funkiest with its heavy bass and drum groove throughout each movement of the score. Most of the pieces from this soundtrack also include killer samples and breaks, my favourites being “The Diamond Fortress” with Ronnie Scott on solo sax and Chris Karan on Drums and “Thief On The Prowl” featuring Tubby Hayes and Daryl Runswick on Bass. This release also has an exclusive edit. The Main Theme (vocal by The Three Degrees) and instrumental scores have been combined to deliver an unforgettable version of this great title theme. Now for the first time, Dynamite Cuts brings you yet another exclusive 2x7” 45 collection featuring some of Roy Budd’s finest work.

Only released in 1999 as it was thought it wasn’t a sellable soundtrack. Now for the first time Dynamite Cuts are making a 2x7” 45 collection of some of these gems. The Black Windmill is very much on the same vibe as Stone killers. When I first heard “No Co-Operation” I almost fell off my chair!! In particular, the drums and dark strings (by the National Philharmonic Orchestra) lift this into another zone. In addition, the deep bass groove (this time featuring Daryl Runswick on bass) and killer horns, featuring more of the finest players from Budd’s stable, take this piece into the stratosphere!

Fabio Fabor is a mysterious composer and musician who wrote mostly operas, symphonies and chamber music,but also experimental and electronic library music, the latter being the case of this release: short tracks aiming to accompany radio and TV shows, orchestral Pop à la Bacharach, space age pop, hints of bossa and beat from the previous decade. Originally published by the legendary Serie Usignolo, a sub-label of Fonit, this hard-to-find title is finally available again thanks to Schema Records.

Fabio Fabor is a mysterious composer and musician who wrote mostly operas, symphonies and chamber music,but also experimental and electronic library music, the latter being the case of this release: short tracks aiming to accompany radio and TV shows, orchestral Pop à la Bacharach, space age pop, hints of bossa and beat from the previous decade. Originally published by the legendary Serie Usignolo, a sub-label of Fonit, this hard-to-find title is finally available again thanks to Schema Records.

Available for the first time ever on vinyl is the 1974 soundtrack byAlessandro Alessandroni for the Giuliano Carmineo (as Anthony Ascott) directed Di Tresette ce n'è uno, tutti gli altri son nessuno, known in English as The Crazy Bunch. The sequel to Lo chiamavano Tresette... giocava sempre col morto (Man Called Invincible), the film is a goofy, slapstick comedy spaghetti-western, but the Maestro’s soundtrack is anything but goofy. Haunting, sparse, and riveting, the soundtrack is easily the best thing about this film and it’s presented here by Overdrive in a special color vinyl edition.

Composed by Carl Thiel
Pressed on 2x 180 Gram Black Vinyl with artwork by César Moreno
Mondo, in collaboration with Powerhouse Animation and Viz Media are proud to present the soundtrack to the Netflix Original Series: Seis Manos.

Composed by Carl Thiel (Machete, From Dusk Til Dawn) the music for the Seis Manos is a unique blend of soundscapes from the exploitation films of the 60’s and 70’s, modern action adventure films, all anchored by classical mexican instrumentation. It’s a one of a kind soundtrack for a one of a kind animated series.

180 gram Transparent Army Green + Transparent Red A-SIDE B-SIDE + Opaque Gold, Opaque Brown & Transparent Brown SPLATTER = “Mrs Palmers Blood” variant
First time the score has been released on any format
Audio pulled from original master tapes
Liner notes by Tim Ritter
Gatefold packaging by Stoughton / The score to the 1987 horror film by Tim Ritter, Killing Spree. A man suspects his wife of adultery and goes on a killing spree, eliminating all he believes are sleeping with her, but his victims don’t stay dead. Pressed on 180 gram “Mrs Palmers Blood” variant = Transparent Army Green + Transparent Red ASIDE BSIDE + Opaque Gold, Opaque Brown & Transparent Brown SPLATTER.

Regular Official Authorised Vinyl Version, Original Soundtrack.

The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii’s legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork Tracklisting LP : A1 ?I - Making Of Cyborg A2 Ghosthack A3 Puppetmaster A4 Virtual Crime A5 ?II - Ghost City B1 Access B2 Nightstalker B3 Floating Museum B4 Ghostdive B5 ?III - Reincarnation We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon). The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook.

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!

Reissue on 180gr. Vinyl

A Winged Victory For The Sullen, the otherworldly collaboration between Adam Bryanbaum Wiltzie and Dustin O Halloran, commence the New Year with their third full-length titled Iris available worldwide via Erased Tapes on January 13th 2017. Adam Bryanbaum Wiltzie and Dustin O'Halloran first met the director Jalil Lespert after he had discovered A Winged Victory For The Sullen on a music search online. After listening to their music, he immediately knew: "it was the sound of my new film". With an excellent cast of France s finest actors Romain Duris, Charlotte Le Bon, and the director himself, plus a script filled with tension, sexuality and darkness, they knew there was a lot of musical territory to mine. It was agreed that they wanted to explore more analogue electronique experiments as well as working with a large string ensemble, to create something that felt very modern and still cinematic. The recording sessions began with their long time sound collaborator Francesco Donadello in the form of some modular synth sessions in Berlin. Dustin and Adam began working from the script in their own studios, and after filming commenced they continued to create music that could be used for first edits of the film each day getting new scenes that triggered ideas that would become the base of the film score. Over the course of the next few months the two slowly crafted the music with weekly discussion from their studio to the editing room. The final sessions to what is now the score of Iris were recorded with a 40-piece string orchestra at Magyar Radio in Budapest.

Limited 180g pink and black marble vinyl with Insert print, liner notes, postcard and download card

The Dead Don't Die is writer/director Jim Jarmusch's unique, semi-comic take on the zombie apocalypse genre. As with his recent efforts Only Lovers Left Alive and Paterson, the film's score was composed and performed by SQÜRL, the band Jarmusch and producer Carter Logan founded in 2009. Sacred Bones Records, the same label that released the band's EP #260 in 2017, is releasing the LP edition of the score.The score to the The Dead Don't Die is a true expression of where SQÜRL stand at the center of a decade of sonic exploration. It is the culmination of their passion for analog synths, with guitar violence reverberating from the darker corners of Americana. It is at once a tribute to the classic sounds of horror and sci-fi, as well as a decapitation of traditional film scores. It is naturally supernatural.From their arsenal of tools, Jarmusch and Logan pulled electric guitars and basses made by Rick Kelly and Cindy Hulej at Carmine Street Guitars, an acoustic resonator, Moog Minitaur and Theremini synthesizers, Fender Rhodes electric piano, an old Ludwig drum kit, cheap vintage Casio and Yamaha keyboards and new synths from Critter and Guitari _ all sculpted through a collection of effects pedals, notably from Earthquaker Devices.The inspiration for SQÜRL's score for The Dead Don't Die came from some of the most iconic soundtracks of the past half-century of genre cinema _ Tangerine Dream's Sorcerer, Bebe and Louis Barron's Forbidden Planet, Ennio Morricone's The Thing and Once Upon a Time in the West, Goblin's Dawn of the Dead, and all things John Carpenter. The singular Theremin work of Samuel J. Hoffman on films like Spellbound and The Day the Earth Stood Still also made its way into Jarmusch and Logan's consciousness. The result is a new horror soundtrack that stands shoulder to shoulder with the great works of its genre.

Red Splatter On Green Vinyl! limited to 2500 copies! The Dead Don't Die is writer/director Jim Jarmusch's unique, semi-comic take on the zombie apocalypse genre. As with his recent efforts Only Lovers Left Alive and Paterson, the film's score was composed and performed by SQÜRL, the band Jarmusch and producer Carter Logan founded in 2009. Sacred Bones Records, the same label that released the band's EP #260 in 2017, is releasing the LP edition of the score.The score to the The Dead Don't Die is a true expression of where SQÜRL stand at the center of a decade of sonic exploration. It is the culmination of their passion for analog synths, with guitar violence reverberating from the darker corners of Americana. It is at once a tribute to the classic sounds of horror and sci-fi, as well as a decapitation of traditional film scores. It is naturally supernatural.From their arsenal of tools, Jarmusch and Logan pulled electric guitars and basses made by Rick Kelly and Cindy Hulej at Carmine Street Guitars, an acoustic resonator, Moog Minitaur and Theremini synthesizers, Fender Rhodes electric piano, an old Ludwig drum kit, cheap vintage Casio and Yamaha keyboards and new synths from Critter and Guitari _ all sculpted through a collection of effects pedals, notably from Earthquaker Devices.The inspiration for SQÜRL's score for The Dead Don't Die came from some of the most iconic soundtracks of the past half-century of genre cinema _ Tangerine Dream's Sorcerer, Bebe and Louis Barron's Forbidden Planet, Ennio Morricone's The Thing and Once Upon a Time in the West, Goblin's Dawn of the Dead, and all things John Carpenter. The singular Theremin work of Samuel J. Hoffman on films like Spellbound and The Day the Earth Stood Still also made its way into Jarmusch and Logan's consciousness. The result is a new horror soundtrack that stands shoulder to shoulder with the great works of its genre.

Death Waltz Recording Company brings us what is likely to be a future classic in the form of Ben Lovett’s sophisticated electronic score to science fiction thriller "Synchronicity". Starring mumblecore specialist AJ Bowen (YOU’RE NEXT) and cult hero Michael Ironside (SCANNERS), "Synchronicity" is about an inventor that creates a time machine and uses it to go back in time to stop the potential theft of the technology. Lovett’s music recalls all the obvious candidates for these types of scores, John Carpenter, Vangelis, Tangerine Dream, but while he stands on the shoulders of giants he still manages to create something that exists on its own terms.

"Synchronicity" is all about immersion; the score wraps you up in it and massages your senses before taking you on a beautiful but dangerous journey. It feels like a dream, with Lovett’s evocative soundscapes modulating and pulsating to augment the pervasive synth melodies. Much of it is ominous, foreboding – it flows between serenity and paranoia, but it always coheres into the kind of experience that is almost impossible to replicate. The future, the past, the present: they’re all here, and "Synchronicity" feels both futuristic and timeless. It is what it is, a beautiful contradiction.

Re-recordings of Artemiev's soundtracks to the classic 1970s Tarkovsky film. Recorded in Moscow 1989-90.

As one of the most triumphant and beguiling directorial debut features to emerge from the fruitful Polish New Wave, Andrzej Żuławski’s 1971 film Third Part Of The Night not only earned the thirtyyear- old filmmaker a place next to other radical Polish directors such as Polanski, Skolimowski and Has, but also galvanised a creative bond with long running collaborator and composer Andrzej Korzyński, providing fans of foreign abstract/suspense cinema with a potent creative fusion to match those of Polanski/Komeda, Fellini/Rota, Argento/Goblin…

Featuring one of the heaviest psych rock movie theme tunes of all time, Andrzej Korzyński’s short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, François de Roubaix and Alain Goraguer, creating a soundtrack that unknowingly begs comparison to Masahiko Satô’s Belladonna of Sadness and Billy Green’s Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar 64 and later Arp Life (and composing for national heroes such as Czesław Niemen, Niebiesko-Czarni and Test) Korzyński’s growing passion for conceptual rock and jazz music soon led to instrumental composition and soundtrack scores. His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa Abc) also provided Korzyński with another significant cinematic muse in that of the stunning actress Małgorzata Braunek, with whom they would both eventually achieve their finest performances under the direction of the ravenous first timer Żuławski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music – elements which would intensify for all three creatives with the next film Diabeł, which was banned by the Polish government the following year until 1988. Third Part Of The Night also marks the public unison of Żuławski and Braunek whose later private romantic relationship is said to form the basis for another defining Żuławski/Korzyński endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the the composers finest and most inspired sonic adventures.

Zelda & Chill contains lo-fi- hip hop arrangements of music from the original LoZ, Link To The Past, Majora’s Mask, Wind Waker, Ocarina of Time, Skyward Sword, and Breath of the Wild.