Soundtracks Vinyl 312 Items

Double LP on 180 Gram vinyl!

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.

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 vinyl version contains twelve tracks! "Minecraft - Volume Alpha" is the work of German composer and musician Daniel Rosenfeld. Under his stage name C418, Rosenfeld created the sweeping soundtrack and vibrant sound design that brought the voxel-based universe of "Minecraft" to life. Fans and critics alike were blown away by his beatless, balanced electro pieces across the board. Popular gaming site Kotaku listed the soundtrack among its "Best Game Music" of 2011, calling the music "impressively soothing," while The Guardian compared Rosenfeld's fragile pieces of piano and minimalist ambient to legendary artists Erik Satie and Brian ENO. In an interview, Polygon distilled "Volume Alpha" down to its essence: "The soundtrack is not tied to the retro aesthetic of Minecraft graphics. The soundtrack overrides them. The album is an attempt to translate the combined game/music experience into something heavenly."

The day has finally come! We have waited with eageranticipation to release Matthew Cooper's spellbindingsoundtrack to Some Days Are Better Than Others sincebefore his creative breakthrough album, Similes(released under his more widely known Eluviummoniker) was even made. The film stars James Mercer(Broken Bells, The Shins) and Carrie Brownstein(Portlandia, Sleater-Kinney) as strangers whose livesoccasionally intersect as they navigate their way throughthe struggles of personal attachment and disconnection.

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.

The official soundtrack to Christoph Waltz', ehm, Tarantino's "Django Unchained" with tracks by Ennio Morricone, James Brown, John Legend and more. Tip!

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

The album includes 12 new recordings made especially for the film and soundtrack plus an existing recording by Dave Van Ronk. Also featured is a never-before-released version of Bob Dylan performing his song “Farewell,” which was recorded during the sessions for his album The Times They Are A-Changin' and is available exclusively on this soundtrack.

Steven Soderbergh’s take on Stanislaw Lem’s influential sci-fi tome Solaris was incredibly polarizing at the time. Some didn’t want to see it simply because it starred heart-throb George Clooney in what is essentially a mostly solo role, some didn’t appreciate it in light of legendary Russian director Andrei Tarkovsky’s overtly spiritual take on the same book. Soderbergh says of Martinez's pivotal role and his score, "I relied on it not only to unify the film emotionally, but to import actual narra-tive information." Martinez himself describes it as "one of the few soundtracks of mine that I can still stand to listen to.

I also think it was a score that made the greatest contribution to the film for which it was written." Described by BBC Music as "A brooding slow, meditative work" and a musical journey that "leaves the listener floating free" by Soundtrack.net, "Solaris' is an evocative and highly seductive score that still fully resonates with the listener more than a decade after it was first released.

Those that did manage to take it in would have noticed on thing in particular though – composer Cliff Martinez‘s haunting and deeply influential soundtrack. Percussive, but anchored with a slow, deeply affecting synthesized bass line throughout, the soundtrack served as a nudge in the right direction for drone-lovers and ambient types, and still sounds fresh even now. It’s hardly surprising then that Portishead’s Geoff Barrow has had the good sense to make sure it finally gets pressed to wax through his Invada imprint.

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.

As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (vice). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

Nick Cave, Bob Dylan & Patti Smith are gracing this one!

Still shrink wrapped but opened.

DJ stickers.

Copy is close to VG+!

Nine Inch Nails mastermind Reznor and composer Ross join forces for this one!

The movie hit of 2014, Interstellar, chronicles the adventures of a group of explorers who make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage. While the film is directed by acclaimed Christopher Nolan (Inception, Batman Begins, The Dark Knight…), the epic soundtrack score was composed by Nolan's longtime collaborator, Oscar, Grammy, and Golden Globe Award-winning composer Hans Zimmer.

180g vinyl.

Appearing for the first time on vinyl is this selection of music from the soundtracks to the hugely popular BBC TV series SHERLOCK. Featuring music from series 1, 2 and 3. The track listing represents the most popular themes from across all three series which brought composers David Arnold and Michael Price multiple awards and award nominations internationally.
The LP is pressed on 180g black vinyl and the cover features a specially commissioned painting of Benedict Cumberbatch in the title role by noted artist Alice X Zhang. A huge hit in the world of DeviantArt Alice’s prints are sought after by collectors – as a bonus this special artwork is also included inside the LP as an insert suitable for framing

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.

Original Soundtrack in a collectors edition.

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!

Red Vinyl. Side 3 has a deeper scratch, the other sides are between VG+ and NM

Grammy nominated soundtrack “School of Rock: Original Soundtrack” accompanies the film of the same name. The film stars ‘Jack Black’ playing a struggling rock star turned music teacher, teaching a class of 13-year-old musicians to play rock and roll music. The classic rock soundtrack features artists; Ac/ dc, The Clash, The Doors, The Who, Black Sabbath amongst others. Most notably the soundtrack includes Led Zeppelin’s “Immigrant Song”, which had previously always been denied permission to appear in films. This version will be pressed on double orange vinyl.

Limited to 1500 copies.

LA Dama Rossa Uccide Sette VOLTE—The Red Queen Kills Seven Times—blurs the line between thriller and horror. The cult success it enjoys can be attributed to its aesthetics that encapsulate the essence of the Italian thriller. Bruno Nicolai’s score for The Red Queen Kills Seven Times flawlessly brings together the pop and underground music sensitivity of the 1970s with the gothic nuances of the plot thanks to a clever use of harpsichords. The album is part of CAM Sugar’s Paura, a series of standalone soundtrack releases that follow the same-titled compilation which explores rare and unreleased horror gems from the label archive. This new limited 50th anniversary edition of this cult, sought-after soundtrack—a masterpiece of Italian Giallo cinema—is fully remastered from original tapes, includes two bonus tracks and is destined to become a staple for the collectors of the genre and for the fans of the golden age of Italian and horror cinema, making it an essential release of Record Store Day 2022.

Sacred Bones Records celebrates its 15th year anniversary by repressing this incredible debut by the one and only master of horror on vortex blue vinyl. John Carpenter has been responsible for much of the horror genre's most striking soundtrack work in the fifteen movies he's both directed and scored. The themes can instantly flood his fans' musical memory with imagery of a menacing shape stalking a babysitter, a relentless wall of ghost-filled fog, lightning-fisted kungfu fighters, or a mirror holding the gateway to hell. The music on Lost Themes is there for Carpenter's acolytes to visualize their own nightmares. As is Carpenter's style, repetition is the key to the thundering power of these tracks, their energy swirling with shredding chords, soaring organs, unnerving pianos and captivating percussion. Horror fans will be reminded of Carpenter's past works, as well as ancestors like Mike Oldfield's Tubular Bells and Goblin's Suspiria. "They're little moments of score from movies made in our imaginations," Carpenter says. "Now I hope it inspires people to create films that could be scored with this music."