Soundtracks Vinyl 247 Items

Red/Green Split Vinyl.
Still shrink wrapped but opened.
Cover with a beginning seam split at the upper edge.
Record is slightly warped but still enjoyable.
Small light scuff on side B.
Includes original insert.

Clear vinyl.
Records are slightly warped but still enjoyable.
Dogeared cover.

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!

* 7” Vinyl with Screen Printed Wave B-Side * Featuring “Tell Me What You Want” from Wave Break * Music by Weezer * Album Art by Cory Schmitz

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!

Remastered for vinyl, ltd edition of 300 copies on 180g transparent pink vinyl. Previously released digital only via Lakeshore Records in 2020. Recorded and performed by Kid Moxie at her studio in Downtown L.A. Produced by Kid Moxie and Serafim Tsotsonis Mixed by Serafim Tsotsonis Mastered by Ekelon

The Nest is a 2020 thriller film written, directed, and produced by Sean Durkin. It tells the story of a family plunged into uncertainty upon relocation from America to England, as the tense isolation of their new home affects them differently. Its soundtrack was arranged by Richard Reed Parry, a Canadian multi-instrumentalist, composer, producer, best known as a core member of the Grammy Award-winning indie rock band Arcade Fire, where he plays a wide variety of instruments. The Nest is available as a limited edition of 500 individually numbered copies on crystal clear vinyl. The package includes an insert with pictures from the movie.

The telephone rings at midnight. The sound echoes through the halls of your home in the Hollywood hills. Nervously you pick up the heavy receiver only to hear the desperate breathing of a lunatic… The same lunatic that has been calling for months. Welcome to ‘Deranged Fan’ the score to an imagined American thriller by Tom Guycot. Laying somewhere between the Italian and French legends and Harold Faltermeyer, Deranged Fan is Beverly Hills Cop on mescaline and chloroform. Vintage strings sing over analog bass on a journey to the darkest places of your mind… Can you escape your fate as one of the highest paid stars in Hollywood? Or will you end up just another tabloid fable.

Cave Interactive CO., LTD., in collaboration with Limited Run Games and Brave Wave Productions, is proud to unveil the 19th entry in the Generation Series of video game soundtracks, DoDonPachi SaiDaiOuJou The Definitive Soundtrack for CD and vinyl. Originally released for Arcade (2012) and on Xbox 360 (2013) in Japan, DoDonPachi SaiDaiOuJou is the latest arcade release in the DoDonPachi series in the legendary hardcore bullet-hell shoot-’em-up franchise, long respected by dedicated players for its frantic action and rewarding gameplay. The soundtrack features 13 memorable songs by acclaimed Japanese game composer Manabu Namiki. Whether players are scrolling through a relatively simple section or fighting for survival as they’re assaulted by enemies on all sides, this gem of a soundtrack is seeing its first release outside of Japan for the first time on physical formats.

Since its creation in 2007, Hifiklub has led more than 150 collaborations which have allowed the Toulon trio to open its music to multiple artistic experiences revealing a constant desire for research and novelty. From unprecedented encounters to unique projects, Hifiklub has developed over the years a now substantial discography whose musical proposals range from pop to jazz through the most experimental sounds and even traditional music. One path, however, remained unexplored: contemporary music."Last Party On Earth" is organized around the association of three energies: contemporary composer Jean-Michel Bossini, singer Duke Garwood and the instrumental ensemble Hifiklub. Surrounded by mysticism and darkness, the creation has cinematographic dimensions. It positions the listener in a depth and disposition of soul where the voice - and the poetry - of Duke Garwood is carried by Hifiklub and Jean-Michel Bossini around cold and tormented atmospheres. The album seduces by the detail of its sounds, its apparent tranquility and its intimate atmospheres thwarted by harsh flashes. Mixed by Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven), the album sees the exceptional participation of the string trio Anpapié (Alice Piérot, Fanny Paccoud and Elena Andreyev) who magnificently perform the score by Jean-Michel Bossini. All songs performed by Hifiklub, Duke Garwood and trio Anpapié (conducted by Jean-Michel Bossini)

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

In the cinema, the composer must go to meet the filmmakers, enter their world, but without giving up his own. This is the difficulty or the paradox of music for the image. By collaborating with directors from a wide variety of backgrounds, I think I have indirectly discovered a lot about myself. It helped me to progress, to explore territories that were not naturally mine. Cinema is a laboratory where I have sought to construct original orchestral formulas combining Corsican polyphonies, musicians from jazz, variety, classical, or even rappers. Like the world today, a fragmented world where all cultures mingle. So said Bruno Coulais, one of the most innovative composers of contemporary cinema, during the tribute paid to him in 2011 at the Cinémathèque de Paris

In 1978, Bruno Coulais, a young composer of concert works, discovered in film music a new means of expression, a way of bringing the demands of his writing to the masses. François Reichenbach, then Josée Dayan, Jacques Davila, Souleymane Cissé or Laurent Heynemann, first on television and then in the cinema, lead him of his own accord in the discovery of this new world.

In 1995, he composed the music for Microcosmos. This centimeter-scale initiatory journey offers him the opportunity to reveal the full dimension of his writing. He injects into his score a strange lyricism, between wonder and fantasy, confirming the lesson learned from François Reichenbach: "to any documentary image, music brings a part of fiction".

The success of Microcosmos established the musician and made him the indispensable composer of other natural tales, notably alongside Jacques Perrin (Le Peuple migrateur, Oceans, Les Saisons, etc.). Other long-term relationships will be forged, in particular with Benoît Jacquot, with whom he has worked for more than a decade, not to mention Frédéric Schoendoerffer, James Huth or Jean-Paul Salomé.

In addition to great popular successes such as Les Choristes, Brice de Nice or Sur La Piste Du Marsipulami, it is hardly surprising that this insatiable curiosity has found in the animated cinema the most inspiring playgrounds, in particular through his collaboration with two exceptional designers, Henry Selick and Tomm Moore.

The first, American director of The Nightmare Before Christmas produced by Tim Burton, invites Bruno Coulais to sign in 2009 the magnificent score of Coraline (film nominated for the Oscars). 10 years later, he is about to find him for a new and beautiful Wendell & Wild adventure. For Irishman Tomm Moore, Bruno Coulais has already composed the music for two Oscar-nominated films, The Secret of Kells (2009) and Song Of the Sea (2014), and in 2020 he will sign the score for Wolfwalkers.

Whether it is about author's films or more mainstream films, Bruno Coulais maintains the same standards, always considering his art as a window open to the world. Much less wise than it seems, he reveals in it a gift of a modern alchemist and a very personal way of mixing the most diverse cultures in universal harmony at work.

Tracklist :

A WolfWalkers Theme Wolves Running with the Wolves (WolfWalkers Version) Mechanical Wolf or Girl I’m a WolfWalker Howls the Wolf (Moll’s Song - Wolf Run Free) Our Forest

B What Are You Doing Here? This Is Intolerable Please Mummy My Little Wolf Our Victory Follow Me Mébh’s Tune Robyn’s Tune

Four years on from the debut album “Cinematic Lies”, the second release from Sospetto founder Christian Rzechak under the Pan/scan alias is heading your way. Inspired by old-school synthesizer soundscapes of the Berlin or Düsseldorf school, but with an atmospheric modern feel added, Kosmonauter is a pure electronic science fiction soundtrack to guide your dreams. Reminders of composers such as Jóhann Jóhannsson, Cliff Martinez or Steve Moore are quite intentional. The fusion of retro-futurism and contemporary electro-ambient innovations takes you on an exhilarating aural trip into the darkest, furthest reaches of infinite space! Who is the Kosmonauter? What is his mission? Does he defend us against danger or is he a threat himself? The six tracks on the album tell a story, but where this journey goes is up to the listener. The track titles hint at the true meaning, but who can interpret them? The Kosmonauter will invade your head; and, maybe, you will lose your mind...The Kosmonauter: Redemption or Apocalypse?

Music for animation cyber-noir film "Battlefield" (based on same-titled book by Stephen King). Animated films soundtrack is one of the most substantial aspects of Bystryakov's career. He masterfully balances between being a composer and a sound designer. A cartoon thriller for Stephen King's original story was created at the Kyivnaukfilm studio in 1986. The work itself reached the Soviet reader in 1981 for the first time and was King's first publication in the Ussr, as well as "Battleground" was the first and only film adaptation. "Battlefield" is a work that belongs entirely to its time. This soundtrack is a semi-conscious journey through the night TV network: from Italian horror movies and detectives to the movie Blade Runner on the last working channel well past midnight. Actually, in such a sequence, the fabric of the work is revealed. The atmosphere in the style of Goblin (Untitled I), thus echoing the work of Enno Morricone (Title theme, Theme of the boss). In addition to melodic fragments, he boldly creates minimalist pieces that undoubtedly sound like an early acid house (Untitled II), because the sounds of Roland Tb-303 and Tr-606 are instantly recognisable. Bystryakov's approach did not involve the use of many tools or effects. He worked with one Roland Juno-106 synthesiser, using the full palette of its sound. His new tool is a counterpoint. This is how the final theme (End Theme) is constructed, where a piercing solo on a saxophone changes the atmosphere to nostalgia.

Splattered Vinyl Edition.

Clear Vinyl.

Blue vinyl is close to NM. Limited edition.

Record Store Day 2021 Release. White vinyl. Cover close to NM.

Limited Edition.
White Vinyl.
Sealed copy, cover with a dented corner.

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

Crystal Blue vinyl. Still sealed with hype sticker. Cover has slight corner wear, close to NM.

Augustus Muller and Jae Matthews’ fifth release entitled ‘The Runner (Original Soundtrack)’ is not a traditional album. Rather, it is the soundtrack to a short film, also entitled ‘The Runner’. The film, written, produced, and directed by the duo, is a searching horror film, attached to a meta-style “documentary” about Boy Harsher’s recording process. The album includes several distinct components: cinematic arrangements, vocal features, and of course classic Boy Harsher dark pop. Both the album and short film will be released in January 2022.

The album opens with “Tower”. The only track on ‘The Runner (Original Soundtrack)’ that Boy Harsher has previously played live, but never recorded. The song is an incantation, with its pulsing synth and Jae’s begging vocals. A spell about desire and impending destruction. Jae asks 'But are you honest? Do you trust? You trust in me?' Questions answered by her desperate yells. It starts both the film and the soundtrack with a heavy presence.

Two songs on ‘The Runner (Original Soundtrack)’ feature vocalists other than Jae Matthews. He allows a distinct sound for both vocalists and really leans into the possibility of divergent genres. “Machina”, is a Hi-nrg homage, performed by Mariana Saldaña of Boan, and “Autonomy” a new wave tribute, performed by Cooper B. Handy of Lucy. Augustus Muller fully embraces the soundtrack ethos, by creating fictional ‘bands’ to generate additional content.

‘The Runner (Original Soundtrack)’ is exactly what’s in the name: a soundtrack. At first the shape of the release was nebulous - yet once realized the album is dynamic. It serves as the story of the running figure and her musical accompaniment. Those expecting a traditional release will be surprised, but not disappointed.

Finally on vinyl!

Four years on from the debut album “Cinematic Lies”, the second release from Sospetto founder Christian Rzechak under the Pan/scan alias is heading your way. Inspired by old-school synthesizer soundscapes of the Berlin or Düsseldorf school, but with an atmospheric modern feel added, Kosmonauter is a pure electronic science fiction soundtrack to guide your dreams. Reminders of composers such as Jóhann Jóhannsson, Cliff Martinez or Steve Moore are quite intentional. The fusion of retro-futurism and contemporary electro-ambient innovations takes you on an exhilarating aural trip into the darkest, furthest reaches of infinite space! Who is the Kosmonauter? What is his mission? Does he defend us against danger or is he a threat himself? The six tracks on the album tell a story, but where this journey goes is up to the listener. The track titles hint at the true meaning, but who can interpret them? The Kosmonauter will invade your head; and, maybe, you will lose your mind...The Kosmonauter: Redemption or Apocalypse?

Better known for his mixing and mastering of other people’s records, Ken Long has been working on a series of library/soundtrack inspired pieces involving instrumentation and programming. Version Control is one of these series. Produced and Recorded in NE London, 2020, it was self-released on limited compact cassette later that year. Fast forward a year and We Stay True are releasing this work for the first time on limited edition 12” LP and digital formats on the 13th of September. Expect thick electric pianos riding over Roland arpeggios, Sp1200 grooves and percussion, lashings of thunder reverb and space echos, all mixed and recorded analog and cut from the original tapes. With fresh new artwork, we’re ensuring further access to collectors, library music enthusiasts, and soundtrack lovers alike.

Sdban Records will reissue parts of the library serie 'A Special Radio ~ TV Record' released on the Belgian based Selection Records between 1976 and 1981 on vinyl. Nonetheless, the first release will be a contemporary adaptation of the original concept by composer Reinhard Vanbergen (Das Pop, Rheinzand).

Hikaru Utada's debut single “Automatic/time will tell” released on December 9, 1998 sold over two million copies, catapulting her to top-artist-status at age 15. The first album “First Love” released a few months later and marked the highest number of CDs sold in Japan, a record that remains unbroken to this day. All of her albums that followed have topped the charts. The 2007 single “Flavor Of Life” set a world record for the highest number of digital downloads. She announced a hiatus from her music career in 2010 to focus on her "人間活動/ningen katsudo/career as a person," or personal growth, returning to her career of music in April 2016 with singles “Hanataba Wo Kimini” and “Manatsu No Tooriame.” Her sixth studio album "Fantome" followed in September 2016 to great success in both Japan and abroad with a #1 on the Oricon charts stretching four consecutive weeks for the first time, a #3 on the US iTunes chart, and over a million units total in sales of CD and digital downloads. Since March 2017, She has been with Epic Records Japan a division of Sony Music Labels Inc. The year 2018 saw the release of her 7th album "Hatsukoi" on June 27, 2018, marked her twenty-year anniversary from debut, and going on her first Japan-wide tour since recommencing her music career. Footage from the tour is available as a video release under the title "Hikaru Utada Laughter in the Dark Tour 2018." The theme song for video game KINGDOM HEARTS Ⅲ "Face My Fears" was released as a single in 2019. The track was co-created with Skrillex and marked Utada's first Billboard Top 100 in the US. An EP including the A.G. Cook co-produced single "One Last Kiss" and her first self-cover "Beautiful World (Da Capo Version)" is available March 10, 2021. The two tracks are both theme songs appearing in the feature film EVANGELION:3.0+1.0 THRICE UPON A TIME (SHIN EVANGELION).

For the 25th anniversary of the legendary SNK's game series Metal Slug, Wayô Records is proud to present this new complete edition of the Metal Slug X soundtrack in vinyl format!

One of London’s most intriguing labels ventures a dark fantasy horror/gamer soundtrack by its co-founder, Lugh O’Neill for an experimental film of the same name by Kevin Brennan. Lugh follows a highlight of the label’s ‘Apocope’ compilation with his most enigmatic work, scored in a back and forth with director Brennan to locate some of his most curious and haunted recordings. Made to accompany the film’s part documentary, part scripted format, the music follows a storyline about real life imitating gamer life, and vice versa, outlined by the label as grappling “with the idea of virtual violence as a form of expression and identity whilst scrutinising the predominantly male ‘gamer-bro’ archetype synonymous with these online cultures.” As with ‘Apocope’ earlier in 2021, the concept does not get in the way of enjoyment of the music, acting on its own merits as a steeply absorbing suite of suggestive soundtrack and finely sculpted dark ambient music. The ‘Erangel Ost’ finds its closest aesthetic corollary in Lugh’s ‘Re Munus’ LP of 2020, but loses that LP’s more frantic aspects in favour of an extremely slow burning appeal, where scenes unfold at a glacial pace that’s hard not get sucked in by. Its 10 parts unfold thru 37 minutes, describing a fleeting play of shadow tones and transportive spatial settings. Any violence is implied and not explicit, perhaps seeping thru in the unsheathed sword scythes and keening guitar noise of ‘Crystalline Dawn’, the bellyaches of ‘Lost Boys’ and the beastly grind of ‘Moan Jiro,’ but more often reserved to the peripheries where it suggests the tension leading up to the act, and its aftermath, especially in the highlights of ‘Idle,’ the guttural lurk of ‘Forest Lure,’ and exquisite designs of ’Sentinel.’ Promo

Claudio Simonetti's Goblin recorded live in Helsinki!

For the 30th anniversary of the legendary SNK Corporation’s Neo-Geo, Wayô Records is proud to present this new complete edition of the Magician Lord soundtrack in both vinyl and CD digipak formats, featuring a new illustration by Eisuke Ogura! This iconic game has been released in 1990 and was one of the launch titles of the cult arcade system by SNK, and 1991 on the home system. It is still regarded today as one of the legendary game made by SNK on these systems.

In addition to this release, the soundtrack is accompanied by a brand-new virtuoso piano arrangement, especially produced by Wayô Records, and recorded in studio on a beautiful Steinway model C by Nicolas Horvath (official Steinway Artist). This new piano arrangement is part of our Wayô Piano Collection and is a unique way to rediscover the fabulous Magician Lord soundtrack.

The new illustration designed and hand-signed by Eisuke Ogura is available with this vinyl edition, as a collector japanese-made Shikishi, offered to the first 150 orders!

Black Screen Records Has Teamed Up With Headup And Neil Jones - Artist, Game Developer And Creator Of Aerial_knight's Never Yield - To Release The Amazing Soundtrack To His Highly Stylized Narrative 3d Runner Game On Limited Edition Vinyl.Survive A Futuristic Tokyo-Style Detroit By Running For Your Life, With The Amazing Soundtrack By Neil "Aerial_knight" Jones And The Detroit Artist Daniel "Danime-Sam" Wilkins, Featuring Vocals From Artists Of Colour From All Over The World. The Soundtrack Presents An Eclectic Mix Of Hip-Hop, Rap, Soul And Trip-Hop And Comes In A Beautiful Gatefold Sleeve With Original Art By Neil Jones

To celebrate the 25th anniversary of the release of She’s The One, we are releasing a remixed, remastered and re-imagined version of this album. The original album included several songs that were left off the original Wildflowersalbum (recently included as the "All The Rest" disc in the "Wildflowers & All The Rest" re-issue), so this re-release is an appropriate ending to the campaign celebrating the Wildflowers-era.

Ryan Ulyate (Tom’s long time engineer and producer) has remixed the audio, and the song selection is designed to work as aTom PettyAnd The Heartbreakers album, rather than a soundtrack album. Four unreleased tracks have been added; the rocker “105 Degrees” (written by Petty), a cover of JJ Cale’s “Thirteen Days”, “One of Life’s Little Mysteries” (another Petty original), and an instrumental (“French Disconnection”) in the same vein as the instrumentals on the original album. An extended version of “Supernatural Radio” is also included.

The new title is a reference to one of the stand-out tracks on the album, for which there will be a video. The new album will have brand new artwork, and this version will replace the existing physical versions of "She’s The One."

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

180g vinyl record. only 300 copies - all hand numbered.
pressed in two verison - 200 black and 100 transparet with one white line ("crack" as the name of the TV series).
The first 100 copies have the Urbanski signature on the back cover.

This is another, after "Ultraviolet" collaboration project of the AXN Polska, U Know Me Records and the artist - Wojtek Urbański. The soundtrack for the Rysa series with Wojtek's original music will premiere on the 9th April. "The music for the Rysa series is a combination of the world of electronics, modernity with traditional instruments and folk accents. On one side we have synthesizers, deep bass and wide spaces, characteristic of electronic music and close to my musical style. In opposition to these elements, however, I used traditional instruments such as hurdy-gurdy, pipes, flutes and strings" says Wojtek Urbański. "I wanted the duality of this music to reflect the struggles and double life of the main character of the series. She lives in a certain suspension, between the 'day' world which she knows and remembers, but also the 'night' world which happens beyond her consciousness. Through music, I tried to convey the character of both these worlds, touching very dark and heavy emotions in one of them. I have invited an expert of traditional music, Sebastian Wielądek (hurdy-gurdy, pipes, flutes) and the outstanding violinists Stanisław Słowiński and Agnieszka Świgut to record these works. " adds Urbański

Musica Per Immagini is pleased to announce the first release on vinyl of Franco Micalizzi's soundtrack to the film “Delitto Sull'Autostrada”, directed by Bruno Corbucci and starring the Italian-Cuban-American actor Tomas Milian. Eclectic, innovator, full of life and energy, out of the ordinary, the composer is best known for his scores in poliziotteschi films such as “Roma A Mano Armata”, “Napoli Violenta” or “Italia A Mano Armata”, whose theme was used also in Quentin Tarantino's “Death Proof”. The music for the third chapter of the so- called 'delitti' series, centered on the character of Nico Giraldi, reflects the artist constant search for a 'circular' groove of great impact, common to scores composed for previous crime films: the unmistakable sound of the clavinet and the brass of his big band, a funky mood 'borrowed' from beatmakers all around the world, is here 'evolved' in an electronic key, thanks to a skinfull use of keyboards and synthesizers.

Mark Rae is world reknowned for his work in creating Grand Central Records, the shop Fat City and his artistic endeavours as one half of Rae & Christian. This project follows on from his 2016 autobiography, Northern Sulphuric Soulboy.
This single vinyl, 14 track album, provides an instrumental soundtrack to Mark Rae's forthcoming debut novel, The Caterpillar Club. UK & German PR for full press support from June through to Sept. Music on Vinyl 19th July, book in hardback & paperback 13th September. Radio plugging added for vocal versions of soundtrack on 7" around book release.

“The Way Of Darkness – A tribute to John Carpenter” Legendary director and music composer John Carpenter is one the most influential artists of the Horror Soundtrack genre. This musical tribute combines some of Carpenter’s best musical atmospheres with very special guests such as Claudio Simonetti (Goblin), who brings us two interpretations of Halloween & 1997, along with Leather Strip, Motion Kapture, Ketvector, as well as artists of the New Retro Wave scene such as Code Elektro, Tibia, Simulakrum Lab and many others. A must have for any true fan of John Carpenter, horror, and electronic music! Special Holographic/Lavander Vinyl! Limited 499 copies

For the first time ever, Record Kicks is pleased to announce the release of the long lost soundtrack by Whatitdo Archive Group to the Italian Cinematic Masterpiece "The Black Stone Affair'' on beautiful gatefold vinyl, CD and digital format on April 09 2021. Long thought to be lost alongside the movie itself by the production studio, the soundtrack's master reels were recently recovered and its audio meticulously restored and remastered by J.J. Golden in Ventura, CA.

The movie itself was understood to be unusual for its time: a globetrotting adventure/western-noir written and directed by aspiring visionary, Stefano Paradisi. Unfortunately for Paradisi, the tragic loss of his masterpiece during a fire also meant the end of his short lived career in movies. People who worked on the film have been cited as saying this film was very ambitious, set to be a turning point in Paradisi’s carrier putting him on the map alongside the likes of Sergio Leone and Antonioni.

While the movie never saw the light of day, the soundtrack by obscure band Whatitdo Archive Group has thankfully been recovered. The music itself is staggering to hear, each track evoking all the senses almost all at once. "The Black Stone Affair (Main Theme)" sets the story with its dizzying bassline

underneath a Morricone-esque harpsichord melody eventually all digressing into a psych-freakout of guitars swirling over what is the overarching motif groove of this iconic soundtrack.

We then get taken into the giallo-steeped melody of "Blood Chief". What can only be the theme of the antagonist, this cut offers crunchy drum breaks, reverb-drenched bongos and a sinister baritone guitar line that seems to be indicative of its character. "Ethiopian Airlines" transports the movie into exotic lands with its afro-centric rhythms and mysterious horn melody. The search is on for the elusive Black Stone, an artifact so coveted it had been hidden for decades for its fatal power of seduction. For fans of KPM and De Wolfe Music, "Il Furto Di Africo" definitely delivers a similar 'library' flavor popular at the time. Our ears are treated to an ambiguous sense of center. What were Whatitdo Archive Group thinking? There almost seems to be two key centers at once and a slithering flute line blending between both. We can only imagine that the Black Stone was successfully stolen from the small Italian village of Africo with this track.

What movie really is complete without a lounge-y Bossa number? "Italian Love Triangle" delivers that sun-soaked Mediterranean romance. Our cunning female lead, Lola, decides the only way she can acquire the Black Stone is to pit the trio of characters against each other with an erotic love triangle she carefully crafts to exploit the vulnerability of Blood Chief and Beaumont Jenkins. "Last Train to Budapest" finds our two male leads in a gun-wielding, high-stakes train chase through the dizzying mountains of Bosnia racing to Hungary's capital city. The music brilliantly calls upon the soundtrack's multiple melodic motifs to all collide into a single stressful heart-racing track sure to put a knot in your stomach. Probably the most unusual song appearing in this soundtrack is the French infused "L'amour au Centre de la Terre", an obvious yet tasteful homage to the composers' musical hero, Alain Goraguer. A lilting monologue is recited by who seems to be Lola, the tragic female lead in "The Black Stone Affair". Her passage speaks of the entangled romance she shares with the other two male leads and her plan to acquire the elusive Black Stone for herself. It's every man (and woman) for themselves! Paranoia and deceit has crept into the minds and motives of our conniving trio. No one can be trusted and false alliances are crumbling from within.

"The Black Stone Affair (Reprise)" evokes the characters' gut-wrenching feeling with its ever-rising key center. "Farewell Lola" is the saddening funeral dirge and exit of the aforementioned Lola. Sworn enemies Beaumont and Blood Chief stand silently outside the church and watch as Lola's casket is lowered into her untimely grave. This is merely an armistice between the remaining opponents, only to resume after paying their respects to their former 'lover'. A gory fight leaves Blood Chief standing. Beaumont is nowhere to be seen and only a cloud of dust slowly settles into the landscape as the mournful guitar and harmonica of "Beaumont's Lament" plays quietly in the distance. All is not lost. Triumphantly, Beaumont Jenkins stands tall, throws one last devastating blow to Blood Chief leaving him incapacitated. "The Return of Beaumont Jenkins" plays loudly in the face of Blood Chief desperately reaching for the stone only to realize it's a false! Our new hero, Beaumont Jenkins, sustained by Alessandro Alessandroni Jr.'s cinematic whistle, rides away victoriously into the night sky... the Black Stone hidden cleverly in his hat. End credits.

Steeped in obscurity, a cult following of crate-diggers and musical oddity collectors has been brewing over the mysterious releases of the Whatitdo Archive Group. Surfacing in 2009 from the high deserts of Reno, NV, USA, this recording collective focuses solely on curating, performing and preserving esoteric soundtrack, library and deep-groove collections. The personnel of the group consist of three musicians; each of them avid composers, recording engineers and obsessive record collectors. Alexander Korostinsky, Mark Sexton and Aaron Chiazza met in college and have been working together on producing music for over 10 years. (Both Korostinsky and Sexton also happen to write and perform in

critically-acclaimed soul group “The Sextones”). In 2015 they quietly released a small batch of lo-fi deep-groove demos recorded exclusively to cassette in an old garage. This became their first full length offering, Shit’s Dope, and it began to quickly spread across the internet piquing the interest of record collectors and DJs all over the world—a record Fleamarket Funk describes as “Falling in between some Headhunters and Lunar Funk 45s” and becoming a bestseller on Bandcamp of that year.

During this time, the Whatitdo Archive Group also began what is often hailed as a vital turning point in Reno music history; by hosting their famous “Whatitdo Wednesday” residency at a local venue. These packed performances drew the attention of not only live music-goers, but also the most accomplished jazz musicians in the area, often joining them on stage. Eventually, these shows stumbled into the arena of obscure performance art, where the band would facetiously distribute written and multiple choice tests during their performance for the audience to participate in.

After their residency came to a bittersweet end, the Whatitdo Archive Group refocused their attention on the wonderful world of 1970’s soul-jazz, where they wrote and recorded what would be their follow up 7” release, Crocker Way / Steve’s Romp. This limited edition 45rpm became a hot ticket item for UK record collectors who had been previous fans of WAG’s older lo-fi work. Crocker Way was also a featured track on BBC Radio 6. Shortly after producing Crocker Way / Steve’s Romp, the group again started production on their crown jewel of a record, a concept album that had been tossed around for several years beforehand but never executed. As band member Mark Sexton explains “We wanted to create an album that encompassed everything we love and admire about old Italian soundtrack scores, and bring that energy back into the spotlight”. The group spent 9 months of research, digging through their personal collections of dusty LP’s scrutinizing the work of Piccioni, Torossi, Roubaix, Alessandroni and of course Morricone, recording, mixing and working with over 24 skilled musicians. The Whatitdo Archive Group finally completed what would be their finest work to date, The Black Stone Affair. Recorded entirely in Korostinsky’s home studio, this record is a labor of love, dedication, appreciation and respect for the golden age of Italian Soundtrack and Library music.