Soundtracks 589 Items

The unique soundtrack created under the direction of an award-winning composer Marcin Przybylowicz (The Witcher 3, Cyberpunk 2077) together with Magdalena Urbanska, Maciej Dobrowolski and Piotr Musial (Frostpunk) features orchestral, classical music accompanying the noir-themed cyberpunk RPG based on Marcin Przybylek's saga. Features many minutes of the original score. The unique collaboration of the mentioned artists results in a great mix of electronic and EDM sounds, resembling Cyberpunk 2077. The classic approach suggested by other artists adds a new system to the futuristic sounds, combining orchestra records with virtually generated layers.

Listen: https://youtu.be/DciM0J2GMhA

The atmospheric aquatic adventures of the World Aquanaut Security Patrol (Wasps) provided the perfect grounds for the evolution of Barry Gray’s own musical odyssey. After navigating otherworldly vistas with experimental minimalism in Fireball XL5, Gray anchored Stingray’s underwater exploits with a cannon of earth-bound incidentals. Employing flutes and gentle woodwind sounds to set the scene, Gray’s music drew attention to the wonder of the series premise, employing lush heavenly strings for the series’ closing theme, ‘Aqua Marina’ (a croon brought to life by in-demand vocalist Gary Miller).

The off-duty exploits of the Wasp characters also allowed Gray to return to his jazzy routes, with the production team adding a loving reference to the composer in the episode Tune of Danger with a ‘Graystein’ Piano. Episodic melodrama was once again brought to life with bold brass, and driving military marches would establish the Wasps’ base, Marineville, and an unforgettable Match of the Oysters (in The Secret of the Giant Oyster). The DNA of the which would foreshadow the iconic theme for the Andersons’ next series…

Quartet Records and Universal Pictures Film Music Classics Collection proudly present the world premiere vinyl release of both the used and unused scores for Alfred Hitchcock’s Frenzy, celebrating the 50th anniversary of the film.

Frenzy marked the director’s triumphant return to London in 1972. With an excellent script by Anthony Shaffer, the film was immediately considered one of Hitchcok’s best and has since become a classic.

After the parting of ways with Bernard Herrmann, Hitchcock changed composers in each of his last four films, choosing from those who were popular at the time. For Frenzy, his first choice was Henry Mancini (breakfast AT Tiffany’s, THE Pink Panther, Hatari!, Charade), who wrote a sumptuous, gothic-hued score featuring an unusual orchestral palette. The main theme uses the dolorous tones and sepulchral pedals of a mighty organ, and the tension-filled score that follows is grim and at times almost brutal. Hitchcock, feeling it was too “dark and cruel,” turned it down and hired celebrated British composer Ron Goodwin (murder, SHE Said, Battle OF Britain, Where Eagles Dare, Squadron 633) to compose a lighter, yet still suspenseful, score. For the main title, a panoramic shot over the Thames, Goodwin wrote a majestic melody ornamented with trumpets and timpani, in the best English tradition of pomp and circumstance.

Frenzy was the only completely rejected score in Henry Mancini’s long career, and also one of the most famous and requested Goodwin scores over the ensuing decades. Neither of them, however, have previously been officially released in any form until today.

This 2-lp collection has been painstakingly produced, restored and mastered by Mike Matessino from stereo and mono elements vaulted at Universal Pictures, with the collaboration of both the Ron Goodwin and Henry Mancini estates.

This special edition features an exclusive, in-depth essay by writer and composer Deniz Cordell packaged in a deluxe tip-on gatefold and pressed in audiophile 180 GM black vinyl.

Featuring original artwork by Phantom City Creative /// 14 previously unreleased bonus tracks

Mondo Music in partnership with Hollywood Records, is proud to present the first in a series of MCU soundtracks: the premiere vinyl release for Marvel Studios’ ANT-MAN & THE WASP.

Award-winning composer Christophe Beck re-teamed with the Marvel Cinematic Universe to score ANT-MAN & THE WASP, the sequel to 2015’s ANT-MAN, one of the most kinetic and musically inventive chapters in the on-going series.

The closing credits theme, “It Ain’t Over ’Til The Wasp Lady Stings,” is sequenced at the beginning of the album to properly prepare you for the brilliant work of what Beck is doing in this film and for these characters. Bouncing between themes epic in scope, emotionally powerful (“Ghost in the Machine”), action-packed (“Hot Wheels”) and light on its feet (“World’s Greatest Grandma”), his work here is musically lush and multi -layered, absolutely begging for repeat listens. This is one of the MCU’s most dynamic and entertaining soundtracks.