Soundtracks 509 Items

One of the most notorious hatemongers in movie history is Captain Ahab from John Huston’s 1956 classic Moby Dick. His manic monologues cast a spell on generations of viewers. Berlin based musician and sound artist Jan Jelinek has now turned the voice of Ahab into a musical instrument. Faitiche presents Jan Jelinek's soundtrack for Seascape – polyptych, an audio-visual software developed in collaboration with Canadian new media artist Clive Holden in 2022. Seascape – polyptych is based on image and acoustic source material from Moby Dick. While Holden works on manipulating film sequences, the voice of Ahab plays a central role in Jan Jelinek’s soundtrack. The dynamic volume and tone of the captain's speech control a synthesizer system that turns Ahabs voice into ten abstract soundscapes. In this production the voice gives the impulse and controls things but is not the sound of spoken word itself that we hear. Only occasionally can snippets of speech be heard so that syllables or sounds are recognisable. Instead we hear compositions made of hissing, soundscapes and eruptive sounds. The atmosphere is dark and sinister. Still every piece has a clear sonic structure and follows an understandable dramatic composition. This music is abstract but not overwhelming. Quite the opposite, Seascape – polyptych is an invitation to listeners to let themselves be carried by the stream of sonic events. Although part of a media art work, the soundtrack can be enjoyed without any of this connecting superstructure. It works with no previous knowledge. But what happens when one does know that it’s the sonic waves of a human voice that is controlling a network of synthesizers? If you want to hear Ahab, you will hear a choir of Ahabs in every piece of sound. The subliminal threatening as well as the conjuring Ahab. Finally the Ahab who whips up his crew and tears them with him into their downfall. The majestic „on the quay now, waiting and watching“, the oppressive “drawn towards the whirlpools center” - they are all music as well as sonic discourse.

A melodic and playful adventure score conveys Quill's story in Moss from her perspective by employing small and intimate-sounding instruments – flute, oboe, Celtic harp, English hammered dulcimer, acoustic guitar, and classical violin – all composed, arranged and produced in a pastoral soundscape with enchanting Waltz-esque flair.

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

After Georgio Moroder, Dieter Moebius or Jeff Mills, it is Joakim’s turn to get inspired by one of the greatest masterpieces of Cinema - actually the first movie to enter UNESCO’s Memory of the World Register, Fritz Lang’s Metropolis.

It's a dark journey into the depths of Metropolis, its industrial noises but also its moments of light through Maria’s character and Freder. Quite a change of scenery, from the exploration of the living realm on Joakim’s previous album Second Nature to the quintessential dystopian human-built city !"

Composed and arranged by Joe Hisaishi * Performed by Nicolas Horvath * Original Illustration by George Howlett * Produced, published and distribued by Wayô Records * Officially licensed by Sony Music Publishing, Because Music, Warner Chappell

* 24 tracks, 2 discs, 33rpm * Black vinyl discs to preserve the piano sound quality * Composed and arranged by Joe Hisaishi * Performed by Nicolas Horvath * Original Illustration by George Howlett * Produced, published and distribued by Wayô Records * Officially licensed by Sony Music Publishing, Because Music, Warner Chappell Discover all the beauty of the music from Hayao Miyazaki and Isao Takahata's Studio Ghibli films in this new original production for solo piano! Based on the official piano scores of the original composer of the Studio Ghibli films, Joe Hisaishi, this album is an initiatory and virtuoso journey into the worlds of Miyazaki and Takahata, performed by pianist Nicolas Horvath, Steinway and Sons Artist, famous for being a first-class interpreter of composers such as Philip Glass, Franz Liszt, Claude Debussy and Eric Satie. The album contains tracks from all Studio Ghibli films composed by Joe Hisaishi, a complete horizon of the immortal work of the cult animation studio. The vinyl edition includes 24 tracks on two discs inserted in a sumptuous gatefold sleeve.

Waxwork Records is thrilled to release THE FUNHOUSE Original Motion Picture Soundtrack by John Beal! THE FUNHOUSE is a 1981 American slasher film directed by Tobe Hooper. The plot follows four teenagers who become trapped in a dark, horror-themed ride at a local carnival in Iowa and are stalked by a mentally disabled, murderous carnie. The film was Tobe Hooper's first major studio production after Eaten Alive (1976) and The Texas Chain Saw Massacre (1974).

About the composer:

John Everett Beal is an internationally recognized American music composer, military veteran, classical musician and musical conductor. He has conducted for major recording artists, movies in concert such as Star Wars, Toy Story, Home Alone, and the Harry Potter series, and he is the principal conductor of the Hollywood Symphonic Orchestra. Beal is considered by The New York Times as the pioneer of original scores for film trailer music including Star Wars, Titanic, The Matrix, Aladdin, Mean Girls, Planet Of The Apes, Ferris Bueller's Day Off, Cruising, Bram Stoker's Dracula, First Blood, The Bodyguard, Ghost, The Nightmare Before Christmas, The Mask, True Lies, Police Academy, and many more.

Waxwork Records is proud to present THE FUNHOUSE Original Motion Picture Soundtrack by John Beal officially for the first time on vinyl. Features include heavyweight double LP "Dark Carnival Ride" pinwheel colored vinyl, all new artwork by Ghoulish Gary Pullin, old style tip-on gatefold jackets with matte satin coating, liner notes, a 12"x12" art print, vertical inner gatefold artwork, and more!

THE FUNHOUSE Original Motion Picture Soundtrack Features:

The Complete Soundtrack by Composer John Beal
Officially Available For The First Time On Vinyl
"Dark Carnival Ride" Pinwheel Colored Vinyl
New Artwork By Ghoulish Gary Pullin
Heavyweight Old Style Tip-On Gatefold Jackets with Matte Satin Coating
Liner Notes
12"x12" Art Print
Vertical Gatefold Artwork

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunting presence in people's record collections. Anthology II continues the celebration of his compositional genius via an excellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween. Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become syn - onymous with the genres of horror, suspense, and science fiction. His innate talent for composition and his deep understanding of how music can elevate storytelling have left an indelible mark on the world of cinema, and a haunting presence in people's record collections. Anthology II continues the celebration of his compositional genius via an excellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter . The compilation opens with "Chariots of Pumpkins" from Halloween III that perfectly captures the eerie essence of the cult classic film with its pulsating synths and haunting melodies. The listener is engulfed by a sense of unease and anticipation, before being thrust into "69th St. Bridge" from Escape From New York , a dynamic track that encapsulates the futuristic and gritty nature of the film via the use of throbbing bass lines, driving rhythms, and electronic textures. The record has also an isolating tone as it skulks through ambient leaning tracks such as "Fuchs" and "To Mac's Shack" from The Thing, and "Walk to the Lighthouse" from The Fog, all of which display a slower tempo, foreboding undertones and an ethereal atmosphere that feels like a distant whisper. All of which has been cautiously laid in preparation to the grand finale. The iconic and instantly recognizable "Laurie's Theme" from the original Halloween. Its simple yet menacing piano melody which has become synonymous with the horror genre, concludes the album by striking fear into the hearts of listeners. These tracks represent just a fraction of John Carpenter 's impressive musical repertoire. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.