Soundtracks 453 Items

Der Soundtrack zur vierten Staffel von der Netflix Erfolgsserie Stranger Things, komponiert von Kyle Dixon und Michael Stein. Die vier Staffeln Stranger Things sind die bisher meist-geschaute Netflix-Serie weltweit und gewann u.a. sieben Emmys. Der Soundtrack umfasst über drei Stunden Musik und erscheint in zwei Teilen. Dies ist Volume 2. Die limited coloured Vinyl Version erscheint auf einer clear LP und einer roten LP.

Following our releases of Bianco Rosso e Verdone and Sono pazzo di Iris Blond OSTs, we are glad to announce a new tribute to the music for the great cinema of Carlo Verdone with the release on vinyl of the original motion picture soundtrack of Acqua e sapone, composed by Maestro Fabio Liberatori, the artist who features the greatest number of collaborations with the Roman director. Shot in 1983 it's the story of Rolando Ferrazza (Verdone) who, stolen the identity of Father Spinelli, finds a job as private teacher for Sandy Wash (Natasha Hovey), a young teen-ager model with whom he will soon fall in love. The story will come to a bitter-sweet conclusion, in the typical style of its director, for sure more bitter than sweet, with the unavoidable separation of the two lovers and the return to normal life, now permanently marked by the experience. A movie that, like many others shot by Verdone, was a landmark of an era, portrayed through the humanity of it protagonists, their forbidden dreams, great delusions and tragic daily life, everything narrated through a biting poetic style and delicate irony in a guise that made Verdone's cinema a unique genre. The wonderful music by Fabio Liberatori, previously partially available through a compilation dedicated to his soundtracks, now finally released for the first time in a complete edition dedicated to this score with a great electronic frame, a sound that the musician skillfully masters chiseling a series of moods throughout the story. A soundtrack which deserved since too many time a full edition, at the dawn of its 40th year of age, now available in this deluxe release, featuring a 180 grams colored vinyl with the wonderful original artwork by Renato Casaro on the cover, with the two protagonists' faces. This release has been possible through the collaboration with Cecchi Gori which gave access to Maestro Fabio Liberatori' score, remastered under his supervision by Gianrico La Rosa, and with Sony Music Italy which authorized us to add STADIO's songs, "Acqua e Sapone" and "C'é", which could not be missing from a tribute to this movie. Editing by Claudio Fuiano, graphic layout by Daniele De Gemini, limited edition to 500 copies.

"Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that." Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film. While arranging the score the composers consulted musician and ethnographer Poul Hoxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. "Electronic music has almost limitless potential when it comes to making sounds and that's obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There's no risk of that happening when you only have a few primary instruments to draw upon." Robin remarked. They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn't have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. "One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances." Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

Richard Thompson's score for Grizzly Man - Werner Herzog's 2005 documentary film of real life and death in the Alaskan wilderness - is one of the best-kept secrets in the British guitarist's epic canon: an instrumental masterpiece disguised as a movie soundtrack. Recorded over two days as Thompson played live in the studio to Herzog's footage - mostly alone, at times in chamber settings with cello, piano and percussion - these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson's lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting. Here is Thompson at his natural best - finger-picking dance; snake-curl twang and singing-wire harmonics - in a solo clarity that runs from jig-like joy to deep-note meditation, the "Main Title" blues march with its echoes of Fairport Convention's "Sloth" to the long night of "Treadwell No More," a harrowing darkness in slicing treble and tremolo shiver. Produced by guitarist Henry Kaiser, Grizzly Man is a record of powerful solitude - as bold and majestic as the land in Herzog's film; as intimate as prayer - and essential Richard Thompson.

LP Ltd edition RED Vinyl. This first release from the Deeper Into Movies label is the score for Dasha Nekrasova's notorious award-winning debut feature film 'The Scary of Sixty-First'. Eli Keszler's score meets at the confluence between the visceral electro-acoustic Giallo style and brooding acoustic drones, which feature his abstract and textural percussion playing he has explored in his solo music. All of this working together to evoke the very haunts of the film's Uptown locations.Speaking about the score Keszler said_ "The score was built around the 'pentagram melody' as we called it, a seven-note symmetrical pattern that formed the sign found on the tarot card, a repeated motif of dread and premonition found in the film. In the Scary Theme and later in Tarot Theme three variations occur, where each tonal triangle is introduced individually, followed by it playing in counterpoint to each other to complete the symbol.Nekrasova's work is a thriller centred on two young women who unknowingly move into a Manhattan apartment that used to belong to Jeffrey Epstein. The psychosexual drama is steeped in Giallo, with a touch of DePalma and Polanski. Premiering at this year's Berlin International Film Festival, it took home their prestigious 'Best First Feature' award.Keszler other film work includes contributions to Daniel Lopatin's score for the Safdie Brother's acclaimed, Uncut Gems, while his solo music has been released on LuckyMe, Empty Editions, ESP Disk and PAN. His album 'Stadium' released on Shelter Press was awarded Boomkat's 2018 'Album Of The Year' and Pitchfork claimed his most recent album 'Icons' (2021) as 'strangely wonderful'. Frequent collaborator to Oneohtrix Point Never, Laurel Halo, and Rashad Becker - Keszler's has shown and performed at The Lincoln Center, Victoria & Albert Museum, MoMA PS1, and The Barbican. He has worked across music, film and art with exhibitions at the South London Gallery, MIT List Center and collaborations with Turner Prize-winning artist Laure...

Almost 40 years after its theatrical debut, Cabum and Beat Records release for the first time ever the complete score for the movie ALIEN 2 SULLA TERRA (1980, Ciro Ippolito), one of the most obscure films in the Italian horror/sci-fi realm, an apocryphal sequel to the iconic ALIEN by Ridley Scott, released just a few months prior.
One of the most sought-after soundtracks by Guido & Maurizio De Angelis fans, it is a prominent sample of the experimental style of the two composers that would feature prominently throughout the ‘80s. Their kaleidoscopic score begins with a country flavor and evolves with an astonishing electronic timber, sometimes morbid and obsessive. This release features nearly 80 minutes of music, complete with two cues from UNO SCERIFFO EXTRATERRESTRE, POCO EXTRA MOLTO TERRESTRE that are used in the first part of the movie to build tension in a particular scene. This LP (black – 180gr) was mastered by Enrico De Gemini thanks to the discovery of first-generation masters in Cabum’s archives, printed inner sleeve with liner notes and graphic layout by Daniele De Gemini and English edit by Esteban Medaglia. Just 400 copies available! (a mere 100 for the ltd colored version)

L’ultimo squalo (The Great White) is a 1981 movie directed by Enzo G. Castellari, an Italian reply to the horror genre dedicated to shark movies, a trend that started a few years before with Spielberg’s Jaws. In our movie, we have an enormous white shark disrupting the summer of a coastal city in Georgia, in a crescendo of tension and horror that will end in a terrible 1-on-1 between the monster and Peter Benton (James Franciscus), protagonist of the movie and unwitting shark hunter. The music was composed by the De Angelis bros., Guido & Maurizio, obsessive and thrilling in the moments in which the shark appears, dramatic and melodic when the story becomes more emotional. The wonderful score is also connoted by music by the two composers sung by the vocalist Ywonne Wilkins, plus a cue taken from the OST “Uno sceriffo extraterrestre poco extra molto terrestre” that provides great variety to the listening experience.Aside from being released here for the first time in any format, the score of L’ultimo Squalo marks the beginning of a tighter collaboration between Beat Records and Cabum. The two historical labels will give life to a series of releases dedicated to wonderful music produced through the iconic De Angelis bros’ label, a series that will offer a righteous tribute to these wonderful scores, much loved and long-awaited, popular staples of the two composer’s live concerts. The LP is released on black, 180-gram vinyl, with an illustrated internal sleeve, mastering by Enrico De Gemini, liner notes and graphic layout by Daniele De Gemini.

Ennio Morricone wrote a monothematic score including several orchestral variations of the main theme, a brilliant and very romantic motif with Lounge flavour, vocalised by I Cantori Moderni di Alessandroni. Introduced first in “Titoli di Testa” and reprised with several variations throughout the score: a Classic style version with harpsichord, organ and mandolin, a slow and dreamy one with the voice of Edda and also including the choir I Cantori, a samba version, a beat-flavoured mysterious version, another version once again with the splendid magical voice of Edda and a slower variation with the whistle of Alessandro Alessandroni. The style of Ennio Morricone strongly recognizable in a second theme, very romantic and lounge, featuring a keyboard used by the author, frequently also in other scores like “Giu la testa”. A classic-style minuet with the opera vocalism of Edda enriches the score. The third theme is a brilliant orchestral samba introduced by the type machine and developed by the whole orchestra and then reprised with the performance of the wonderful Cantori Moderni. Our LP also contains three superb “shake” dancefloor music themes that bring us the unforgettable Beat atmospheres of those days’ discoteques.

180 gram vinyl Gatefold jacket Neon Magenta & Neon Violet Half n Half with Cyan splatter Artwork insert Remastered by Angel Hair Audio Download card

Return to Toby Fox's music of Deltarune Chapter 2 with chill lofi versions by Curaga Records artists Tofie, Floopy, High Tide Lofi, Lofi Lia, 88bit, Nokbient, bLiNd, Richie Branson, Besso0, GlitchxCity, Save Point, lost:tree.

180 gram 1xLP Black 12" vinyl. Comes in a holographic jacket, discs in black polylined sleeves. Art by Save Point, Layout by Isa Alcántara. Also available on cassette tape and CD.

A Jazzman's Blues is the 2022 Netflix drama film written, produced, and directed by Tyler Perry. It stars Joshua Boone, Amirah Vann, Solea Pfeiffer, Austin Scott, and Ryan Eggold and others. The film centers on the forbidden romance between Bayou and Leanne who are best friends. They fall in love as soon as they cross paths, however Leanne's mother forbids their union and forcefully takes Leanne with her to Boston. The orchestral music in A Jazzman's Blues was composed by the classically trained composer Aaron Zigman, who has previously scored music for films including The Notebook, The Company Men and Sex & the City. He has also written, arranged, and produced for artists including Quincy Jones, John Legend, Phil Collins, Christina Aguilera, and Aretha Franklin amongst many others. The songs of this score have been arranged and produced by Oscar-nominated trumpeter and composer Terence Blanchard. He has been nominated for composing the scores for BlacKkKlansman and Da 5 Bloods.

After almost a year of being out of print Return To Analog Is happy to announce the reissue of Dead By Daylight volume 1. The standard reissue is available on black vinyl and features a silver foil jacket.

The psychedelic French garage duo The Liminanas and german-french music composer & sound engineer David Menke wrote together 2 OST for documentaries . “The Ballad Of Linda L” for the Arte eponymous documentary about the life of Linda Lovelace. And “The Devil Inside me” for the Netflix serie “Monsters Inside : The 24 Faces Of Billy Milligan” . 100% new music, fuzz guitars & garage rock. Both are physically released for the first time as this 2 X Vinyl set, gatefold , collecting the 2 Ost.

180 gram vinyl Gatefold jacket White, Halloween Orange and Mustard Quad with Black splatter Artwork insert Remastered by Angel Hair Audio Download card

180 gram vinyl Gatefold jacket Blood Red in Piss Yellow Artwork insert Remastered by Angel Hair Audio Download card

180 gram vinyl Gatefold jacket Red & Black Moonphase Artwork insert Remastered by Angel Hair Audio Download card

180 gram vinyl Gatefold jacket Black & purple stripes Artwork insert Remastered by Angel Hair Audio Download card

180 gram vinyl Gatefold jacket Pink and Magenta ASideBSide Artwork insert Remastered by Angel Hair Audio Download card

180 gram vinyl Gatefold jacket Blood Red & Electric Blue Half n Half with Baby Pink splatter Artwork insert Remastered by Angel Hair Audio Download card

Burning Witches Records are once again honoured to be working with Director Brian O’Malley (The Lodgers) to bring you the fantastic and atmospheric score to 2015’s cult horror Let Us Prey by composer Steve Lynch.

Rookie cop Rachel (Pollyanna McIntosh) is about to begin her first night-shift in a neglected police station in a Scottish backwater town--the kind of place where the tide has gone out and stranded a motley bunch of the aimless, the forgotten, the bitter-and-twisted who all think that they really deserve to be somewhere else. They all think they're there by accident and that, with a little luck, life will get better. Wrong on both counts. Six (Liam Cunningham) is about to arrive--and all hell will break loose

“The Minimoog pulsating bass throughout the score is a nod to 80’s horror, but I wanted to modernise it too, so all the synth textures are on a Dave Smith Prophet 12, which is a modern classic. Rachel’s Theme was a chance to bring in a more emotive organic tone using cellos, bowed bass guitar and voices. I think the combination of all these elements gave the score its own particular sound.” -Steve Lynch

Gatefold jacket, black vinyl. Limited edition of 500 copies. 25 years after its cinema premiere this cult sci-fi turkey of a movie, directed by Stuart Gordon, starring Dennis Hopper and scored by Colin Towns gets an official soundtrack release on vinyl!

You’d be forgiven for not knowing about these Studio Ghibli commissioned jazz reworkings of much-loved classic soundtracks with the three-piece All That Jazz being one of Japan’s best kept secrets until now. Originally put together by the power-house animation studio for a series of jazzed-up covers, the group took off with their simple yet moving set-up of piano, bass and drums, and afterwards went on to do another record of anime classics. Sprinkled with complementary instruments, the project is tied together by the soothing vocals of Yukiko Kuwahara. On this second record, you can find the main theme of Spirited Away, three cuts from My Neighbour Totoro, the theme to the more recently appraised Only Yesterday and carefully curated tracks.

Le Hasard et la Violence is a strange French-Italian movie which came out in 1974 and was directed by Philippe Labro and written by Jacques Lanzmann. It was a time of thesis films on ultra- violence such as Stanley Kubrick"s A Clockwork Orange (1971) and John Boorman"s Deliverance (1972). Labro"s feature film differs from those of his American counterparts by an almost dreamlike approach and a soft psychedelia. A sort of lysergic atmosphere that has more to do with the idea of an LSD trip at Castel"s than with Californian counterculture. Mid-life crisis is embedded in this story of criminologist Laurent Berman (Yves Montand), vacationing on the French Riviera to write an essay on violence. He is both the victim of an assault and of his love for Constance Weber (Katherine Ross), a young doctor who pushes him over the edge. Within this cinematic paradigm, it was a stroke of genius to ask Michel Colombier to compose the music for his film. Michel Colombier, let us recall, is a musician of classical formation, who went to the Conservatoire Supérieur de Musique in Paris. His music for Le Hasard et la Violence reflects his career: from Gainsbourg to the Beach Boys, via Paul Williams. A soundtrack that goes from neoclassical to contemporary, via groovy pop and slow music. Not to mention the main theme, a killer ballad with timeless lyrics. There is in the song performed by Drupi (known in France for "Vado Via"), a kind of romanticism specific to Colombier. Let"s forget our post-post modern irony that is no substitute for intelligence and let us be caught by the emotional power of this soundtrack.

The Sea Beast is a 2022 animation adventure film, directed by Chris Williams (Bolt, Big Hero 6, Moana), who co-wrote the screenplay with Nell Benjamin (Legally Blonde, Mean Girls) and produced with Jed Schlanger. The story follows the young orphan girl Maisie, who stows away on a ship of a legendary sea monster hunter named Jacob Holland. Together, the unlikely pair embark on a journey into uncharted waters while facing any oncoming threats. The Sea Beast is the first adaptation of Herman Melville's 1851 novel Moby Dick. The film debuted on Netflix on July 8 and received critical acclaim and received a 92% certified fresh critical rating on Rotten Tomaties already a week after it's release. It's score is composed by Mark Mancina, who is a veteran of Hans Zimmer's Media Ventures and has scored over 60 films and series. He won a Grammy Award for his work on Tarzan together with Phil Collins, another two Grammy's for his soundtrack to the 1999 The Lion King and a Grammy Award nomination for his shared work on Moana. Other acclaimed work by Mancina include Brother Bear, Bad Boys and Training Day. The Sea Beast is available on vinyl for the first time as a limited edition of 750 individually numbered copies on transparent red, solid white & black marbled vinyl. The album is housed in a gatefold sleeve and includes an insert.

Baton Rouge sludge band Thou have released over a dozen LPs worth of music, collaborated with divergent artists like Emma Ruth Rundle and The Body and released covers that run the full gamut of genres. Continuing their practice of bucking typical metal tradition, their latest record, a split release with composer Gewgawly I, is a soundtrack created for the highly anticipated new video game Norco. Gewgawly I has created a master work of ambiance, not only reminiscent of some of the best game soundtracks from the 80s and 90s but also a stunning work of contemporary experimental music pushing the genre forward in exciting ways. Thou have rounded out the game's grit with a wash of downtuned doom and drone. The band has previously been described as "For fans of: alienation, absurdity, boredom, futility, decay, the tyranny of history, the vulgarities of change, awareness as agony, reason as disease," and these themes come to life vividly in Thou's collaboration with the richly illustrated world of Norco. "Thou represents an aspect of Louisiana that's close to my heart. The members know the suburbs of New Orleans and Baton Rouge well. They capture a kind of strange irreverence in their