Soundtracks 325 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.

A Winged Victory For The Sullen, the otherworldly collaboration between Adam Bryanbaum Wiltzie and Dustin O Halloran, commence the New Year with their third full-length titled Iris available worldwide via Erased Tapes on January 13th 2017. Adam Bryanbaum Wiltzie and Dustin O'Halloran first met the director Jalil Lespert after he had discovered A Winged Victory For The Sullen on a music search online. After listening to their music, he immediately knew: "it was the sound of my new film". With an excellent cast of France s finest actors Romain Duris, Charlotte Le Bon, and the director himself, plus a script filled with tension, sexuality and darkness, they knew there was a lot of musical territory to mine. It was agreed that they wanted to explore more analogue electronique experiments as well as working with a large string ensemble, to create something that felt very modern and still cinematic. The recording sessions began with their long time sound collaborator Francesco Donadello in the form of some modular synth sessions in Berlin. Dustin and Adam began working from the script in their own studios, and after filming commenced they continued to create music that could be used for first edits of the film each day getting new scenes that triggered ideas that would become the base of the film score. Over the course of the next few months the two slowly crafted the music with weekly discussion from their studio to the editing room. The final sessions to what is now the score of Iris were recorded with a 40-piece string orchestra at Magyar Radio in Budapest.

Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it's not hard to see why- it's dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.

From the brooding opening bars of the main Fire Walk With Me Theme, Angelo Badalamenti's gorgeous, eerie score introduces us to a cinematic experience which significantly begins with the smashing of a television screen. Just as the Main Title from Blue Velvet echoed the Hitchcockian hues of Bernard Herrmann, so here we have just the slightest touch of Taxi Driver, as Jim Hynes' plaintive, keening trumpet soars above a landscape of melancholy keyboards, drawing us into a world which is at once alien and familiar.

This release is housed in a 425-gsm gatefold sleeve inside a bespoke black die cut outer jacket with black spot varnish finish, complete with obi strip and sleeve notes by film critic Mark Kermode (approved by David Lynch and Angelo Badalamenti The artwork got fully approved by the director as the audio got approved by the composer
The 180-gram „Cherry Pie“ vinyl 2LP got remastered by Tal Miller at Warner Archives, while laquers were cut by David Cheppa at Plush Vinyl.

Moonlight is the breathtaking soundtrack to the film of the same name Rolling Stone has called "A masterpiece" and won the Oscar 2017 for best movie. The album features the critically-acclaimed score by composer Nicholas Britell, as well as choice songs including "Every Nigger Is A Star" by Boris Gardner, "Cell Therapy" by Goodie Mob and "Hello Stranger" by Barbra Lewis. Britell is an award-winning composer, pianist, and producer. In 2015, Britell scored Adam McKay's Oscar-nominated film The Big Short, and his music also featured prominently in Steve McQueen's Oscar-winning film 12 Years A Slave, for which he composed and arranged the on-camera music including the violin performances, spiritual songs, work songs, and dances. As a producer, Britell produced Damien Chazelle's short film Whiplash, and subsequently co-produced the Oscar-nominated feature film. Britell's emotional and evocative score to Moonlight has resonated with audiences from early festival screenings, earning accolades from critics in their reviews of the film which underline how the music is wrapped into the very fabric of the film itself.

First official release ever for this unbelievable
giallo score by Roberto Nicolosi, composed for
the experimental thriller by Mario Caiano in
1972. Previously issued on Fontana in 1973 with
the title "Atmosfera", this is certainly one of the
top wanted Italian jazz LP for any serious
collector, featuring a five-star collective of marvelous musicians such as Giovanni
Tommaso (bass), Franco Tonani (drums), Angelo Baroncini (guitar), Antonello Vannucchi
(organ), Franco D'Andrea (piano), Gianni Basso (Tenor Saxophone), Dino Piana
(trombone), Cicci Santucci (trumpet). The result is a pysch and dark jazz- funk sound that
perfectly fits the anxious descent looking human psyche's labyrinth.
One of the best, still underrated, Italian soundtracks ever and one of the most
unforgettable Italian jazz sessions of the 70s. Another lost Italian score retrieved by Four
Flies Records.

Bob’s Burgers premiered on the Fox network January 2011, and quickly became one of the most watched series on television. After enjoying the highest-rated new season premiere of the 2010-11 season, Bob’s Burgers quickly settled into an average viewership of over 4 million per episode. The show has won an Emmy award and been nominated five times, including a current nomination for Outstanding Animated Program. It has inspired many popular spinoff items, including a recent, best-selling cookbook. With the seventh season currently in progress and airing through May 2017, Bob’s Burgers’ cultural influence only grows.

Now comes The Bob’s Burgers Music Album, featuring 107 songs from the first 107 episodes (all six existing seasons), plus five special cover versions of songs from the show. Originally broadcast within the episodes – and often in abbreviated form – these songs appear here in their freestanding glory for the first time. The Bob’s Burgers Music Album – in both its affordable standard editions and its impressive deluxe edition – is sure to be a must-have for any fan of the show (and, really, any sentient life-form).

The soundtrack to critically acclaimed Flemish director Fien Troch's fourth film Home. Side A features pop music from Chromatics and Symmetry with Johnny Jewel's ambient score on the flip.

Previously unreleased full edition for this explosive jazz-funk score by Italian Maestro Riz Ortolani, created in 1973 for the crime-movie “Si può essere più bastardi dell'ispettore Cliff?” (also known as “Mafia Junction”). Only two tracks from this OST were published at the time in a now extremely rare C.A.M. 7-inch, but that was enough to create the legend... Four Flies is honored to had access to the original C.A.M. master tapes, so to present here, just your pleasure, the complete session for the first time! Just expect one of the funkiest piece of the whole Ortolani’s career: car chases, sex scenes, vicious kills are served here by amazing drum breaks, fat bass lines, captivating horn section and wonderful guitar effects. Totally outstanding session, and a real new classic for all crime-funk lovers!

Now for the first time on vinyl, Four Flies Records is proud to present an unmissable Eurocrime soundtrack by Guido & Maurizio De Angelis, composed in 1976 and considered to be one of the genre’s finest offerings directed by Enzo G. Castellari. Perhaps the most forceful OST from the Italian duo, Il Grande Racket consists of fuzz distortion and electronic effects from the beginning to the end. This sonic gem is also enriched with psychedelic flutes, obsessive rhythms, and percussion which results with a totally prog-rock and psych-funk score that perfectly describes the main elements of the film: action, tension and violence. Remastered from the original master tapes preserved for decades in the C.A.M. archives, and augmented with exclusive liner notes by Davide Pulici (Nocturno Cinema) and stunning original artwork created by Luke Insect, this edition will be a true pleasure of the senses for any and all soundtrack lovers.

At The Movies is very proud to present this epic soundtrack on vinyl for the first time!
James Horner (Titanic, Braveheart, The Magnificent Seven) knew when he took on the scoring of Avatar that it would be the challenge of a lifetime. The music is both classic in its orchestral power, but also connects us to the soul of the Na'vi through the use of indigenous rhythms and vocals. Includes the Leona Lewis track "I See You" (Theme from Avatar).

The disturbing soundtrack of the same film directed by Alberto De Martino in 1985 and composed by Francesco De Masi, author and Roman arranger already famous for classical b-movie soundtracks such as Lo Squartatore Di New York (The New York Ripper) and Fuga Dal Bronx (Escape From The Bronx). For a long time associated with 'genre cinema', the man had an innate passion for primitive electronics. A long suite divided into 14 movements that best describe the climate of tension and the upcoming deadlines of the featured film, a Gothic thriller in the orbit of meta-horror. The music - sometimes a bit of a timbral but often deliberately descriptive and overwhelming - pin of synths and analogue machines, capable of defining the desperate plot of the film. A classic fully restored on LP on limited Colored Vinyl.

Regular Official Authorised Vinyl Version, Original Soundtrack.

The first ever OFFICIAL vinyl release of the soundtrack for Mamoru Oshii’s legendary science fiction anime film GHOST IN THE SHELL (1995). - LP cut from the original master reels at Emil Berliner Studios, official Ghost in the Shell artwork Tracklisting LP : A1 ?I - Making Of Cyborg A2 Ghosthack A3 Puppetmaster A4 Virtual Crime A5 ?II - Ghost City B1 Access B2 Nightstalker B3 Floating Museum B4 Ghostdive B5 ?III - Reincarnation We Release Whatever The Fuck We Want Records is thrilled and honored to announce the first ever official vinyl pressing of the soundtrack for Mamoru Oshii’s critically acclaimed and all around legendary science fiction anime film GHOST IN THE SHELL (1995), adapted from Masamune Shirow’s groundbreaking manga series of the same name. Cut from the original master reels at Emil Berliner Studios (formerly the in-house recording department of renowned classical record label Deutsche Grammophon). The haunting score is composed by Kenji Kawai, one of Japan’s most celebrated soundtrack composers, alongside Joe Hisaishi and Ry?ichi Sakamoto, whose work includes Hideo Nakata’s Ring (1998) and Ring 2 (1999), Death Note (2006), Hong Kong films Seven Swords by Tsui Hark (2005) and Ip Man by Wilson Yip (2008), and countless others. Kawai’s compositions see ancient harmonies and percussions uncannily mesh with synthesized sounds of the modern world to convey a sumptuous balance between folklore tradition and futuristic outlook.

Soundtrack for the 1972 Spanish-Italian crime film directed by José Luis Madrid (a sort of baroque revisiting of Jack The Ripper). The Maestro Piero Piccioni is in a rare groove mode here, lost between acid jazz breaks and deep funk rhythms in what is the first ever vinyl reprint of a minor classic. An impressive variety of themes, with the Hammond organ often doing the lion's share of the work, the climate reminds us of the compositions of the late 60's of the master; memorable sessions that would lead to the publication of the classic posthumous 'Camille 2000'. The glamorous arrangements are fascinating, incorporating Mediterranean warmth through the US's R&B demarcation lines.

Soundtrack for the 1972 Spanish-Italian crime film directed by José Luis Madrid (a sort of baroque revisiting of Jack The Ripper). The Maestro Piero Piccioni is in a rare groove mode here, lost between acid jazz breaks and deep funk rhythms in what is the first ever vinyl reprint of a minor classic. An impressive variety of themes, with the Hammond organ often doing the lion's share of the work, the climate reminds us of the compositions of the late 60's of the master; memorable sessions that would lead to the publication of the classic posthumous 'Camille 2000'. The glamorous arrangements are fascinating, incorporating Mediterranean warmth through the US's R&B demarcation lines.

“Guardians of the Galaxy Vol. 2: Awesome Mix Vol. 2” (Original Motion Picture Soundtrack) is the soundtrack album for the Marvel Studios film Guardians of the Galaxy Vol. 2.

Featuring the songs present on Peter Quill's mixtape in the film and the separate film score album, “Guardians of the Galaxy Vol. 2” (Original Score), composed by Tyler Bates.

Featuring songs by Electric Light Orchestra, Fleetwood Mac, Sam Cooke, Glen Campbell, George Harrison, Silver, Cat Stevens, Parliament and The Sneepers featuring David Hasselhoff.

“Guardians of the Galaxy Vol. 2: Awesome Mix Vol. 2” (Original Motion Picture Soundtrack) is the soundtrack album for the Marvel Studios film Guardians of the Galaxy Vol. 2.
Featuring the songs present on Peter Quill's mixtape in the film. A separate film score album, “Guardians of the Galaxy Vol. 2” (Original Score), composed by Tyler Bates, was also released.

Featuring songs by Electric Light Orchestra, Fleetwood Mac, Sam Cooke, Glen Campbell, George Harrison, Silver, Cat Stevens, Parliament and The Sneepers featuring David Hasselhoff.

Original live re-score composed and performed by Morricone Youth to F.W. Murnau's 1927 silent film Sunrise: A Song Of Two Humans. Pressed on sunrise orange vinyl in an edition of 500 copies. Includes a download.

Wind River, the directorial debut from Sicario writer Taylor Sheridan, stars Elizabeth Olsen and Jeremy Renner.

'The soundtrack to the beautiful Wind River was first and foremost the incessant wind or the grieving silence of the snow,'' Cave and Ellis said in a press release. ''Amid those elemental forces, we made a kind of ghost score where voices whisper and choirs rise up and die away and electronics throb and pulse.'

This score is instantly reminiscent of Nick Cave & The Bad Seeds’ ‘Skeleton Tree’,

John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians.

The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016.

"Anthology: Movie Themes 1974-1998" collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time.

Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies.

Anthology is a near-comprehensive survey of John Carpenter's greatest themes, from his very first movie, the no-budget sci-fi film Dark Star, to 1998's supernatural Western, Vampires.

Those sit alongside the driving, Led Zeppelin-influenced Assault on Precinct 13 theme, Halloween's iconic 5/4 piano riff, and the eerie synth work of The Fog.

Carpenter and his band also cover Ennio Morricone's bleak, minimalist theme for The Thing.

Forrest Gump was the surprise hit of the 1994 summer movie season. The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

Super deluxe lo fi 7″ grape-colored vinyl housed in DIY low-budget sleeve, + includes “I love my VCR Sticker

Denis Villenueve’s masterful Blade Runner 2049 races into theaters this weekend and the film’s accompanying soundtrack, composed by legendary film score maestro Hans Zimmer, is now streaming in full.

The score was composed in tandem by Zimmer and his longtime collaborator Benjamin Wallfisch. The duo was brought in somewhat later in the production process, after the score’s initial composer, Icelandic composer Jóhann Jóhannsson, ceased involvement due to creative differences.

Villeneuve explained his decision to replace Jóhannsson with Zimmer in an interview with Al Arabiya. “The thing I will say is that making movies is a laboratory,” he explained. “The movie needed something different, and I needed to go back to something closer to [the original film’s composer] Vangelis. Jóhann and I decided that I will need to go in another direction — that’s what I will say.”

The decision seemingly paid off, as Clint Worthington notes in his review of the film: “[Zimmer and Wallfisch] lean heavily on Vangelis’ original 1982 score for inspiration, but 2049 is refreshingly light on incidental music, mostly allowing the booming, immersive sound design to take center stage.”

As Editor-in-Chief Michael Roffman writes in his glowing A- review, the score is “a total evolution of what Vangelis set in motion way, way back in 1982. It’s louder, it’s gloomier, it’s heavier, and it’s much more expansive, all qualities one might tag with Villeneuve’s breathtaking sequel.”

In additional to Zimmer and Wallfisch’s original compositions, the soundtrack features songs by Frank Sinatra, Elvis Presley, and Lauren Daigle.

Aesop Rock produced a gritty-sounding score for the intense thriller Bushwick.

Waxwork Records proudly presents the Original Motion Picture Soundtrack vinyl to the 1973 British-Italian Thriller, DON’T LOOK NOW. Directed by Nicolas Roeg and featuring Pino Donaggio’s very first effort as a film music composer, Don’t Look Now tells the story of a married couple (Donald Sutherland and Julie Christie) who travel to Venice, Italy for work following the recent accidental drowning-death of their daughter. The couple encounter two sisters, one of whom claims to be clairvoyant and informs them that their daughter is attempting to contact them to warn them of danger. The classic film dives deep and focuses on the psychology of grief and it’s effect on relationships while blending elements of the supernatural with vivid, impressionist imagery of flashbacks, colors, patterns, and editing techniques that have been known to alter even the viewer’s perception of what is actually occurring.

Waxwork Records is beyond excited to present the complete score by Pino Donaggio (Carrie, The Howling, Tourist Trap) on deluxe 180 gram vinyl with high quality packaging. Features include 180 gram “Red Raincoat” colored vinyl, old style tip-on gatefold jackets, printed inserts, and all new artwork by Jessica Seamans of Landland.

The Original 1973 Score by Pino Donaggio
180 Gram “Red Raincoat” Vinyl (Opaque Red and Translucent Red Swirl)
Printed Inserts
Deluxe Heavyweight Packaging
All new artwork by Jessica Seamans of Landland

The follow up to the 2014 blockbuster film, Guardians of the Galaxy, features original cast including Chris Pratt, Zoe Saldana and the voice of Bradley Cooper. Featuring a compilation of memorable tracks from the 60s and 70s which are played within key moments of the film. Written and directed by James Gunn

Tracklist:
1.Mr. Blue Sky,
2.Fox On The Run,
3.Lake Shore Drive,
4.The Chain,
5.Bring It on Home to Me,
6.Southern Nights,
7.My Sweet Lord
1.Brandy (You're A Fine Girl),
2.Come A Little Bit Closer,
3.Wham Bam Shang-a-Lang,
4.Surrender,
5.Father And Son,
6.Flash Light,
7.Guardians Inferno