Soundtracks 227 Items

Akira Ifukube’s mighty score to the legendary monster movie that started it all, ‘Godzilla’! Ifukube’s visionary music is super dark reflecting the horror of Ishiro Honda’s film. This incredible score music alternates between brass and strings as we witness the death and destruction that comes in Godzilla’s wake.

During the maiden voyage into an expansive vat of unreleased music by Polish composer Andrzej Korzynski, Finders Keepers Records originally presented his previously unreleased electro / orchestral / experimental score for Andrzej Zulawski's surrealist '80s horror classic Possession in 2012. These 25 cues were written and recorded exclusively for the 1981 award-winning film starring Isabelle Adjani and Sam Neil, but due to the progressive, stark and modernist nature of the finished film less than half of them made it on to the actual director's cut—leaving many of the tracks on this package totally unheard outside of Korzynski's studio. The intended Possession score in its entirety marks an important axis in Korzynski's career where his various musical disciplines overlap. In one respect it marks his first forays into to synth driven electronics and disco drum machines, while other tracks epitomize the well-honed techniques used in previous Zulawski scores, such as Third Part Of The Night and The Devil, which rely on his inimitable orchestral arrangements and combination of clavinet, Rhodes, piano and electric guitar. Available once again on black 12" vinyl for the first time since its original release some 11 years ago, Finders Keepers' ongoing commitment to the important restoration of Korzynski's music aims to shed new light on the seldom manufactured productions of the composer whose vast cinematic catalogue warrants overdue global status alongside other golden era Eastern European composers such as Kryzstof Komeda, Jan Hammer, and Zdenek Liska—not to mention the best of the French and Italian soundtrackers, such as Roubaix, Vannier, and Nicolai. Duplicated and carefully remastered directly from Korzynski's original master tapes this album boasts the uninhibited studio experiments and retains the pre-cut ambience.

As one of the most triumphant and beguiling directorial debut features to emerge from the fruitful Polish New Wave, Andrzej Żuławski’s 1971 film Third Part Of The Night not only earned the thirtyyear- old filmmaker a place next to other radical Polish directors such as Polanski, Skolimowski and Has, but also galvanised a creative bond with long running collaborator and composer Andrzej Korzyński, providing fans of foreign abstract/suspense cinema with a potent creative fusion to match those of Polanski/Komeda, Fellini/Rota, Argento/Goblin…

Featuring one of the heaviest psych rock movie theme tunes of all time, Andrzej Korzyński’s short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, François de Roubaix and Alain Goraguer, creating a soundtrack that unknowingly begs comparison to Masahiko Satô’s Belladonna of Sadness and Billy Green’s Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar 64 and later Arp Life (and composing for national heroes such as Czesław Niemen, Niebiesko-Czarni and Test) Korzyński’s growing passion for conceptual rock and jazz music soon led to instrumental composition and soundtrack scores. His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa Abc) also provided Korzyński with another significant cinematic muse in that of the stunning actress Małgorzata Braunek, with whom they would both eventually achieve their finest performances under the direction of the ravenous first timer Żuławski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music – elements which would intensify for all three creatives with the next film Diabeł, which was banned by the Polish government the following year until 1988. Third Part Of The Night also marks the public unison of Żuławski and Braunek whose later private romantic relationship is said to form the basis for another defining Żuławski/Korzyński endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the the composers finest and most inspired sonic adventures.

Waxwork Records is excited to present the deluxe double LP film score release of The Eyes Of My Mother. Written and directed by Nicolas Pesce, The Eyes Of My Mother is a 2016 black and white horror film that focuses on a young woman, Francisca (Kika Magalhães) that grows up on the family farm where she has previously witnessed the murder of her mother during her adolescence. After keeping her mother’s murderer captive for years, and plagued by loneliness after the death of her father, Francisca begins a bizarre chain of actions that include luring victim’s back to the family farmhouse, dismemberment, kidnapping an infant to raise as her own son, and personally exhuming her mother.

Composed by Ariel Loh, the score to The Eyes Of My Mother is dark, haunting, and atmospheric. Composed entirely on vintage, modded analog synthesizers, the score effectively presents a tune drifting, ghostly, and often beautiful collection of compositions that captures the lead characters psychosis and devolvement.

The score to The Eyes Of My Mother has been pressed to two 180 gram colored vinyl records and housed in a deluxe, heavyweight old-style gatefold jacket with satin coating. Features include composer liner notes by Ariel Loh, new artwork by illustrator Nikita Kaun, and an 11”x11” art print.

Scored by the legendary Italian film composer Armando Sciascia, Sea Fantasy is a conceptual suite of twelve exotic themes evoking the many moods and dramas of life under the sea. Recorded in 1972 for Sciascia's own Vedette label, the album is a key recording within the micro-genre of Italian underwater library music. A mosaic of evocative modern classical, flamenco textures and a surge of raw analogue synthesizers. Mysterious aquatic music that sits comfortably alongside other Italian Soundtrack and Library recordings including the lush bossa of Daniele Patucchi's Men Of The Sea (CAM) as well as the experimental electronics of Biologia Marina by Amedeo Tommasi & Alessandro Alessandroni (Rhombus). With several cues used for the English-version soundtrack to Harald Reinl's 1976 (Erich von Däniken inspired) mondo-documentary Mysteries Of The Gods, Sea Fantasy is reminiscent of the exotic mood-music scored for Folco Quilici's documentary Oceano composed by Ennio Morricone as well as Luigi Scattina's legendary tropical sexploitation film Il Corpo composed by Piero Umiliani. This new 2019 edition has been newly remastered and expanded with additional liner notes and photos.

2019 remastered and expanded edition.
Legendary Italian underwater Library recording
Replica vinyl reissue of the rare 1972 LP
Mysterious aquatic mood music

* Pressed on lilac colored vinyl
* Housed in Gatefold Sleeve

After a decade of creating pioneering puppet series made for children, Gerry & Sylvia Anderson took their first steps into live-action, with the 1969 feature film Doppelgänger (re-titled outside Britain as Journey To The Far Side Of The Sun). This science-fiction film approached its outer space subject matter with a gritty realism, and would set the tone for what was to be their first live-action television series: UFO. This new series took as a starting point the pioneering work of Dr Christiaan N. Barnard, the surgeon who performed the world’s first heart transplant operation. In UFO a dying race of aliens travel across vast distances of space to harvest organs from human beings to help ensure their own survival. To combat this threat the United Nations created SHADO, a top-secret organisation utilising the latest technology available to defend the Earth. To complement the series, the Andersons frequent musical collaborator Barry Gray created a multifaceted score that gave the programme its own musical identity. Elegantly crafted and a firm favourite with Barry Gray fans, the sound of UFO, particularly its ethereal “World Music” closing credits is, quite simply, a joy. Includes a bonus track, Trampoline performed by The Spencer Davis Group from the episode Ordeal.

As C418, composer and producer Daniel Rosenfeld designs sounds to resonate in both physical and pixelated realms. Best known for his original soundtracks to Minecraft, the single best-selling video game of all time, he's developed a discography of instrumental music over the last decade that traverses electronic pop patterns, neo-classical dreamscapes, and sparse ambient motifs. The latter element has broken from the "8-bit" pigeonholing of game music and earned him accolades that reference artists like Erik Satie (The Guardian) and Brian Eno (vice). In 2015, after quietly self-releasing Minecraft Volume Alpha and Minecraft Volume Beta, Rosenfeld partnered with Ghostly International to reissue Minecraft Volume Alpha on vinyl and CD. The release garnered attention from proper music critics and the gaming community alike, becoming one of the most sought after records in the Ghostly catalog. Now, following several restocks of Alpha to fervent fan response, it is time for the soundtrack's second installment to shine. For the legion of listeners and players to, at long last, have Minecraft Volume Beta in tangible formats. Originally self-released in 2013, Minecraft Volume Beta was C418's longest batch of music to date at nearly 140 minutes. The collection features tracks that were "silently" added to Minecraft during its music updates and a few that never officially entered the game. The run time is now adapted to fit the double LP format, while digital downloads include the full set Rosenfeld's unmistakable abilities are on display; he creates a sweeping variety of musical ideas that mirror the limitless universe of Minecraft. Ghostly International is thrilled to give this unique collaboration its due treatment and hopes to see the creative inspiration which drives Minecraft and Rosenfeld continue to disperse by virtue of this unexpectedly universal music.

Composed by Carl Thiel
Pressed on 2x 180 Gram Black Vinyl with artwork by César Moreno
Mondo, in collaboration with Powerhouse Animation and Viz Media are proud to present the soundtrack to the Netflix Original Series: Seis Manos.

Composed by Carl Thiel (Machete, From Dusk Til Dawn) the music for the Seis Manos is a unique blend of soundscapes from the exploitation films of the 60’s and 70’s, modern action adventure films, all anchored by classical mexican instrumentation. It’s a one of a kind soundtrack for a one of a kind animated series.

For this OST, Carlo Savina composed lounge background music, at times dominated by a mysterious Asian vibe and by sophisticated jazzy vibes. "Gold Snake", the main score, is interpreted by the fabulous voice of Iva Zanicchi, written for a symphony orchestra, and accompanied by the New Orlandi choir (the piece was recorded on 45 RIFI RFN NP 16141). The leitmotif is reprised in a shake version and a slow danceable version. The well-known actress Yoko Tani, the film’s protagonist, performs the romantic piece "Crazy", which is also recorded in an instrumental version. The spy aspect of the plot is emphasized by suspense and action music. For this LP the mono master tapes of the recording session were used.

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.

We're pleased to announce the release of a previously totally unreleased Italian soundtrack on 45. Claudio Tallino "SPELL – DOLCE MATTATOIO" from 1977, originally composed for the censored erotic thriller movie directed by the visionary genius Alberto Cavallone. A shocking, freaking and occult storyline set in the province of Rome, scene of shady affairs and private dramas that protagonists try to hide behind a respectable front. Stunning and booming Italian OST production with 2 killer sleazy Funk shots selected from the original recording sessions.

Steven Soderbergh’s take on Stanislaw Lem’s influential sci-fi tome Solaris was incredibly polarizing at the time. Some didn’t want to see it simply because it starred heart-throb George Clooney in what is essentially a mostly solo role, some didn’t appreciate it in light of legendary Russian director Andrei Tarkovsky’s overtly spiritual take on the same book. Soderbergh says of Martinez's pivotal role and his score, "I relied on it not only to unify the film emotionally, but to import actual narra-tive information." Martinez himself describes it as "one of the few soundtracks of mine that I can still stand to listen to.

I also think it was a score that made the greatest contribution to the film for which it was written." Described by BBC Music as "A brooding slow, meditative work" and a musical journey that "leaves the listener floating free" by Soundtrack.net, "Solaris' is an evocative and highly seductive score that still fully resonates with the listener more than a decade after it was first released.

Those that did manage to take it in would have noticed on thing in particular though – composer Cliff Martinez‘s haunting and deeply influential soundtrack. Percussive, but anchored with a slow, deeply affecting synthesized bass line throughout, the soundtrack served as a nudge in the right direction for drone-lovers and ambient types, and still sounds fresh even now. It’s hardly surprising then that Portishead’s Geoff Barrow has had the good sense to make sure it finally gets pressed to wax through his Invada imprint.

Musique Pour La Danse is proud to present Coil's unreleased soundtrack for the VHS only, pre-internet, sexual education documentary entitled "The Gay Man's Guide To Safer Sex" released in 1992. Members for this project are John Balance, Peter "Sleazy" Christopherson and Danny Hyde.

The OST, to quote John Balance's interview for Compulsion Online, "is [a] slightly new agey, progressive house type thing".

Another way to approach it is as a delightful collection of balearic beats, smoking jazz not far removed from Badalamenti's work with David Lynch, somewhat of an ambient house album for your home listening and early morning sunrise dances, Coil style.

Taken from the original masters provided by Danny Hyde, "The Gay Man's Guide To Safer Sex" features a new sexy edit of the main theme. Bonuses "Nasa-Arab" and "Omlagus Garfungiloops" are taken from the 1992 CD only "Stolen And Contaminated Songs", both being original versions of the radically reworked (for the Ost) "Nasa-Arab 2" and "Exploding Frogs" in order to balance the whole album and extend the listening pleasure.

In conjunction with The Criterion Collection’s special-edition DVD and Blu-ray release of David Byrne’s 1986 film True Stories, Nonesuch and Todomundo Records release a comprehensive soundtrack, collected for the first time in one package and in film sequence: True Stories, A Film by David Byrne: The Complete Soundtrack. David Byrne was inspired by tabloid headlines to make his sole foray into feature-film directing, an ode to the extraordinariness of ordinary American life and a distillation of what was in his own idiosyncratic mind. Byrne plays a visitor to Virgil, Texas, who introduces us to the citizens of the town during preparations for its Celebration of Specialness. As shot by cinematographer Ed Lachman, Texas becomes a hyper-realistic late-capitalist landscape of endless vistas, shopping malls, and prefab metal buildings. In True Stories, Byrne uses his songs to stitch together pop iconography, voodoo rituals, and a singular variety show. Byrne calls the record “an immersive audio voyage into the little town of Virgil, Texas, in the mid-eighties.” He continues, “I always imagined that the music written for True Stories should be heard as it is in the film. It makes the most sense this way. Me singing the song that was written for John Goodman’s character, Louis Fine, always felt weird to me. It was written for that character, not for me.”

Stanley Kubrick has a troubled past with Deerhoof. An argument over whether Eyes Wide Shut was good almost broke up the band in 1999 and again in 2003. When Famous Class suggested a 7" of music from The Shining, the band waffled for three years about whether they thought they could do it justice. But once a Halloween release date was proposed, Deerhoof couldn't resist. They got the score to Bartok's "Music For Strings, Percussion and Celesta" out of the library, and transcribed one of the 20s songs straight from the closing credits. Music that in the movie echoed from some ghostly, gilded past takes on a more urgent character in Deerhoof's versions, as if to underscore that the horrors of white supremacy, oligarchy, and domestic abuse are alive and well in 2018 America.

7 track mini album. 'Waterpark' is a film score written for Director Evan Prosofsky's same titled film, and explores the neutral element of sound in a massive indoor water park located in west Edmonton Mall, in the province of Alberta. A vacation home to countless stranded Canadians with no vacation in sight.

The instrumentation of oscillators, heavily reverberated strings, mellotron/chamberlain, and experimental electric guitar sets the mood for this bizarre plastic tropical paradise thats within a shopping mall.

Agnes, taken for granted as a suburban mother, discovers a passion
for solving jigsaw puzzles which unexpectedly draws her into a new
world - where her life unfolds in ways she could never have imagined.
The soundtrack to Puzzle is composed by A Winged Victory for the
Sullen member Dustin O’Halloran. He says about his recordings: “I
wanted the score to have a minimal sound in order to leave space
for the performances of the actors, so I decided on a chamber sound
consisting of piano, string quartet, harp and woodwinds.” For the last
track “Horizons” he contacted his friend Ane Brun, who created beautiful
melodies and words that perfectly captured the feelings of the character
Agnes.
Dustin O’Halloran released his first two albums, entitled Piano Solos
and Piano Solos 2 in 2004 and 2006. Later on he scored multiple
soundtracks, including Marie Antoinette, Lion and The Beauty Inside.

Re-recordings of Artemiev's soundtracks to the classic 1970s Tarkovsky film. Recorded in Moscow 1989-90.

Vinyl LP pressing. Fifteen of the 19 tracks contained in Endless Poetry: Original Motion Picture Soundtrack were composed and performed by Alejandro's son Adan Jodorowsky (AKA Adanowsky), who also stars in the film, portraying his own father as a young man. Multi-instrumentalist composer/arranger Jon Handelsman contributed four songs to the soundtrack. "Sueño sin fin" was composed and arranged by both Handelsman and Alejandro Jodorowsky (the filmmaker's own contribution to Endless Poetry: Original Motion Picture Soundtrack). Described by Variety as "a work of disciplined and touching emotional resonance," Endless Poetry details Alejandro Jodorowsky's life in his 20s. Against the wishes of his authoritarian father, the protagonist leaves home to pursue his dream of becoming a poet, and is introduced to the bohemian and artistic inner circle of Santiago, Chile in the 1940s and 50s. He meets Enrique Lihn (Leandro Taub) and Stella Diaz (Pamela Flores), two unknown poets who would become driving forces of twentieth century Hispanic literature. Told through a unique surreal and psychedelic visual language, with a soundtrack to match, Endless Poetry is an ode to the quest for beauty and inner truth as a universal force capable of changing one's life forever.

We’re stoked to announce the pre-order of ‘I Cannibali’ (aka ‘The Cannibals’ / ‘The Year Of The Cannibals’), score to the dystopic 1970’s masterpiece by Liliana Cavani, entirely composed and orchestrated by no less than Maestro Ennio Morricone and conducted by Bruno Nicolai. The opus features poignant vocal apprerances of Don Powell and Audrey Nohra Stainton as well as the glorious choir I Cantori Moderni di Alessandroni, also including alternate takes and previously unreleased tracks, perfectly mastered for vinyl by Carlo Altobelli at Toxic Basement Studio.
‘I Cannibali’ will be released for the first time on wax by Spikerot Records, pressed on double 180g vinyl and housed in an elegant gatefold jacket with captivating artwork from Basthard Design.

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.

Quartet Records was proud to celebrate the tenth anniversary of J.A. Bayona’s horror cult-classic The Orphanage in 2017 with a newly recorded, complete edition of the score composed by Fernando Velázquez , The Orphanage was the first collaboration between director and composer, a partnership that has continued in such modern classics as The Impossible and A Monster Calls. Now this new recording is available in an exclusive, limited and numbered collectors’ vinyl release.

It may seem unusual that a barely ten-year-old score is being re-recorded, but giving The Orphanage a second chance to shine is an undertaking of which Quartet Records is especially proud. This tenth-anniversary edition includes every note Fernando Velázquez wrote for the film in its original conception to give fans a bold, new take on a modern classic. The original soundtrack album was negotiated and signed off before the recordings were made, and while Fernando wasn’t quite satisfied with the performance, the album had to be released nonetheless. It was a problematic recording, without much possibility of correcting mistakes (do not forget that The Orphanage was a low-budget film). When the possibility of expanding the original 47-minute-long program was being discussed in early 2017, a review of the original multi-track recordings revealed that time hasn’t been kind to Velázquez’s first major score, so a new plan was formulated. The composer took it upon himself to revisit the project by doing a brand-new recording with The Basque National Orchestra, the same ensemble he used for A Monster Calls, Pride and Prejudice and Zombies, Submergence and his “Concert Suites” album. By using one of his favorite orchestras and his usual recording engineer, Marc Blanes, whom he couldn’t use on his seminal score, Quartet Records and Fernando Velazquez present the same music he wrote a decade ago (including previously unrecorded alternates), using the know-how and skills he has gained in the past 10 years to bring fans a new recording of which we can all be proud.

This exclusive, 2-lp edition has been remastered for vinyl by Chris Malone, and includes newly commissioned artwork by PosterSpy & Karl Fitzgerald. The record comes in a deluxe gatefold package that includes statements from Fernando Velázquez and director J.A. Bayona. This is a collectable, must-have edition for all Velázquez, Bayona or horror movies fans!

* Features a spined ‘sombre grey’ outer sleeve with deboss and die-cut
* Pressed on 2 x black vinyl

After being completely sold out on vinyl, Geoff Barrow & Ben Salisbury’s ‘DROKK: Music Inspired By Mega-City One’ has been re-issued as a special edition on 2 x LP with beautiful new bespoke packaging, including extra bonus material previously not available with the retail vinyl release.

DROKK is a synth heavy score with a relentless darkness, a cold atmosphere where the tension never drops. Although it is a soundtrack of sorts, Barrow and Salisbury instinctively felt that music for MC1 should steer clear of the rich orchestration common to many contemporary film scores. Even for electronica the music is often purposefully stark and spare, with the majority of tracks created exclusively on the Oberhiem 2 Voice Synthesizer with a cameo from Beak>

Digitmovies is releasing the LP and CD of the OST from the film “Blackie the Pirate” (original title: “Il Corsaro Nero”). Blackie the Pirate is a fictional character created by the Italian writer Emilio Salgari. The character has appeared in various films throughout the years. The composer Gino Peguri (author of soundtracks for movies like “Bloody Pit of Horror," "Seven Magnificent Pistols", "A Woman on Fire", "Psychopath," "Code Name, Red Roses") wrote an orchestral score for "Blackie the Pirate" which was released in 1971 on a rare LP from RCA (SP 8035) and a rare single Cormorano (ZC 50180). For this CD re-release we were able to find the stereo master tapes from the original album and the complete master tapes from the original recording sessions which include both stereo and mono mixes. In addition to the 12 stereo tracks on the album, we have added nine alternate tracks in stereo and five alternate tracks in mono. This OST is dominated by the fun pop-sounding song in the opening credits called "Orza qui poggia lì," performed by Paolo Ferrara and accompanied by the chorus of Nora Orlandi. For the LP version we brought back the 1971 LP with the addition of the English version of "Orza qui poggia lì” as well as the film version of the track "In the Caribbean" and two alternative versions on side B. Available on CD or LP+CD limited editions of 300 copies.

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.

Digitmovies releases for the very first time on CD and LP the complete edition in full stereo of the OST for the Italian cult TV series "Orzowei" which was composed by the prolific brothers Guido & Maurizio De Angelis. Based on the novel “Orzowei” written by Alberto Manzi and issued in 1955, the story was adapted into 13 episodes of an international TV hit series wich was produced in 1976 by Italian and German companies. It was directed by the French filmaker Yves Allégret and starred Peter Marshall as Isa / Orzowei, the British star Stanley Baker, Doris Kunstmann, Vincenzo Crocitti, and Bonne Lubega. This TV program was broadcasted in Italy in early 1977 and presented again with version especially re-edited for cinema theaters called "Orzowei - il figlio della savana” (“Orzowei - Son of the Savannah”).
Isa, a white child abandoned in the forest of South Africa, is found and raised like a son by an old great warrior and by an old woman, both of them belonging to the Swazi people, an ethnic grouping of the Bantu tribe. Due to his white skin he is jokingly called Orzowei, “the found”. After his escape from the Swazi village, he takes refuge to a forest where he is adopted as a son by Pao, the sage man of a Bosciman tribe. At the end Orzowei will really have to fight against the Swazi, the people who had brought him up as a child, and to defeat Mesei, his arch enemy.
In those days only one single was issued: RCA BB 6054, a very big international record hit. This CD has been possible thanks to the stereo master tapes which have been well preserved in the RCA archives. Concerning "Orzowei" besides the 45 rpm single versions “Orzowei” and “Le notti di Orzowei” we have also added alternate takes of the famous theme song like a different mix, the instrumental version, an evocative version with an echoed solo flute, the very cool karaoke version, an alternate take of “Le notti di Orzowei” without flute (all the original material discovered on the master tapes, if we consider that possibly in the TV series library music was re-used). Only recently we were able to discover on another mastertape three extra alternate takes that with big joy we include in thi very new re-issue. A OST of the ’70s Italian TV CULT which we absolutely wanted to rescue and preserve to honour the musical art of Guido & Maurizio De Angelis.

Based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms, The Last of Us is written and executive produced by co-creators Craig Mazin (Emmy® Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President).

The Last of Us takes place twenty years after modern civilization has been destroyed by a viral outbreak. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

The vinyl release to the acclaimed series contains soundtrack highlights from the show. Featured are score tracks by composer Gustavo Santaolalla, with additional music by David Fleming as well as songs by Depeche Mode, Pearl Jam, Jessica Mazin & Nick Offerman.

The package contains 2x vinyl, standard weight at 140g, 1x green and 1x clear, a double-sided poster of the show’s key art, spot gloss and soft touch on the gatefold and an insert featuring liner notes by Neil Druckmann, Craig Mazin, Gustavo Santaolalla & David Fleming and images from the show.

Waxwork Records is beyond thrilled to announce Friday THE 13th Part V: A NEW Beginning Original Motion Picture Soundtrack by Harry Manfredini. For the fifth soundtrack installment of the beloved slasher-horror franchise, the Friday The 13th crew reeled back in composer Harry Manfredini to score “A NEW Beginning” in 1985. Waxwork collaborated closely with composer Manfredini to release the complete and re-mastered original soundtrack which spans two 180 gram “Imposter Jason” splatter vinyl records. Diehard horror fans, campers, and promiscuous summer camp counselors alike will appreciate this classic soundtrack featuring massive orchestral cues, giant stabs, and the classic “Ki, Ki, Ki… Ma, Ma, Ma” chant throughout!

The new double LP soundtrack album features lavish artwork by Matt Ryan Tobin, deluxe packaging, old-style tip on gatefold jackets, 180 gram colored vinyl, and more!

The Complete 1985 Soundtrack Re-Mastered for Vinyl Double LP “Imposter Jason & Crystal Lake” Tri-Color Split w/ Splatter Colored Vinyl Deluxe Packaging Art by Matt Ryan Tobin

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

24 tracks selected by the RuneScape team and community Two heavyweight red gold LPs Deluxe gatefold sleeve 43track digital download included (mp3) Fancy a spin of “Sea Shanty 2” for old times’ sake? RuneScape: Original Soundtrack Classics takes a nostalgic journey through some of the most beloved tracks from Old School RuneScape and the early days of RuneScape. The vinyl album is arranged to follow the first journey a player might have taken through Gielinor. The digital download includes 19 bonus tracks, bursting with player favourites.

A download code is included. Shovel Knight: Specter of Torment The Definitive Soundtrack brings all 25 exciting tracks from the game's second expansion pack to both CD and vinyl for the first time. Esteemed Japanese illustrator Hitoshi Ariga (Mega Man, Pokémon) lends his talents once again to design a brand new cover for the soundtrack as seen above, with coloring done byAyano Koshiro (Streets of Rage). Both the CD and LP gatefold packages will contain the complete tracklist crafted by the talented Jake Kaufman, while the vinyl release will also include a download code containing the complete digital soundtrack.

Random coloured recycled vinyl. New artwork!"Black Screen Records, Videocult, Akupara Games and composer James Primate are excited to take you an aural journey into the strange land of Rain World ... again.After being sold out for a few years, the soundtrack to Rain World will finally be repressed - this time on 100% recycled & random-coloured "Re-Vinyl". The music was composed and produced by Videocult level designer and composer James Primate with a little help of Lydia Esrig (other half of Chiptune duo Bright Primate) and Rain World creator Joar Jakobsson. The soundtrack is housed in a beautiful gatefold sleeve with original artwork by Allegra "Del" Northern. This pressing comes with a 12"" art print with additional art by Del.

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.