[ aquarius records — Soundtracks ]

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Showing results 201 through 250 of 729.

After 22 years Dario Argento and Goblin reunited for this 2000 thriller. The music is as you might expect very Goblinesqe. Despite the technological breakthroughs that have occured since Goblin worked with Argento on such great films as Deep Red, not much has changed in the Goblin camp, with their signature sound intact: mysterious, melodic, dark and scary and proggy.

RealAudio clip: Endless Love
RealAudio clip: Arpeggio-End Title Theme
RealAudio clip: The Rabbit

The soundtrack for Patrick, a Richard Franklin Film from 1978 (he did Psycho 2 and a few other un-notables) featuring the kings of horror soundtrack prog, Goblin! The film sounds great: a comatose patient named Patrick uses his psychokinetic powers to terrorize the staff of the hospital in which he is confined and there's supposed to be a creepy fucked up ending. The promotional teaser was "Patrick is nearly dead and still he's killing". And while I'm now all psyched to see the film, the soundtrack is sadly Goblin at their worst, which is too bad 'cos Goblin are the *best* at what they do, but this is way later in their career (the eighties); the sound is funky, wanky and cheesy and not really all that scary. Far from the spinechilling eerie prog we've come to expect.

RealAudio clip: Transmute
RealAudio clip: Snip Snap

Known in the USA as "Creepers", starring Donald Pleasence, written and directed by horror master Dario Argento. This edition features alternate versions of songs *not* used in the film. While the original soundtrack LP of 1985 was a blend of Goblin songs with rock tracks from various other artists, this new disc can be considered the instrumental sequel to that work -- all tracks composed and performed by Goblin, with the addition of 4 movie takes and 11 unissued tracks. The cd starts with a Halloweenesqe riff with far away female vocals. Slowly it evolves into crazy wanking guitar and hectic drums. This soundtrack is eerie and suspenseful, just like the film. A great example of Italian prog rock soundtrack geniuses Goblin.

RealAudio clip: Phenomena
RealAudio clip: Jennifer
RealAudio clip: - Film Versions suite 2)

THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. Spooky '70s Italian prog rockers Goblin are known for their soundtracks to many famous Dario Argento horror films. Here's one of the best, newly reissued on lp. Deep red indeed. Includes the tracks "Death Dies", "Mad Puppet", and "School At Night" among others.

Distributed and better known in the USA as "Deep Red", this is the wonderful soundtrack to the beautifully photographed Dario Argento classic. Twenty eight tracks total, this expanded edition features all of Goblin's contributions to the film as well as Giorgio Gaslini's chilling score.

This is an older release which we've never listed, due to problems with keeping it in stock. However recently this label has improved its distribution situation, so here we go: Not as beautifully packaged as the recent Dagored LP repress, this cd features those same tracks from Goblin's classic horror-film soundtrack, plus four bonus cuts not featured elsewhere. If you're going to buy one Goblin record, make it this one! If you're going to buy two, however, the Profondo Rosso soundtrack is equally wonderful! Essential!

Everyone's favorite Italian horror-film soundtrack rock band Goblin gets a handsome "best of" treatment on this import double cd. The first disc is the "best of" portion, concentrating on the Goblin's spooky prog-funk contributions to the '70s gore-thriler classics of Dario Argento (with tracks like "Profundo Rosso", "Death Dies", "Tenebre", "Suspiria", "Mad Puppet"...) that will be familiar to fans of the films and/or the band. Now maybe you already have Goblin cds with those tracks (if not, you should, or get this!) but even then true fans will be intrigued by disc two, a live Goblin concert recording from 1979, never before released. The sound quality is ok, and the music of course is great -- and even features a lot of vocals, something normally absent from Goblin's better known soundtrack material!

These legendary sinister soundtrack prog masters from Italy, currently on tour in the US for the first time ever (they played at the Warfield in SF last weekend, it was great!!), deliver four classic tracks ("Profondo Rosso", "Roller", "Suspira", and "Tenebre"), re-recorded, updating that classic sound to reflect their current live line-up. We'd say more but, as you might imagine, these are SUPER LIMITED, we only got a small handful, and then pulled some strings to get just a few more, but they've been blowing out of here fast - and we're pretty sure the ones we have now will be the last copies we'll be able to get... Pressed at 45rpm, on 180 gram red vinyl, with ghoulish cover art from artist Graham Humpreys.

This is the 20th Anniversary Special Edition cd from the Lucio Fulci (Argento produced) classic ZOMBI! Features six bonus tracks not featured on the original release...whoops, we screwed up with this description. One of our favorite customers, Jordan Perry, happened to catch our mistake, so we thought we'd just put his whole email about it up here to clarify matters: "...you list the Goblin soundtrack "Zombi" as being directed by Fulci. But it's not. And it's a complicated story, so please, bear with me. "Zombi" is actually Argento's Italian cut of Romero's "Dawn of the Dead." Argento was the producer of the film, and for it's release in Italy, he chose the film to be edited in slightly different ways than Romero had. Goblin composed a soundtrack, but from my understanding, Romero didn't much like it and only used it sparingly in his cut of the film. Argento, however, I'm guessing used more of Goblin's music in his version, perhaps explaining why this soundtrack is called "Zombi" instead of the much better-known title "Dawn of the Dead." But then there's Fulci's zombie film too, which was called (in Italy) "Zombi 2," likely an attempt to cash in on the success of Romero's/Argento's film by claiming itself a sequel. For its American release though, it was simply called "Zombie." The chance for confusion here then is obvious: Fulci's American title is only one letter different from Romero's/Argento's Italian title. Most important in all of this though is that Goblin did NOT compose the soundtrack to Fulci's film. Rather, that was Fulci-regular Fabio Frizzi (The Beyond, City of the Living Dead, Manhattan Baby), and IT is an amazing soundtrack, far better I think than Goblin's for their zombie film, particularly Frizzi's chilling main theme that got me so into horror soundtracks in the first place (this was about four months ago, and now I've got over 30 horror soundtracks in my collection). And I've been spending heaps of time renting horror movies of late, that is why I have all these facts down pat. And if you've only heard the soundtrack to Suspiria and not seen the movie, I most highly recommend you do see it. Of the fifteen or so horror movies I have seen in this past month's spree, Suspiria still easily ranks at the top (due in large part to the brilliant Goblin soundtrack for it). So... yeah. Do what you wish with this information." Thanks Jordan, for all the interesting info. Sorry for our misinformation!

We didn't think we'd be able to get any copies of this in at all, there seemed to be some issues with the licensing or something, but somehow, finally, we managed to get a handful of these in. A super deluxe reissue of the iconic score by legendary Japanese composer Akira Ifukube, for the classic 1954 monster movie Godzilla, that's right, the ONE, the original, the monster movie that started it all, and Ifukube's score is as much a classic as the movie itself. And what better way to celebrate Godzilla's SIXTIETH birthday (and anniversary of the movie/score) than with a deluxe Death Waltz reissue! And deluxe it is, as always, but more on that in a second. The music itself is stunning, as is pretty much everything we've heard by Ifukube (in partiuclar, his score for King Kong Vs. Godzilla, which we raved about here back in 2006), a mix of lush orchestration, sinister strings and traditional Japanese folk. There is of course the instantly recognizable theme music, with it's tense, soaring strings, but then the lilting percussive exotica of "Ootojima Temple Festival", quickly followed by the droning, plodding, ominous "Stormy Ootojima Island, which builds and builds, driven by booming percussion that sound, as they're meant to, like Godzilla's lumbering footfalls, there's the jaunty military fanfare of "Japanese Army March I", which leads right into the arrival of the monster, the strings darkening, like the skies above, as the monster approaches the shore, tense and intense, the refrain from the opening theme returning, but this time even more frantic and frenzied, and then "Godzilla's Rampage", which is so scary, and creepy, the horns moaning malevolently, a funereal dirge, a haunting threnody, and so it goes. There's plenty more, and all of it's great. Has us wanting to watch the movie again to, BAD!! And as we mentioned, Death Waltz does another fantastic job with the packaging, this time featuring striking new cover art by Cheung Chung Tat, which is reporduced inside on a folded movie theater style poster, the vinyl is a grey swirl, the music itself is presented on vinyl for the first time ever, remastered from the master tapes at Toho Studios, there's a Japanese style obi too (of course) with some liner notes and credits, and as you might imagine, this is also VERY LIMITED!!

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The latest release from one of our favorite modern masters of drone and drift and doom and dirge, the oddly monikered Gog, who in Heavy Fierce Brightness, has composed two nearly 20 minute epic soundtracks for an art installation of the same name. But regardless of the inspiration or ultimate application of the sounds contained within, Heavy Fierce Brightness is simply a continuation of Gog's endless sprawling exploration of some grim black space, a hellish otherworld, captured alchemically and represented sonically, a harrowing, harsh, blackly abject landscape of minimal low end thrum, and corrosive grinding glacial crunch, two slabs of slowly decaying melted metal filth, allowed to ooze blackly into great sonic tarpits of sound, audial black holes, their blinding black glow dulling all the colors around their slowly collapsing centers. "Dragged By A Black Cat" begins as a hushed creep, a low thrumming drift, peppered with strange bits of scrape and clatter, the low end billowing up in great gauzy clouds, so low the speakers struggle to keep up. A haunting cinematic ambience, like the score for a descent into some great yawning abyss. Eventually streaks of feedback, and sheets of buzz are laid atop the throbbing low end, wreathed in electronic crackle, in gouts of tremorous glitch, building into a crumbling wall of cascading buzz and grinding crunch, the chaos and clamor gradually settling into a long bit of processed drift, a slow swirly sea of near static tones and subtle harmonic shifts, a Niblockian expanse of soft sumptuous swells and lush layered thrum. "Heavy Fierce Brightness", begins much like the first side, some hushed minimal rumble, some ominous drone, but quickly the sound grows tense, a wash of smoldering buzz quickly enveloping the softly chiming minimal shimmer beneath, but that underlying melodic swirl, remains throughout, while the more corrosive sounds above, roil and churn like some storm swept sonic sea, the various layers coalescing into something strangely shoegazey, a warped undulating dronescape of looped and layered tones, of crunch and shimmer and buzz and whir, keening distant melodies, and lush rumbling whirs, all blurred into a slow shifting panorama of blown out black bliss, a muted harshness, that somehow still manages to soothe and entrance. The final stretch a series of mesmerizing slow burning swells, dark and deep, truly heavy dronemusic, a sound that is anything but minimal, a constant slow motion barrage of downtuned guitar crunch, squealing electronics, deep metallic reverberations, whirling layered tones, strangely textured thrum, gauzy ambience, all woven into a caustic and creeping doomdronedirgedrift crawl. LIMITED TO 300 COPIES! Housed in a gorgeous embossed jacket, with original artwork by Colin Stinson (and featuring images of the HFB installation).

We've been on a bit of a soundtrack kick lately here at aQ, getting a lot of cool ones in over the past little while. We just came across this disc and figured we should give it a shot, even though we hadn't seen the movie and weren't that familiar with the composer - but it's from an early '70s Italian "giallo" style thriller after all, and that's pretty compelling piece of cover art, ain't it? (Grasping hands, witchy woman, supine topless beauty; possibly promising a cinematic / soundtrack experience equally creepy and occult and sexy). As it turns out, this soundtrack turned out to be even better than we had hoped!! Much of the music here is soooooo beautifully sinister and slinky, exotic and noirishly jazzy - but that's not all, what we weren't expecting was how much fuzzed out psych-rock guitar action was going to be on here, too. WOW. Amidst the suitably spooky, sometimes quite lovely atmospheric interludes that primarily comprise the soundtrack, there's sudden heavy parts that sound not unlike the intro to a Black Sabbath song!! Maybe Tony Iommi happened to be visiting ancestral homeland and got hired to do these sessions while he was there - ok, unlikely, but that's almost what it sounds like. And certainly it's not impossible that the same guys who made that Blue Phantom library record could have been involved with this... definitely the occasional isolated slice of Sabbathy fuzzy doom riffage should attract any adventurous proto-metal fiends also into Italian library music, Goblin, & stuff like that too. Mostly, this consists of dark, suspenseful, instrumental grooves, tracks variously arranged for ticking, agitated percussion, zinging strings, eerie woodwinds, springy Jew's harp, bongo drums, smokey jazz trumpet, wordless haunting female vocals, wavery electric organ, electronic effects... These incidental tracks are sinister, but romantic. Like the theme song for a lover you don't trust to not kill you when she's done with you, but you're still gonna take that chance. And then, oh yeah, there's that aforementioned fuzz guitar, putting this over the top for us. Sometimes just a stab of it here or there, a single chord ringing out, cranking up the intensity level of this spinetingling music. Or, a couple times, leading into a full-on heavy psychrock jam. Weird how this album at moments reminds us of Black Sabbath or Randy Holden's Population II - and also, at other times, when that trumpet gets a-swinging, of Herb Alpert! Now it seems lots of times when we list a soundtrack, we mention that we haven't actually seen the movie - in part 'cause yes we haven't seen the movie and thus can't say a lot about it, but also to indicate that you don't HAVE to have seen a movie in order to enjoy a soundtrack - but you all get that already, right? Of course. So for this review, we decided that we'd make an effort to try and watch La Morte Scende Leggera (aka Death Comes Lightly), the soundtrack made us curious after all... but alas we didn't manage to track it down in time. So once again, this is an example of how you can absolutely LOVE a soundtrack without any idea what the movie was all about - although the copious liner notes in the cd booklet, illustrated with stills from the film, do give us an idea - directed by Leopoldo Savona and released in 1972, it was apparently a movie with a confusing plot somehow involving drug smuggling, political corruption, quasi-supernatural elements, a series of mysterious murders, and erotic interludes - part psychological thriller, part ghost story, part softcore porn. The liner notes don't exactly give it two thumbs up, but it sounds kinda cool to us. And the appropriately psychedelic soundtrack for sure is cool. From reading the liner notes, we also got some notion of how exactly it ended up sounding the way it does. Turns out track one, the movie's theme song, "Sunday In Neon Light", was actually not specifically written for the soundtrack. It had originally appeared on an obscure 1972 album (which now we'd love to find) called Peace On You by the Mak Sigis Porter Ensemble, lead by an expatriate singer/musician from Ghana. Part aching ballad, part heavy psych jam, "Sunday In Neon Light" has a bit of the vibe of some of the Afro-fuzz garage records we've had reissues of lately, with crunching guitar chords and vocals that remind us of Jimi Hendrix or Malcolm Mooney from early Can (hearing it was the first thing that clued us in that this wasn't the usual giallo soundtrack). Then, 'cause they'd decided to use this song in the movie, composer Lallo Gori wrote the rest of the score around it, his orchestrations in a similar psychedelic style using fuzz rock guitar, etc. And, in our opinion, the results are up there with some of our favorite soundtracks like Klute, Psychomania, and Possession - the latter of which we made a Record Of The Week not long ago, so we're gonna do the same for La Morte Scende Leggera too. Also note, it's a limited edition release, our supplier apparently having some of the last copies around, and at a bargain price since it's normally an expensive import.

MPEG stream: Sunday In Neon Light
MPEG stream: La Morte Scende Leggera - Seq. 2
MPEG stream: La Morte Scende Leggera - Seq. 7
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Two new releases from UK vinyl horror movie soundtrack reissue label Death Waltz this week, elsewhere on the list you'll find the soundtrack to John Carpenter's They Live, one of our favorite movies EVER, and then there's this, a more recent proposition, the soundtrack to 2011's The Devil's Business, which we have yet to see, but the trailer looks pretty incredible. And the soundtrack too, not Death Waltz's first foray into modern soundtracks (they did Let The Right One In recently), but it is their first foray into compact discs, this being the first DW release available on both vinyl (being restocked soon) and cd. And they've gone all out on the cd, with some of the coolest, most creative packaging we've seen, but more on that in a second. The soundtrack/score here is by Justin Greaves, who many aQ-ers should know as a member of sludgelords Iron Monkey, as well as the mainman in atmospheric post rock brooders Crippled Black Phoenix, which makes sense, as the music here is not that far removed from Crippled Black Phoenix. The excellently titled opener "My Enemies I Fear Not, But Protect Me From My Friends", perfectly lays out the sonic template sounding like a haunting, brooding, slow burn post rock, loping and doomy, soaring and darkly majestic, the vocals though a deep croon, the sort of voice to imagine singing old hymns in Latin, which perfectly fits the vibe. There's some Morricone-ish twang too, and swirling strings, tense and moody, building to a seriously intense climax, before slipping back into a droney brood. And the thing is, unlike a lot of scores and soundtracks, only a handful of these tracks are cues, most are proper songs, hard to say if the whole songs are used in the movie or just parts, but those tracks are pretty great, droney, and dark, psychedelic and smoldering, super atmospheric and cinematic (obviously), laced with synths and strings, buzzing guitars, plodding rhythms, a few tracks have a gypsy vibe to them, sounding almost circusy, others are slow, creepy doom folk drifts, occasionally laced with operatic vocals, or field recordings, but just as often, allowed to creep ominously, and some songs full on rock sounding like Godspeed or Explosions In The Sky or yeah, Crippled Black Phoenix. A few tracks get reprised at the end of the record, one song is revisited, only spookier (the 'spooky version'), another is an alternate version that recasts the original as sounding more like Goblin or John Carpenter, and one of the shorter jams gets fleshed out as a huge, majestic post rock blow out. The shorter cues are pretty great too, from ghostly high end ambient shimmer, to woozy, sinister synthscapery. As with all Death Waltz, the packaging is super swank, the label's first cd is no different, with a spot varnished cover, with new art, that makes the movie seem like it could be from the seventies, all housed in a six panel gatefold pop-up (!!!), and the cd is affixed to the little part that pops up. So when it's open, the cd is vertical, suspended above the artwork. So cool!!

MPEG stream: My Enemies I Fear Not, But Protect Me From My Friends
MPEG stream: The Whistler
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We've never seen this movie but if it's anything like the soundtrack, boy do we want to see it. It must be INSANE. And very, very groovy. 'Cause this is one trippy record, guitarist/composer Billy Green's psychedelic soundtrack to the 1974 biker flick Stone, today a cult classic (we hear it's out now on dvd, gotta find it!). It's from Australia, one of the early precursors to Mad Max in the so-called "Ozpolitation" genre (about which there's been a recent documentary that we also have to see!), doubtless full of violence, stunts, bikes, and girls. We don't know much about the plot except that it involves the badass Gravediggers motorcycle gang (who, while as shaggy and dirty as any Hell's Angels, ride fancy new Japanese pocket rockets instead of the Harleys you might expect), characters with names like Dr. Death, Stone, Toad, Undertaker, Captain Midnight, most of whom get their own distinctive cues on the soundtrack. Beyond that, the liner notes mention acid trips and something about a political assassination, and well if you know what happens don't tell us 'cause we don't want to spoil anything for when/if we do see the film, we'll just enjoy the music for now! Track one, the six minute, 35 second long "Eco Blue/Toadstrip" really dumps listeners in at the deep end, being a dark and unsettling musique concrete composition consisting of noisy electronic Moog synth bbrrzapp, and didgeridoo drone (ordinarily we detest the didge, but this IS an Australian movie), like a drug fuelled jam between aliens and aborigines. If you survive that (rather than report to the tent for those who ate the bad acid), the next track shifts mood considerably, being a funky freaky instrumental called "Race", full of wah-wah guitar and more electronic embellishments. Yep, just two tracks in and it's already totally awesome! As the disc continues, you'll get to hear all sorts of other strange and groovy sounds, including short interludes of sound effects and chanting ("Pigs"), lush, melancholic orchestration ("Cosmic Funeral"), bluegrass pickin' ("Septic"), classical strings and splashing cymbals ("Amanda"), Hendrix-y fuzzed fusion ("Stone"), mellow hippie blues-bliss ("Smoke"), heavy prog plus free jazz freakout ("Gravediggers"), and loads more that's either super groovy or super wacked, or both. Sometimes it sounds like a 'proper' film soundtrack, with the usual sort of suspenseful or sentimental cinematic stylings, but mostly it's all about sleazy, krautrocky chaos! It's mostly instrumental, except for the bonus tracks, one which consists of dialogue from the film ("Hip's Rap"), one being a kinda cheesy soul-fuzz number ("Cosmic Flash"), and also two portentous versions of "Do Not Go Gentle (Rage)", a song based on the Dylan Thomas poem, set to music by Billy Green - we prefer the second one, sung by Jeannie Lewis, which was probably very important to the emotional impact of some crucial scene in the movie but here just seems awesomely over the top and incongruous. The final bonus track is the audio from the original theatrical trailer for the movie, which starts off with someone screaming "SATAN!!!!!" followed by a dead pan voiceover intoning "Stone is a trip", and reciting further selling points, backed by a collage of sound effects and funky hard rock vamping, all snippets from the soundtrack. Again, it makes us want to see it... except, in a way, maybe we're realizing it's better to have the film exist (for us) only in our imaginations, 'cause the soundtrack is so far out it seems likely that the actual film couldn't possibly live up to it, could it? In any event, the soundtrack certainly stands by itself as a sizzlingly lysergic slice of '70s rock/electronic weirdness, part Bobby Beausoleil, part Amon Duul, a little bit Sly Stone, a little bit Sir Lord Baltimore... and altogether Stone(d). Now, if you search on such keywords as "motorcycle gang", "fuzz", and "soundtrack" on our website, besides this you'll find our rave review of another Satanic motorcycle gang movie soundtrack that we ALSO made a Record Of The Week once upon a time, that'd be the music by John Cameron and session band Frog from the 1972 zombie biker flick Psychomania, reissued by Trunk some years back, and now sadly out of print again. Billy Green's Stone soundtrack is obviously the only thing that comes close. You could definitely file 'em together, Stone being a worthy successor (with a song called "Toad" instead of one called "The Frog"). It'd be a great double feature. Also, remember that unusual series of Aussie psychedelic sixties/seventies surf movie soundtracks from the Japanese label EM, we listed a while back? The ones by Farm, Peter Martin & Finch, Tamam Shud, etc.? Though this is inspired by wheels rather than waves, and ain't so sunshiney, still fits in with the best of those. As usual with B-Music / Finders Keepers productions, this is a labor of love, and the cd booklet reflects that, its many pages stuffed full of full-color film stills and poster artwork, along with a lengthy and knowledgeable essay by DJ Andy Votel. Before delving into the story of Stone, Votel talks a bit about the history of '60s / '70s B-movie biker cinema, citing the aforementioned Psychomania as an important forerunner to this film and its soundtrack. Like we said, we've never seen Stone, though we want to. However, we've been fans of this soundtrack for some time. There was a previous, Australia-only compact disc reissue of this back in 1999, on the occasion of the film's 25th anniversary (which was celebrated with a 35,000 strong biker rally!). We were never really able to get any to stock though, so it's awesome to have this now, and it's been further expanded with additional bonus tracks, as well as nicely packaged, including a slipcover. When we heard it was coming out again, we immediately thought, Record Of The Week. Finally folks everywhere will get a chance to hear this, and ride with Stone and the Gravediggers!

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Jonny Greenwood, of alt/art pop heroes Radiohead, steps out from behind enigmatic frontman Thom Yorke to pen the music to the indie art film Bodysong. Haven't seen the movie other than the 8 minute clip found on the cd but it looks to be quite cool. A dreamy assemblage of movement, African shamans, tribal rituals, Times Square revellers, grainy antique footage of dances and performance. All slowed down and hypnotic. The perfect visual match for Greenwood's hazy post-'Head ambient melancholia. The dreamy creepy crawl of Radiohead is definitely present, although sort of tripped out and spaced out. Less angst and more subtle moodiness. It is a soundtrack after all. And the soundtrack is all over the place, probably makes a lot more sense seen with the film, which is not to say this isn't an amzing listen. Breezy Parisian melodies flutter through the cool Spring breeze, with some shuffling acid jazz over warm static chordal drones. Militaristic, almost industrial percussion occasionally keeps things in line. Asian stringed instruments pluck out simple looping rhythms over simple funky drums locked in a hiccuppy rhythm interrupted every once in a while by some wild boppy Miles Davis-ish jazz. All nestled amidst lush chunks of glitchy dubbed out electronic ambience, with Kraftwerkian melodies and pizzicato strings. The closest comparison that comes to mind is UNKLE, but Greenwood's Bodysong is a lot more subtle and focused, a lot stranger and aimed squarely at the heart or the head, not the hips.

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We haven't seen the new film from Paul Thomas Anderson yet but judging by the string heavy, super intense score composed by Radiohead's Jonny Greenwood we get the feeling this is going to be one serious and probably very bloody filmic experience. Unlike his prior venture into the world of film soundtracks with his eclectic and imaginative score to Bodysong, this has a much more grand and classic quality to it, recalling the sounds of some Stanley Kubrick films with a very in your face, Penderecki-styled attack of string sounds. Meticulously executed, you would think Greenwood had been scoring films for decades.

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The Omni Recording Corporation has been killing it lately in a string of essential vinyl reissue collaborations with the Australian Roundtable label, focusing on rare library, lounge and private press exotica. We recently listed the Orchestra Peter Thomas Orion 2000 lp of tripped out sci-fi grooves, and this week we have two extremely fine examples of Italian library music from composer Egisto Macchi and his more well known group that included Ennio Morricone, Gruppo D'Improvvisazione Nuova Consonanza. While we have always respected and revered this Italian improv collective, much of their recorded output has been on the difficult listening side of things. Skronky free jazz , metallic bangs and tings, tape noise and pounding prepared piano. Sometimes abstract, dissonant and sparse, though equally majestic, heavy and remarkable, it hasn't always been easy to get behind...until now! Finally, a lost recording from 1971 for the Gemelli Library that was never released, Niente is a mind-scorching set of avant-psych groove. While there are still qualities of their defining sound present, this set is marked most notably by a strong rhythm section that is not afraid to jam out. Reminding us of favorite records from Faust and Can, this is the GDNC at their most kraut. Both funky and proggy, we think that moden day-psych fans of bands like Wooden Shjips, 3 Leafs, Carlton Melton and The Heads should look into the weird sound world of this release and get their minds blown! Limited to 500 copies and nearly out of print, we were lucky to get the copies we have, so don't snooze on this one!

You've seen the TV special... you need the soundtrack! Originally released in 1965, an all-time classic from pianist/composer Guaraldi. For all Peanuts fans and Christmas lovers.

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How could a movie so tightly integrated with music not have released a soundtrack? Well, in the case of popular cult film, Harold and Maude, whose creative usage of many of Cat Steven's most well known and widely available songs instead of a proper score, a soundtrack release at the time must have seemed like throwing money down a well. All of Steven's songs were available on his own albums, and the audience for the film at the time, which has overwhelming increased in years following, was very small. So finally, The Harold and Maude soundtrack has been made available on vinyl for the first time and it comes with a 36 page full color booklet on the making of the film and a bonus 7" of alternate versions of two songs not previously available anywhere. It's a bit pricey, but the package is deluxe and the vinyl is high quality, and any soundtrack collection of sixties and seventies film music would be remiss without it. And who doesn't love Harold & Maude??

We've got a bountiful harvest of, ah, Harvestman this list, two releases from the psychedelic alter ego of menacing Neurosis guitarist Steve Von Till, and that's very much okay by us, seeing as how we loved the first Harvestman album Lashing The Rye, and then utterly freaked out over the second one, In A Dark Tongue (made it a Record Of The Week in fact). Now, this week we've got Harvestman doing Hawkwind covers on a three-way split with U.S. Christmas and Minsk (highlighted nearby) and this, the third "official" Harvestman full-length. So far, they've all been a bit different, beginning with the druidic Brit-folk elements of the debut, morphing into the mindblowing space rock mantras of album number two, and now, an Italian horror soundtrack??? Literally, yes! Not long ago, Von Till received a commission to score an Italian film of psychological suspense oddly entitled h2Odio (or, for English speaking audiences, Hate 2 O). So, he entered his remote upper Idaho home studio and basically let his beard take over, eventually resulting in this instrumental soundtrack... don't expect spooky prog-funk a la Goblin, though! This seems more inspired by the cosmic kraut soundtracks of Popol Vuh. It's a spacey, mellowed out affair, hushed and hypnotic, full of quietly meandering psych guitar, ghostly synth pulsations, and washes of distorted drone, lovely and dark... it's not really scary scary music, just somewhat sinister, but equally soothing. We don't know much about the movie itself, this soundtrack is sufficient pleasure for us anyway, but we do imagine that if the characters/victims in the film could actually hear this music, they'd probably feel quite resigned to their fates. And now it's been released in a numbered, limited edition, in a spiffy black cardstock wallet. 71 minutes, 16 tracks, of which five, however, originally appeared on Lashing The Rye (we'd guess the director especially wanted those in his film, and then asked Von Till for more?). Listen meditatively, and become resigned to YOUR fate.

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The original soundtrack to the classic Akira Kurosawa-directed, Toshiro Mifune-starring samurai film from 1954, now on vinyl AND cd, in one package. The cd includes nine bonus tracks. Hayasaka's varied score incorporates majestic martial fanfares, sweet melodies, traditional Japanese folk music, and even a bongo-driven mambo. Gotta say, although we're glad the "free bonus cd" is included along with the 180 gram vinyl, Doxy has come up with a pretty dumb way of doing it on their releases - the compact disc is affixed by a nub to an obi-like strip that doesn't even wrap around the lp jacket, so once the shrinkwrap is off, it's liable to move around and get scuffed, even if you put the whole thing in a plastic sleeve. Regardless, soundtrack aficionados will agree it's nice to have this in circulation.

Most folks who would be interested in something like this probably don't even need to read the review. C'mon, it's a 4lp collection of Akira Kurosawa soundtracks, that's Akira Kurosawa soundtracks ON VINYL, in a cool multiple gatefold sleeve, it includes the soundtracks to such classics as Roshomon, Seven Samurai, The Throne Of Blood, The Hidden Fortress, Ikiru and Record Of A Living Being. To be fair, it's been a while since we've seen these films, but if we remember correctly, and we're pretty sure we do, the music was, and IS, incredible. AMAZING. Allan even had a friend of ours pick up a pricey Kurosawa soundtrack cd box for him years ago when she was visiting Japan, at the time the only way to get that music, but this is the first time we've ever seen these ON VINYL! We've only been ordering one of these at a time, cuz of the steep price, but every time we get one in, some one nabs it right away. So if you want one, by all means, order it, if we run out we should hopefully be able to get more pretty quickly. There's not a single person who works here who isn't insanely tempted to take this home. So probably better if someone out there buys it before someone here does!!!

Light in The Attic continues their awesome Lee Hazlewood archival series with this rarest of rare releases, a 1975 soundtrack to the last (and least known) of the many films for Swedish television Hazlewood made with longtime collaborator Torbjorn Axelman. Half surrealist anecdote and half documentary, A Room Safe for Tigers is a bizarre self-portrait of the artist as he embarks on a new life in a new land. Filmed on the island of Gotland, Hazlewood shoots various scenes with the local townsfolk, running a marathon, trying to convince Swedish children to take sides against Nixon, and seeking protective spells from a witch. The centerpiece of the soundtrack, the song "Soul's Island", reads like a pastoral response to the Nancy & Lee classic, "Some Velvet Morning" with its epic orchestral sweeps and never-ending fade out. There are a couple of revisitations from the back catalog, namely "The Nights", a spoken-sung epic about Native American genealogy and genocide and an early Shackletons' cover, "Little Boy Blue". But the bulk of the release is material never released before including instrumentals, some country-funk numbers and a strange duet with Axelman as he recites all of Hazlewood's lines in Swedish. As seen with the last archival release, The LHI Years, Hazlewood's less heard '70s Swedish output was just as vital and essential as the famed sixties material he was best known for. Kudos to Light in The Attic for continuing to make the work of this eccentric American voice more widely available.

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This is a reissue of a 1957 broadcast of Brave New World, Aldous Huxley's classic tale of future shock that launched countless sci-fi movie references from THX-1138 to Wall-E. Adapted for radio, narrated by the author with a score by Bernard Herrmann, this broadcast harkens back to the classic Orson Welles War of The Worlds radio era, while creating a chilling picture of the future that still rings true. What makes it most chilling is Herrmann's wonderful score which is featured by itself on the first 9 tracks. Consisting of harpsichords and glockenspiels, the score is light but impressionistically foreboding, reminding us a bit of the soundtrack to TV's The Prisoner, and other beautifully creepy scores of British horror movies. Brrrrrr!

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This one really doesn't need too much in the way of a description. Vinyl freaks rejoice! Three classic Bernard Herrmann Alfred Hitchcock soundtracks, presented in a luxurious 4lp set, all pressed on 180 gram vinyl, from the same label that brought us that amazing Kurosawa soundtrack set a while back. If you remember that one, you have an idea of how bad ass this looks and sounds. Massive gatefold sleeve with tons of photos and extensive sleeve notes as well as reproductions of the original movie posters, includes the original mono soundtrack to 1956's The Wrong Man, and the original stereo soundtracks to 1958's Vertigo and 1959's North By Northwest. So incredible. A bit pricey, but pretty much worth it. We only have a couple of these in stock, but fear not, if we run out, we can get more in a matter of days. That said, who knows how long these will list, best get one before they're gone for good...

Part of this amazing, twisted, sadistic Hitchcock thriller's greatness lies in the distinctive soundtrack music, available now on this new compact disc.

We recently reviewed an lp reissue for the soundtrack to Wes Craven's brutal exploitation flick Last House On The Left, and now One Way Static return to bring us another Craven classic, The Hills Have Eyes, the soundtrack by Don Peake, who might be most famous for composing the iconic theme to the TV show Knight Rider. For The Hills Have Eyes, the story of a vacation gone wrong, when a family becomes stranded in the desert and is terrorized by a clan of deformed cannibals, Peake conjured up a seriously weird score, combining traditional orchestral instruments, with electronics and some super weird noise makers, including something called "The Beam', which was a ten foot long aluminum beam strung with a single string, as well as the bone necklaces the cannibals wore in the film, which were used as shakers and percussion. Another cool thing about this reissue, is they left in all the studio chatter, which while it might take a little away from the mood, for soundtrack obsessives, is pretty fascinating. And heck, the music itself is pretty fantastic, lots of ominous electronic buzz, low end rumbles, droning synths, a lot of the moments reminiscent of John Carpenter for sure, peppered with bits of tribal folk that sound to us a bit like No-Neck Blues Band or Avarus, but wreathed in space-y synths. There's also some groovy funk, some long stretches of spare, spaced out electronic minimalism, that sounds like some lost 20th century classical, the best moments for sure are the organic/electronic hybridized tracks, piano plonks wrapped in keening strings and swirling synths, or bleating horns, blurring into synthy shimmer. The tracks are all SUPER short, more like cues, so a lot of the tracks are 30 seconds long, some are just one bar, but they all hold together pretty well. And we sorta forgot how crazy scary the score was, has us wanting to see the movie again. And like the Last House reissue, One Way Static did a great job, a full color insert with rare photos and liner notes from the stars (including Dee Wallace and Michael Berryman) as well as the director, the cameraman/director of photography and Peake himself. All housed in a super heavy gatefold jacket, adorned with some awesome shots from the film, most featuring the instantly recognizable face of the movie (as well as a ton of other horror classics) Michael Berryman!

We're really happy that this is back in print, originally released back in 2001 this was the score to the Icelandic film Englar Alheimisins (Angels Of The Universe). Hilmar Orn Hilmarsson is an amazing composer whose brooding, moody and elegant post-classical sounds evokes such a dark and heavenly cinematic quality. He has collaborated over the years with the likes of Current 93, The Hafler Trio and Psychic TV. It makes so much sense that he enlisted Sigur Ros to join him for this score. Don't be expecting a Sigur Ros record though, as this really is the brainchild of Hilmarsson, but you can still hear the band's sound very clearly on a few of the tracks, hints of Sigur Ros' distinctive dark and dreamy sounds. Elegant and lush, with a haunting quality that's made this a favorite of ours for those late rainy nights and somber afternoons.

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The soundtrack for Ethan Hawkes' latest movie (based on his first novel) sure reads like a who's who of the hip and the cool: Cat Power, Feist, Bright Eyes, The Black Keys, M.Ward, Emmylou Harris, Willie Nelson, Norah Jones, Brad Mehldau, Rocha, Tony Scherr, and Jesse Harris... Uhh, wait a sec, that last name on the list might not ring any bells as clearly as the rest of the bunch... yet! But he's the fella who wrote all of the songs on this soundtrack. Close pal Mr. Hawke thought Harris' songwriting skills would be a perfect match for The Hottest State. Not having seen the movie, we can't say for certain whether it fits or not, but as a stand alone compilation it's pretty darn solid. Heck, this should come as no surprise really because we've all probably unwittingly heard his superlative songwriting abilities before. He wrote Norah Jones' "Don't Know Why" single for gosh sake. And how's this for timing? Harris' own album Feel was just released last month so if you find your ears itching for more....

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Another fantastic new release from our favorite horror movie soundtrack reissue label, Death Waltz, this one the creepy psychedelic soundtrack to Lucio Fulci's 1981 supernatural splatterfest House By The Cemetery, this time not scored by his longtime musical partner Fabio Frizzi, but instead, a fella by the name of Walter Rizzati, who previously was maybe best known for a handful of sexploitation comedies, but he adapts pretty darn well, delivering a very Frizzi like collection of dark swirling psychedelia, and organ heavy, phantasmic, almost Goblin-ish Italo-prog moodiness. It's been ages since we've seen House By The Cemetery, so the plot eludes us, it's a twisty tangly one like all Fulci movies, we do know there's a mysterious dead girl, a murdered woman, a strange locked cellar, and a Victorian surgeon who has been experimenting on humans to become immortal? And is hundred of years old? The liner notes say it's one of Fulci's more coherent plots, but fear not, it's still batshit insane! And totally worth seeing, as are all the movies Death Waltz tackles, besides rescuing amazing lost soundtracks, DW's reissue campaign is a great classic horror primer as well! Sonically, House By The Cemetery fits pretty well with past Frizzi / Fulci collaborations, Rizzati unfurling lilting melodies over darkly drifting bog-fog shimmer, heartfelt synths wreathed in reverb and echo, peppered with little piano flourishes, those gentle melodic moments balanced by tense and intense haunted house church organ fugues, as well as some darkly atmospheric psych prog. Creepy voices drift wraithlike over buzzing synths and twisted FX, swirling atmospheric proggy ambience gives way to almost symphonic swells, there's some heavy psych guitar too, flanged and freaky, but none of this is actual 'psychedelic rock' like some other scores we've dug recently, the guitars are woven into a much broader psychedelic sprawl. Although some tracks, like "Blonk Monster" (named for Izzati's co-composer Alessandro Blonksteiner) do have a seriously fuzzy psych guitar main riff, the song sounding like it could burst into hard rock at any moment, but instead, it splinters into dense swirling clouds of hazy psychedelic noise, cymbal shimmer and tranced out drones, before returning to that doomy riffy prog-psych creep. It's definitely the track we find ourselves returning to, but there are plenty more moments like that throughout. Needless to say, super recommended, and it definitely has us wanting to see the movie again too... Pressed on blood red vinyl, housed in a gorgeous jacket with stunning new artwork by artist Graham Humphreys, whose new art is definitely in keeping with the spirit of classic Italian horror movie posters. On the back of the jacket are some killer shots from the movies as well as extensive liner notes on the back cover, about the score and the film. Inside is a 12" x 12" print of the cover art, as well as a massive fold out poster version as well. And more notes on the printed inner sleeve from Humphreys about his inspiration for the artwork. And as always, EXTREMELY LIMITED!!

Ti West's 2009 homage to classic horror/slasher flicks, in which a babysitter discovers her clients have plans to sacrifice her in a satanic ritual, a la Rosemary's Baby, is the latest modern motion picture to get the deluxe Death Waltz treatment, more often reserved for horror classics from yesteryear. But it works, since House Of The Devil is in fact modeled after the horror classics that came before, right down to the score, by Jeff Grace, whose scores for Trigger Man and the Roost we reviewed and raved about back on list 423. For HOTD, Grace goes all out, even down to the cheesy eighties style rock groove that opens the proceedings, a theme that sound like it was plucked right from some lost '80s VHS tape. The rest of the score is appropriately spare and creepy, haunting and moody and minor key, the most striking compositional element being the use of prepared piano, to add an even stranger vibe to the proceedings, the piano parts almost percussive, the notes almost metallic, ringing out in fields of hushed shimmer, slow, smoldering sprawls of sinister sonic malevolence alongside hazy, haunting drones, delicate chamber music amidst swirling strings, and dense atonal orchestral swells. A very classic sounding score for sure, that manages to sound both modern and classic, and more importantly, conjure up some serious heebie jeebies. And like all Death Waltz releases, the label went all out, killer new artwork from Tom Hodge, liner noted from Grace himself, a big full color poster, and a Japanese style obi, with still more notes about the music itself. Oh, and pressed on blood red vinyl!

One of those movies we weren't allowed to watch as a kid, but managed to see it anyway, I mean, c'mon WEREWOLVES! We had nightmares for weeks. The soundtrack is pretty scary too....

Here's the double disc soundtrack to the new movie about Bob Dylan which stars no less than six actors, including Christian Bale, Cate Blanchett, Heath Ledger, and Richard Gere, ALL as Bob Dylan. Whoa. It's like Casino Royale. As a matter of fact, both the movie and the soundtrack are star studded to ridiculous proportions! Thirty four covers of Dylan songs performed by a mix of hip young things and venerable veterans such as Sonic Youth, Eddie Vedder, Calexico, Willie Nelson, Cat Power, Yo La Tengo, Tom Verlaine, Yeah Yeah Yeahs' Karen O, Antony & The Johnsons, John Doe, Stephen Malkmus, Iron & Wine, Richie Havens, Roger McGuinn, Los Lobos, Jeff Tweedy, The Black Keys, Mark Lanegan, Ramblin' Jack Elliott, Sufjan Stevens, The Hold Steady, Charlotte Gainsbourg and The Band! A perturbing thing we noticed about these renditions though is that it seems like many artists were trying to sound like Dylan... and strangely enough many ended up sounding like Neil Young instead! Weird.

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THIS IS CURRENTLY OUT OF PRINT OR OTHERWISE UNAVAILABLE TO US AT THE MOMENT, SO PLEASE DO NOT ORDER IT. SORRY.

SORRY. BOREDOMS!! BOREDOMS SIDE PROJECT! LIMITED. JAPANESE IMPORT!! WON'T BE AROUND FOR LONG!! Okay, just wanted to get that out of the way so those of you who NEED everything Boredoms, and don't really care what it sounds like, can stop right here and order this before they're all gone. In fact, you've probably already ordered this from us. For those of you who are less well versed in all things BOREDOM, let's delve a little deeper. First, it's a soundtrack for Takashi Miike's Ichi The Killer, an unbelievably tasteless, disgusting, ultraviolent, hilarious Manga cartoon come to life (it's actually based on a popular Japanese Manga) with lots of blood, cum, killing, torture, and violence. Some of you may recognise Miike's name as another of his films, the horrific The Audition, recently got a lot of attention in the US. Anyway, who better to score the ridiculous mayhemic bloodbath that is Ichi The Killer than the purveyors of ridiculous musical mayhem, Boredoms. So what you have here is a group calling itself Karera Musication, featuring Yoshimi p-we, ATR, Hilah, and Seiichi Yamamoto, which basically amounts to Boredoms without Eye. But what does it sound like you ask? Let's put it this way, if someone played this for you and told you it was the new Boredoms record, you wouldn't bat an eye. Lots of spaced out, percussive jamming, trippy sound effects, chimes, chopped up / processed electronic squiggles, weird seventies porn funk, full on Japanoise, blissed out Krautrock (sounding a lot like old Kraftwerk), little vocal bleats from Yoshimi, drum vocal raveups ala old Boredoms, thick distorted guitar rock, dreamy tranced out spirituals and everything in between. Andee says go rent the movie or buy a copy on eBay, but even if you're not up for an ultra-violent movie about a nerdy guy in a leather superhero suit (equipped with razor sharp boot-blades) who jacks off while he watches pimps beat up prostitutes and then loses control whenever he is teased and dismembers everyone within arms reach, you can still enjoy this! And you Boredoms fanatics will get the fix you need until the next proper release.

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We were recently visiting another store here in town, and were totally struck by whatever it was they were listening to. It was exactly the sort of thing we love here at aQ, it was creepy and dark and droney, sort of familiar, but totally strange and alien at the same time. Huge moaning horns, lots of incredibly low brass, emitting cacophonous groans, strange monk like chanting, it sounded a little like something we could have heard, maybe Hermann Nitsch, or Arvo Part, it was sort of choral, but also tribal, and those horns, it was like the sound they made was a physical entity, a brass wave filling the room, eventually we had to swallow our pride and ask just what the heck they were listening to. The answer was of course King Kong Vs. Godzilla. WTF?! KING KONG VS. GODZILLA? Now we love us our King Kong, and our cheesey, men-in-rubber-suits monster movies, but we certainly didn't remember the music being so... weird, and heavy, and haunting, and beautiful. Now that we've been listening to this soundtrack for a week or two, it's nearly impossible to imagine how this could be the music for a battle between those two classic movie monsters. And if we do, we can't help but imagine the typical clumsy rubber suited battles transformed into impossibly arty ballets, drenched in blacks and greys, gauzy and arty, like some hellish painting brought to life. King Kong Vs. Godzilla, originally released in 1962, was the most maligned and misunderstood, as well as somehow the most successful of all the Godzilla movies. Unlike the films before it. KK Vs. G was a bit more light hearted (you would never know from the score!), the monster suits less scary, the whole film a subtle satire of Japanese commercialism. For it's American release it was tinkered with, chopped, edited and poorly dubbed. The result while obviously a far cry from the original's intent, resulted in a film that still appealed to the American market's love for cheesy monster movies and was thus a sucess here too. Sadly though, when the film was re-edited for US release, the score was mostly replaced with music from The Creature From The Black Lagoon! Apparently that's not totally unheard of, since once a film is dramatically re-edited, the original music just doesn't sync up, but once you hear Ifukube's score it's impossible to imagine anyone wanting to replace it. Since this is a soundtrack, there are definitely tracks that exist to support particular onscreen visuals, be it a melancholy bit of old timey jazz, some festive marching band music, a bit of playful calypso pop, some tribal drum / chant interludes, but for the most part, Ifukube's gives us a series of creepy, haunting orchestra driven chunks of dramatic moodiness, forboding and sinister, evoking not so much images of giant apes and lizards, but instead of human misery and terror, the frailty of human existence in the face of monsters and demons. Bleak and oppressive, funereal and somber, but with glimmers of hopefulness, and stretches of what sounds like resilliance in the face of doom, calls to arms, an amazingly emotional score for a monster movie, all conveyed via the aformentioned moaning horns swooping ominously above martial drumming and booming tympani's, balanced by bits of soaring strings and chanting vocals. We want to see this movie now so bad, but at the same time it almost seems like these sounds would be tainted, even though they were composed to accompany those specific images, having heard them on their own, the music has taken on it's own life, its own meaning, and exists fully realized simply as music, even (especially?) removed from it's visual counterpart. We imagine that this was most likely re-released to coincide with the recent Peter Jackson King Kong remake, which is also probably why you won't find ANY images of King Kong anywhere in the booklet or on the sleeve. But don't let that keep you from discovering this amazing recording. Extensive liner notes including the fascinating and convoluted history of the film as well as notes on each track. Sidenote: Recognize the recurring theme? Check the sound sample for "Godzilla's Resurrection." We did the second we heard it, those low horns, that stacatto 'dun dun dundun'. It's the loop from Pharoahe Monch's 1999 hit "Simon Says" (which you might also remember as the song Sam Rockwell dances to in the first Charlie's Angels as he gets ready to torture Drew Barrymore)!

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