OFFICIAL RSD 2018 release. Wewantsounds present the first ever vinyl reissue of Serge Gainsbourg’s cult score for the 1968 French film Le Pacha. These tracks were composed by Serge Gainsbourg at the height of his ’60s cool when he was briefly going out with Brigitte Bardot and the couple was on the verge of recording the infamous first version of “Je T’aime… Moi Non Plus” (1969). All the tracks here are arranged by famed arranger Michel Colombier, who had been responsible for some of Gainsbourg’s best songs (“Bonnie & Clyde” and “Harley Davidson”) and had also arranged Pierre Henry’s classic Psyche-Rock around the same time — note the similarity between Psyche-Rock and “Un Noel 67” from this set. Many of these nuggets blend ’60s pop and psychedelia — pure undiluted Gainsbourg with his classic psyche-pop sound of the late ’60s. The original soundtrack features his classic “Requiem Pour Un Con” together with a previously unreleased instrumental mix, along with two bonus tracks from William Klein’s 1968 film Mister Freedom. Digitally remastered from the original tapes, this is the first time the full soundtrack is released on vinyl in its entirety. Comes in a deluxe gatefold sleeve featuring artwork by the famous French Alternative Movie Poster designer Maxime Pecourt. Includes liner notes with the full lineup and an interview of bass player Francis Darizcuren.
Galvanising our ongoing commitment to the lost music of the Czech New Wave cinema movement from the late 1960s and 1970s, Finders Keepers Records follow up our series of previously unreleased music to Valerie And Her Week Of Wonders, Daisies, Saxana and The Little Mermaid with a short series of soundtracks for films by the country’s master of the macabre and the nation’s first point of call for freakish fairytales and hallucinogenic horror, Mr. Juraj Herz.
Regarded as the final ever film of the Czech New Wave, Juraj Herz’s Morgiana (alongside Valerie And Her Week Of Wonders) was made after the Prague Spring during Czech cinema’s most scrutinised censorship era, deep in the throws of communism. Spearheading a micro-cosmic sub-genre of horror fantasy or scary/fairytales alongside Karel Kachyňa’s Malá Mořská Víla (The Little Mermaid), these directors built a handful of subversive, flamboyant and experimental new films based around classical communist approved surrealist literature; sidestepping creative compromise and uniting some of the leading lights of the FAMU founded film movement for the last time. Both musical scores courtesy of Luboš Fišer unite Valerie and Morgiana; sharing doppelgänger production and compositional ideas presented by Finders Keepers Records for the first time ever outside of the original context of the film.
It is easy to hear why the music for both films could easily be confused as part of the same score, or as very close twin sisters, having been recorded just 18 months apart in 1970 and 1972. Revealing tiny shards of identical melodic phrasing, the Morgiana score visits darker hallucinogenic corners for this tale of two sisters seen through the perspective of giallo-esque “cat’s eye” camera work (filmed by Jaroslav Kučera) revealing poison induced hysteria fuelled by sibling rivalry and desperately twisted jealousy. Adopting his mysteriously macabre musical persona, the versatile Fišer interweaves chimes, harps and harpsichord with echoing flutes, lutes and piano, applying his signature orchestral tension and experimental percussion traits in the form of treated pianos, vibra-slaps, tape samples of striking matches and spring reverbs to this oblique heady selection.
Revered in similar esteem to that of Czech film legend Zdeněk Liška, Fišer’s unreleased filmography of forward-thinking Czech scores is slowly reaching a wider global audience through his first ever dedicated commercial soundtrack releases which should, in time, win him the same votes of confidence that we now award the likes of Komeda, Korzyński, Roubaix and Nicolai, amongst other European soundtrack luminaries.
Finding the perfect axis between the likes of Goblin, Roubaix, Barry and Sorgini this bloodthirsty entrée to our Bruno Nicolai and Edwige Fenech series delivers a vinyl debut for the music of this lesser-known beat driven Sergio Martino Giallo horror. A real treat for the patient Euro VHS fans and the library collector alike this varied vinyl compact OST finally spreads its wings.
As the third instalment of a devoted series of vinyl releases focussing on Italian composer Bruno Nicolai’s soundtrack music to the films of Edwige Fenech, Finders Keepers serve this bloody hors d’oeuvres of 4 tracks from the 1971 Sergio Martino Poe inspired Italian thriller Your Vice Is A Locked Door And Only I Have The Key.
This limited pressed 7″ EP opens up with one of the composer’s greatest Giallo theme tunes from his recorded golden era containing all of those characteristic traits as previously heard on our De Sade and Conte Dracula releases. Previously only available in edited form as the lead track of the much sought-after but commercially unavailable Rendez Vous library LP, Finders Keepers have paired our loyalty to both the Euro horror video collectors as well as the vinyl detectives to bring you something unique and truly coveted from italian shock cinema’s vibrant plumage.
Bass driven, beat laden with deranged psychedelic symphonies (finding the perfect axis between the likes of Goblin, Roubaix and Barry) this four track instalment also combines other melodic pastoral harpsichord and clavinet motifs echoing Nicolai’s work with Morricone for films like Lizard In A Woman’s Skin to make this compact forerunner the perfect rounded release for a long overdue vinyl debut.
‘Floating Into The Night’ is the 1989 debut album by vocalist Julee Cruise featuring songs written and produced by composer Angelo Badalamenti and film director David Lynch. The songs ‘Falling’ and ‘Rockin’ Back Inside My Heart’ were both featured in Lynch’s cult television series Twin Peaks, while ‘Into the Night’, ‘The Nightingale’ and ‘The World Spins’ also appeared in the show. The instrumental version of ‘Falling’ was the theme song for Twin Peaks while the album as a whole is almost an unofficial soundtrack to the series. The track ‘Mysteries Of Love’ was prominently featured in Lynch’s classic film Blue Velvet. Cruise’s dreamy, light vocals match perfectly with the music and lyrics to make this album sound like it is unattached to any era. Reissued on red vinyl with a double sided insert by Plain Recordings.
It’s only appropriate that Solaris, Russian filmmaker Andrei Tarkovsky’s psychological sci-fi classic from 1972, contains an equally original and mind-bending score. Solaris explores the inadequacies of time and memory on an enigmatic planet below a derelict space station. To reinforce the film’s chilling setting, Tarkovsky commissioned composer Eduard Artemiev to construct an electronic soundscape reflecting planet Solaris’ amorphous and mysterious surface; Artemiev rose to the challenge with a prophetic work that defies the era’s technological limitations while evoking unparalleled emotional responses even today.
Artemiev’s score – centered around variations on Bach’s “Chorale Prelude in F-Minor,” a somber piece for solo organ – sounds majestic alongside dissonant crescendos and formless, ambient tracks. Armed with the massive ANS synthesizer (aptly named after Russian occultist Alexander Nikolayevich Scriabin, who pioneered thought behind the synesthesiatic effects of music), Artemiev drafted sine waves on glass plates for the machine to interpret. The only prototype of the ANS was destroyed shortly after the Solaris soundtrack was recorded. Luckily this artifact of transcendent composition married with technological innovation endures as a masterpiece of early electronic music.
Superior Viaduct is honored to present the first-time official release of Artemiev’s original soundtrack for the film (not to be confused with the previously available re-recording of the music). Recommended for fans of Cluster, Iannis Xenakis and Louis and Bebe Barron’s Forbidden Planet.
Omaggio ad Einstein has a special place among the many albums of electronic music composed by Piero Umiliani. In this homage to the German physicist, Umiliani subverts the rules of space and time in music and creates an album with 23 compositions, all of them less than two minutes long, instead of following the traditional 7-10 tracks usually present in an LP. This is an original and experimental album, with a peculiar and epic catchiness, tied to Piero Umiliani’s masterful use of synthesizers and great experience in the field of soundtracks. The themes of Omaggio ad Einstein take us to sidereal spaces, wandering across the universe with their clear sounds and wonderfully creative titles (“The Celestial Vault,” “Nuclear Valkyries,” “Galactic Abyss”…). This is the first reissue of this album, which was originally released in 1976 by Umiliani’s Omicron label.
Limited Re-Press, 500 copies only – includes a deluxe 12 page 10″ x 10″ booklet with anime cells. Mastered & Cut by Matt Colton. Cover art features blueprint sketches made by revered animator Marisuke Eguchi.
Boomkat Product Review:
Mica Levi’s original soundtrack to an animé by acclaimed artist and Turner prize nominee Phil Collins – the film was illustrated and designed by the revered Marisuke Eguchi and is a follow-up to Levi’s award winning work on ‘Under The Skin’ and ‘Jackie’. Trust, this one’s a bit special.
This is Mica’s first musical accompaniment for animation, once again using her signature palette of dissonant strings and combustible electronics that just completely get to us every time. She paints a series of sweeping backdrops to the film’s blend of classically-schooled anime and up-to-the-second CGI designs in a way that we find it hard to imagine any other contemporary soundtrack producer could have managed – somewhere between Arthur Russell, John Carpenter and Johann Johannsson.
The film is set in a near future where carbon-based energy is outlawed and supposes a paradoxical scenario, one where fossil fuels – the ostensible accelerator of humanity’s progress and decline – become energy for the toil against state oppression and enforced inequality. In doing so, it resonates with anime’s strong tradition of exploring eco-feminist themes and power dynamics, both socio-political and technological.
The central Delete Beach theme, a diaphanous section of airborne synth-string contours and charred guitar distortion carved in pirouetting turns-of-phrase, appears in Japanese and English-narrated versions as well as an Instrumental mix. They are divided by the beat-driven Interlude 1 and interlude 2 – which is perhaps the standout piece on the whole score and possibly in Levi’s impeccable oeuvre generally – a mix of string slashes mixed with opiated chopped ’n screwed rhythms comparable to her breathtaking deconstructions with the London Sinfonietta.
After her work underlying and exploring complex characters in Jackie, a biopic of Jacqueline Kennedy Onassis, and the alien-woman metaphors of Jonathan Glazer’s Under The Skin, Delete Beach follows suit with an impendingly tense, viscerally affective sound that reflects and conveys a sense of independence in the face of uncertainty, of a struggle against imposed forces or control systems.
It’s another beguiling testament to Levi’s role as one of the most original and eminent composers of her generation and, once again, leaves us convinced that she’s more or less peerless in this field…
Solaris. Sound And Vision is a collector’s edition box set, limited to 500 numbered copies worldwide, that includes the soundtrack realised by the great Russian composer Edward Artemiev for the Andrey Tarkovsky’s masterpiece film Solaris (1972).
The box includes the soundtrack in two formats: LP 180gr high-quality virgin vinyl and, for the first time, CDThe release is also accompanied by an exclusive photo book with unreleased images of the movie set and essays about music and cinema of the duo Artemiev/Tarkovsky, and the BluRay version of the film, in original language with English subtitles.The collaboration between Tarkovsky and Artemiev started in conjunction with the completion of Solaris when the director was seeking for a film score capable to give back and complete, through the sound, the meaningful images of the film. Back in the day, Artemiev was a member of the legendary Experimental Studio of Electronic Music in Moscow, a place of high experimentation in the field of the electronic music, in the context of which the ANS synthesizer was conceived and employed for the first time for music composition. Invented almost ten years before by Murzin, the ANS was used by Artemiev to create the special sound atmosphere that Tarkovsky was looking for. Artemiev and Tarkovsky’s association will also extend to two other undisputed masterpieces of Tarkovsky, Mirror and Stalker that will come out some time later.A unique artistic joint-venture is that among the duo, in which the musician is seen as a sound organiser, more than a composer, within the process of giving form to a soundscape intertwined completely with the film in its unfolding: always essential and never to be experienced as an accessory element. What emerges here is how and at what degree for Tarkovsky the sound is part of his own existence.
Made in collaboration with the Andrey Tarkovsky Institute, Solaris. Sound And Vision is a compelling publication for everyone who wants to dive deep into the Tarkovsky’s realm.
Don’t let the name mislead you! The enigmatic M. Zalla is one of the numerous aliases of the italian maestro Piero Umiliani who, during his period of fascination for psychedelic and electronic atmospheres, started to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time. We are at the beginning of ’70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature; dark and disturbing, a sort of unicum in the long and extremly productive Umiliani career. And if, in 2015, titlesas “Mondo in Crisi”, “Problemi Sociali”, “Azione Sindacale”and “Mafia Oggi” sounds still sadly actual, it’s even more surprising find that the music of “Problemi d’Oggi” (Today Problems) is projected on the future, sounding still alien and uniques. The record presents a various styles: Pink Floyd atmospheres (or Braen’s Machine if you prefer…) and compositions characterized by a wide use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen to the opening track “Produzione” to give sense to the words of Sean Canty (Demdike Stare) that defines it the first techno/trance track of the history; but between the grooves of this vinyl it’s easy to find intuitions that many other artist and musicians – from Residents to Aphex Twin and Four Tet – will be able to catch during their carrers. So “Problemi d’Oggi” is released in 2015. Perfect timing!
JAGJAGUWAR & Death Waltz Recording Company are proud and excited to release a true masterpiece into the world with the soundtrack to Panos Cosmatos’ BEYOND THE BLACK RAINBOW. Posited as a “lost film” of the 1980s, the picture is inspired by classic dystopian fiction and the obscure SF movies one used to see lining the shelves of the local video store. As such, the brilliant soundtrack blends seamlessly amongst its influences; Tangerine Dream, Wendy Carlos, and of course John Carpenter, with the latter’s mark heard on the oppressive synth percussion of the main titles and the evocative melodies heard throughout. Created by Sinoia Caves, the ongoing project of Jeremy Schmidt, a disciple of the long-form cosmic synthesizer soundscape, and member of Canadian psych-and-prog-spiritual pioneers Black Mountain, this recording also features guest appearances by Joshua Wells, drummer of Black Mountain.
Schmidt’s score is many things – haunting, uncompromising, intense – but is always a fascinating listen. Incorporating touchstone elements such as mellotron choirs, glacial analogue synthesizer pads and arpeggiators, Schmidt artfully navigates the various sonic sensibilities of the 70s-80s genre aesthetic. What emerges from this schematic realm of the ‘almost familiar’ evolves and manifests as a work of striking originality, an ominously beautiful, otherworldly and terrifying score. Simply put, BEYOND THE BLACK RAINBOW is an astounding piece of work and must not be missed. Do you read me?
A1 Forever Dilating Eye 4:17
A2 Elena’s Sound-World 5:04
A3 Run Program: Sentionauts 2:59
A4 Arboria Tapes – Award Winning Gardens 3:02
A5 1983 – Main Titles 3:16
B1 1966 – Let The New Age Of Enlightenment Begin 16:27
B2 Sentionauts II 3:29
The Neon Demon is the latest film from acclaimed director Nicolas Winding Refn (Drive, Only God Forgives). Starring Elle Fanning (Maleificent, Trumbo), The Neon Demon follows Jesse, a young woman who moves to the neon-drenched city of Los Angeles to pursue a career in fashion modeling. Soon thereafter a group of beauty-obsessed women begin to circle her, hungering for her youth and vitality. Before long, Jesse finds herself caught in the sinister world of Los Angeles’ unforgiving underbelly. Keanu Reeves (The Matrix, John Wick), Christina Hendricks (Drive) and Jena Malone (The Hunger Games series) round out the principal cast. Director Refn turned once again to his frequent collaborator Cliff Martinez (Drive, Traffic) for scoring duties. Martinez has created a powerful, modern tapestry of sound utilizing synthesizers as a framework for the dark corners and vibrant vistas that make the City of Angels. The soundtrack also features the dark electro piece “The Demon Dance” by Julian Winding, as well as “Mine” a pop track by Sweet Tempest.“Waving Goodbye“, an original song written by Australian singer Sia and produced by the Grammy Award-winning producer Diplo serves as a bookend to the album.
Monster Melodies present the original soundtrack of Amore (1973), a film by Henry Chapier, composed and performed by Vangelis Papathanassiou. An unreleased recording dating from July 1973. Vangelis Papathanassiou was the composer of the group Aphrodite’s Child, he composed the band’s music and the songs of Demis Roussos. Later Vangelis became famous for the soundtrack of the film Chariots of Fire (1981). In 1974, Henry Chapier after several atypical movie, An American Summer (1968), Sex-Power (1970) and Hi, Jerusalem (1972), directed the fiction film Amore. Here is an extract from the Divan d’Henry Chapier interview with Papathanassiou directed by Jean Claude Longin 2011: “This is happening in a city constantly threatened with death. At the time, I thought, there were a lot of documentaries and that I would do it differently. I imagined Venice in the guise of a heroine, a very beautiful woman, Sonia Petrovna, a girl of the Venetian aristocracy ailing, representing a page of history that has passed. But the fact remains that in the frame, in the subject, there was a little journalistic approach. Also because one of the actors, Daniel Quenaud, was presumed to be a reporter, sent to consider the merits of an architectural plan which would save Venice. So in the agreement, there is a slight journalist contamination. Otherwise there was also a love story… I think it’s more of a fiction film than a documentary nonetheless.” Chapier had this to say about going about the score: “The first time, it was at the Olympia, at the band’s concert. I found the music to be trippy and wonderful, I, who above all, loved the Pink Floyd. I thought the Pink Floyd, I could never get them for my films. So I stormed in backstage at the Olympia, I said to Vangelis, ‘Listen you are made to be an independent composer.’ Things clicked between us instantly and so I asked if he wanted the script. He told me, ‘no, we will see, me, I improvise from images.’ This is a technique that is practiced today, but back then, it was unheard of. We did not have people like him, who recorded the sound on sixteen tracks, playing all the instruments themselves and who already had in mind how they would edit the soundtrack.” Colored vinyl. Includes unpublished photos, the film poster and a postcard.
Kutmah (pronounced koot/mah) will release his long overdue debut album “The Revenge Of Black Belly Button!” (or TROBBB!) via Big Dada on 28th July 2017. The record features an incredible cast of guests – Gonjasufi, Jonwayne, Natureboy Flako, Ta’Raach, Jeremiah Jae, Zeroh, Zackey Force Funk, N8NOFACE, Sach, Akello G Light and DJ Chris P Cuts – spanning experimental meditative, Zennist loops; crackly oddball beats and abstract raps; as far as outright punk/noise and even folk/blues. At its heart it’s an incredibly sentimental record, heavily referential to his past but also future-facing, and not just in its sonics. “I wanted to make a record for loners. You know some records have that ‘Hey! I’m at a festival!’ sound? Well I wanted to do the opposite of that,” he laughs.
It’s fitting that the album arrives via Big Dada – a label that helped shape his vision. “Big Dada started the same year I started DJing. Not DJing in clubs or making tapes. Literally when I first touched turntables,” he explains. “I knew I had to find that other type of music to fit where my head was at. Leftfield beats and abstract rhymes were what I was looking for and alongside Jazz Fudge, Mo Wax, Asphodel and Fondle ‘Em, Big Dada was what I was digging.”
Kutmah is a mercurial creative whether you’re talking art or music. As a DJ/curator, he has tirelessly searched for and championed new underground talent from across the globe. His passion, hunger and most importantly, his incredible ear for new music have made him Flying Lotus’ go-to warm-up DJ and also earned him the honour of compiling an album – “Kutmah presents Worldwide Family Vol.2” – for Gilles Peterson’s Brownswood Recordings in 2012. It brought to the fore Kutmah’s gift for A&R, cemented when he founded his own label IZWID in 2013.
Justin McNulty was born in Brighton, England to an Egyptian mother and Scottish father. He moved to the United States when he was 12 years old and grew up in Los Angeles, California. In 2004 he co-founded the now legendary Sketchbook Sessions at Little Temple alongside Take, Eric Coleman (Mochilla) and DJ Nobody (Low End Theory). It was LA’s first instrumental beats and art night, and it paved the way for the city’s inimitable musical renaissance. The sonics and spirit are encapsulated in Kutmah’s monthly Sketchbook radio broadcast on NTS – now in its sixth year.
On 29th July 2010 Justin was deported from the US for 10 years. He spent 3 months in a detention centre in New Mexico before being flown to the UK. He lived in Manchester and London before relocating to Berlin in 2016.
“Everytime I play, I feel I’m planting seeds,” he muses, in relation to his move to Europe and his role as an albeit unofficial ambassador for LA’s blossoming beat movement. “The funny thing is I was an outcast even when I was in LA. Dancefloors weren’t really ready if I’m honest. People were still heavily into classic 90’s hip-hop, so they weren’t ready for some gnarly beats. I started DJing so late that there was no way I was going to get a reputation playing 90’s hip-hop – we already had DJs for that.”
The album was recorded in Berlin in Winter. Being in a foreign country around the holidays when one is supposed to be with family… that emotion of isolation weighed heavy on Justin: “For three weeks during this time I didn’t speak to a single person… I had no internet and no phone.” Accordingly, half of the record fits this season and these emotions. In Spring the sun came out and the flowers were blooming: “I started to cheer up a bit and so did the beats,” says Justin. “I like that there are polar opposite vibes on the record. Hopefully I’ll hear from some punk kid that they only like Part One, or from some hip-hop head that they only like Part Two… or some beat head saying they only like the instrumentals,” he laughs.
Close friend Dario Rojo Guerra (aka Natureboy Flako) played a key role in piecing the album together with Justin, acting as engineer and occasionally producer, in addition to providing a set of trusted ears. “Flako is the real MVP of the album,” affirms Justin. “I couldn’t imagine what the record would have sounded like without his input.” The album was mastered by Kelly Hibbert (AlmaChrome) who counts J Dilla’s “Ruff Draft” and Madlib’s “WLIB AM: King Of The Wigflip” in his discography – two massively influential and inspirational records in Kutmah’s musical DNA.
There’s a definite sense of contemplation and memory with “TROBBB!”. The title is a reference to Justin’s school days in Brighton. He would go to Egypt to visit family in the summer holidays and come back to school suitably tanned. One bully took to calling him Black Belly Button until one day Justin took retribution with his fists. The cover photo, taken by Justin himself is in itself highly symbolic: “It’s my homegirl Angela at lunch break at Hoover High in Glendale around 1992. We would always try to go where no dickheads were hanging out, so we would go chill by the bleachers and take photos of each other.” It was one of the only possessions that survived a house fire in 2007. “If you look at the right corner of the photo you can see the residue from the fire,” he says. “Having this be one of the few things that made it through the fire that was going to burn me alive if I didn’t wake up in time to rescue my housemate and jump out the window in our fucking underwear made the photo even more special, so I had to use it for my debut album.”
A1 Orchestral Tuning Up
A3 Dream Sequence
A4 Village Walk
A6 Down The Stairs
A7 Up The Stairs
A8 The Letter
B1 Cutting Flowers
B2 Boy, Mirror, Cars Arriving
B3 Third Tantrum
B4 Printing Press
B5 On The Way To The Meeting
B6 The Meeting
B7 Post Meeting
B9 New Dawn (Synth Layout For Cut Scene)
Compilation LP of pakistani “Lollywood” soundtracks. From films:
A1 – Zanjeer
A2 – Adawat
A3 – Uf Yeh Beevian
A4 – Akbar Amar Anthony
A5 – Aj Da Badmash
B1 – Naukar
B2 – Ankhon Ankhon Men
B3 – Kora Kaghaz
B4 – Zindagi Ya Maut
B5 – Surat Aur Seerat