Jack Latham - Lux Laze (2015)
MP3 psw: NOL
Mdou Moctar - Akounak Tedalat Taha Tazoughai OST (2015)
Teho Teardo - Ballyturk (2014)
Dino Spiluttini - Music for Parabellum (2015)
Ben Salisbury & Geoff Barrow - Ex Machina (2015)
Alejandro Jodorowsky - The Holy Mountain Soundtrack (2015)
MP3 psw: NOL
Alejandro Jodorowsky - El Topo (2015)
Il Reale Impero Britannico - Perchè Si Uccidono (1999)
Ryuichi Sakamoto - Atarashii Kutsu wo Kawanakucha Original Soundtrack MP3
Original soundtrack release of the film "Atarashii Kutsu wo Kawanakucha" starring Miho Nakayama and Osamu Mukai. Its music is directed by Ryuichi Sakamoto and composed by Kotoringo.
Wow this is a stunner. Else Marie Pade’s ‘Electronic Works 1958-1995′ is a truly precious survey of a lone, pioneering voice in electronic music. Born in Aarhus, Denmark, in 1924, Else created the first piece of electronic music played on Danish radio, ‘Syv Cirkler (Seven Circles)’, marking the early development of an (up until now) largely hidden body of work inspired by her experiences while interred at a Nazi prison camp as a teenager, and subsequent studies with Pierre Schaffer and Karlheinz Stockhausen in the following years. To date she’s mostly remained an outpost unto herself, save for Dacapo Records efforts in the ’00s with the ‘Et Glasperlespil’ CD – and some remixed arrangements in ‘Face It’, plus a handful of compilation appearances, before Jakob Kirkegaard stepped up to work with her on the collaborative ‘Svævninger’ album and curate ‘Electronic Works 1958-1995′. These are her most important works; a microcosmos of plangent bleeps and spectral tones illuminated by her inner moonlight. The most obvious comparison is with Daphne Oram, who, at the same time was conjuring her very own electronic worlds from imagination and engineering, and also manifesting a sense of quiet wonder and trepidation towards the world in her compositions. As she explains: “The sounds outside became concrète music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music.” This set is arguably one of the most evocative, enchanted examples of early electronic music we’ve encountered yet – another totally immersive find from Important Records.
Holy Grail territory here from Andy Votel and Demdike’s mighty Dead Cert imprint - here finally bringing you this incredible album of previously unreleased Industrial-themed recordings made in 1976 by experimental pioneer and Ennio Morricone cohort Alessandro Alessandroni. The concept itself is riveting enough: the guy who provided that infamous guitar riff for 'The Good, The Bad and The Ugly' providing utterly bent and synth-heavy recordings previously unheard by the wider world - but the material and execution is just nothing short of a revelation, unlocking an uncannily prescient suite of rhythmik pieces that sound unlike much library music you will have heard from the era. ‘Industrial’ perfectly encapsulates the heightened state of creativity in the mid '70s surrounding Alessandroni and his close peers Giuliano Sorgini - together known as Braen Raskovich - and Ennio Morricone, for whom Alessandro also famously whistled the theme to 'A Fistful of Dollars’. Recorded at Piero Umiliani's Sound Workshop in Rome, and made with an arsenal of EMS Synthi VCS3 modular systems, tape loops and a treated Petrof grand piano plus a bundle of string instruments, the 'Industrial' results (coincidentally issued the same year as Throbbing Gristle's debut album) present a pulsating take on this kind of music breaching tightly-coiled motorik systems and mood percolators with atonal strings and viral oscillations. Most importantly, the sense of minimalist efficiency and the clarity of the recordings are shocking, pushing the envelope of electro-acoustic music and pre-empting the early notions of an entire genre movement. It’s taken an age to make this release happen - but here it finally is in all its remastered glory, including artwork by Anthony Shallcross and liner notes by Shallcross Jr, aka Andy Votel.
Laurent Petitgand - The Salt of the Earth MP3 psw: NOL
Massive Attack - Movie Soundtracks MP3
This compilation features Massive Attack songs used as soundtracks for movies, not found on any of their commercial releases. The origin of this album is unknown, but the Comments field reads "For internal use only".
The music for the anime series Ghost in the Shell: Stand Alone Complex was primarily composed by Yoko Kanno and produced by Victor Entertainment. Soundtracks were also produced for the two OVA films, The Laughing Man and Individual Eleven, and the TV film Solid State Society.
Black Rain - 1.0 MP3 psw: NOL
Exploring darker territory than 2012’s more pastoral As The Crow Flies, The Advisory Circle hint at a Wyndham-esque science fiction story, where bucolic English scenery is being manipulated and maybe even artificially generated by bizarre multi-dimensional computer technology.
Jon Brooks’ strong sense of melody and composition is still evident as is his renowned sound design and production skill. All of which make this a rich and rewarding experience.
The Future Sound of London - Mushroom 11 MP3
Ennio Morricone - La Classe Operaia Va In Paradiso MP3
Robin Guthrie & Harold Budd - White Bird In A Blizzard FLAC
Original Motion Picture Soundtrack. Music by Robin Guthrie & Harold Budd. Kat Connors is 17 years old when her perfect homemaker mother, Eve, a beautiful, enigmatic, and haunted woman, disappears—just as Kat is discovering and relishing her newfound sexuality. Having lived for so long in a stifled, emotionally repressed household, she barely registers her mother's absence and certainly doesn't blame her doormat of a father, Brock, for the loss. In fact, it's almost a relief. But as time passes, Kat begins to come to grips with how deeply Eve's disappearance has affected her.
Jóhann Jóhannsson & BJ Nilsen - I Am Here MP3
Tangerine Dream - The Cinematographic Score - GTA 5 MP3
Mica Levi - Under The Skin MP3
Under the Skin is a new film that stars Scarlett Johansson as "an alien seductress" who "preys upon hitchhikers in Scotland". It's directed by Jonathan Glazer, the man behind classic videos for Radiohead, Blur, Massive Attack, and more. It's scored by Micachu and the Shapes' Mica Levi; the soundtrack's out April 1 in the U.S. and March 31 in the UK via Milan. Watch a trailer for the film, featuring music by Levi, below. The film hits theaters April 4 2014.
**Legendary psych-funk soundtrack by Serge Gainsbourg collaborator, as sampled by J Dilla and Madlib, and referenced by Air. Reissue housed in tip on-style jacket with spotgloss artwork and printed inner** "Animated sci-fi masterpiece La Planète Sauvage (a.k.a. Fantastic Planet), winner at Cannes Film Festival in 1973, is a bizarre and beautiful film. Towering blue-skinned figures, tiny humanoids in the midst of revolt, and drug-induced Tantric sex transport viewers to a truly magical setting. Composer Alain Goraguer creates an equally hypnotic score from a palette of effects-laden guitars, flutes, Fender Rhodes and strings. While the lush arrangements are reminiscent of Goraguer's collaborations with Serge Gainsbourg in the 1960s, space-age synth flourishes suggest a more psychedelic era. Moody vignettes flow together in tense, slow-paced funk rhythms and Baroque textures. It comes as no surprise that La Planète Sauvage has been cited as an influence on contemporary artists such as French duo AIR and American hip-hop producers J Dilla and Madlib. Gorgeous, interplanetary soundscapes resemble the surreal meeting point between PINK FLOYD's Obscured by Clouds and BROADCAST's Future Crayon. This long out-of-print vinyl release features the original soundtrack recording and newly designed artwork. Recommended for fans of Ennio Morricone, Basil Kirchin and David Axelrod."
Alessandro Alessandroni - I Cantori Moderni FLAC
Commercially available for the first time, this 1970 library album by Alessandro Alessandroni is the only existing full-length recording of his extraordinary vocal group, I Cantori Moderni, an eight-to-sixteen person choir featuring Edda Dell'Orso, Giulia De Mutiis (Alessandroni's first wife), Gianna Spagnuolo, Augusto Giardino, and Franco Cosacchi, and highlighting, through twelve original themes by Alessandroni, the complex vocal harmonies of the legendary group that lent their voices to the amazing soundtracks of Ennio Morricone, Piero Umiliani and many of the most important Italian composers of the ‘60s and ‘70s.
Teho Teardo - Soundtrack Work 2004-2008 MP3
Having found fame and acclaim at Cannes with his prize-winning score for Il Divo (the Paolo Sorrentino biopic of former Italian Prime Minister Giulio Andreotti), Teho Teardo is now poised among the elite of European cinema's up-and-coming composers. His music for that film (for which he was awarded both the Ennio Morricone Prize at the Italia Film Festival and the David di Nonatell Prize) is included on this catch-up retrospective disc, alongside soundtracks for cult thriler La Ragazza Del Lago (The Girl By The Lake), Il Passato E Una Terra Straniera (The Past Is A Foreign Land), L'Amico di Famiglia (Friend Of The Family) and 'Lavorare Con Lentezza' (Working Slowly). Key to Teardo's sound is his readiness to incorporate contemporary programmed electronics into his orchestral arrangements. This is something evident throughout the retrospective and harks back to Teardo's work as one half of Expanding Records' electronica duo, Modern Institute. There's a bold use of glitchy, abstract beat construction running through this material that perhaps to some extent recalls Olafur Arnalds' combination of sequenced electronics and strings on his earlier output; other familiar names like Max Richter are likely to spring to mind too, yet this material tends to be a little more experimental and more willing to stray beyond the confines of the established neo-classical idiom. Combining jittery, whirring percussion with guitars and languid string riffs, something like L'Amico di Famielia's 'Miss Agropontino' feels like a more progressive approach to film soundtracking, and rather than laying down a series of variations for each film, Teardo's approach remains flexible and willing to incorporate a broader variety of compositional directions. There are countless great moments strewn across this twenty-five track collection, with one particularly intriguing example being the use of extreme low-frequency electronic pulses in conjunction with conventional orchestration during Lavorare Con Lentezza's 'Con Molta Calma', prompting you to wonder how these almost subconscious components would interact with the film itself. Highly recommended.
In early 2011, Tindersticks were commissioned by the In Flanders Fields World War One museum in Ypres, Belgium to create the soundscapes for the new permanent exhibition commemorating the centenary of the Great War and beyond. Tindersticks response was to write, record and produce a continuous, orchestral score to accompany the visitor on their emotional journey through the unique story of Ypres in the Great War. The score evolves through the different, distinctive spaces and sections of the museum, punctuated with private contemplative spaces where the music was allowed to be more poetic. Made from a series of interlocking orchestral loops, the music flows seamlessly all day, everyday, without beginning, middle or end. The aim, for Stuart Staples, was for the soundtrack to "become the sound of air within the museum". Ypres was the epicenter of the Western Front in The Great War and was virtually destroyed by the conflict. It has since, only relatively recently, been rebuilt to its original plans. The museum is housed in the rebuilt cloth hall that stands in the centre of the town and was once the hub of the towns industry. Hundreds of thousands died in Ypres and the surrounding area, with allied cemeteries and graves scattered everywhere. In keeping with the perspective of the new museum, Staples felt it crucial to "bring the essence of the experience to a personal level. To somehow loosen it away from the images we have all become accustomed to." Inspiration for the work was found in the quiet, dignified German memorial garden of Vladslo and Kathe Kollwitz's famous 'Grieving parents' statue that resides there. Stuart Staples and Dan McKinna worked closely to compose the score and felt the museum building resonated with a key of F. The starting point for the music became a musical cluster of E flat, F and F sharp. The recording was presided over by long time collaborator and orchestra leader Lucy Wilkins. The orchestral recordings were made at the Church in Crouch End, London and were then taken back to Le Chien Chanceux studio in France to prepare for the installation. In collaboration with London Sound designers 'Sound Intermedia' a bank holiday weekend in May 2012 was spent meticulously building the soundscape for every individual space. The In Flanders Field Museum re-opened its doors with Tindersticks soundtrack on 11th June 2012. Now Tindersticks are releasing the recording of the soundtrack in October 2014.
Jeff Grace - The House Of The Devil MP3
"Death Waltz deliver Jeff Grace’s score to The House Of The Devil, Ti West’s acclaimed shocker that homages and celebrates films from one of the true golden ages of horror cinema. Coming from the same kind of place as The Omen and Rosemary’s Baby, the film has a certain period aesthetic that is reflected in its brooding and slow-burning score. Whilst it starts with an electric guitar and synth piece that immediately sets the mood and the time, Grace’s score doesn’t immediately hit you over the head, instead building itself up over time and increasing intensity while always being absolutely unsettling. The score begins in a minimalistic way, with delicate piano providing an eerie and foreboding presence. There are flashes of beauty amongst the sinister, with a solo violin providing a brief but exceptional moment of escape, but even that feels uncomfortable. Things start to heat up soon after, with the introduction of frantic strings to jolt you before Grace opens up with massive synths and insectoid violins in a glorious moment of musical confrontation, and from there on you’re in for a terrifying treat, with a final act that cements the score as a modern classic. This is a house you’ll want to return to again and again."
very ambient/minimal soundtrack...
Composed, arranged, performed, programmed, and produced by Trent Reznor and Atticus Ross. From the soundtrack to "Gone Girl" directed by David Fincher.
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?
This site does not store any
files on its server. We only
index and link to content
provided by other sites and/
or on external servers.
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . .