Death Waltz Recording Company are very proud to be releasing one of the most seminal electronic scores in film history. Recorded in just one day, this minimal electro masterpiece by Director/Composer John Carpenter has been sampled by Afrika Bammbaataa , Tricky and covered countless times. This newly remastered version has been approved by director John Carpenter himself who has also supplied brand new and exclusive sleeve notes.
Re-mastered for vinyl especially for this release, the score is pulsing, hypnotic and captures the dark and moody nature of the film perfectly, this release also features the million selling single “Mad World” by Gary Jules.
Exclusive cover art by Tom French a fine artist that works in oils & charcoal and has shown work in Philadelphia and London.
First ever release on vinyl for this modern day classic. One of the most striking and beautiful vampire movies in decades and featuring a soundtrack loaded with dark, brooding themes that still manage to be achingly melancholic at the same time.
Combining dark orchestral textures with a strikingly melodic beauty, Johan Söderqvist has written a truly unique score for Let the Right One In. Tomas Alfredson’s film is based on the vampire novel by John Ajvide Lindqvist and has won numerous international awards. The music is performed by the Slovak National Symphony Orchestra and features what is sure to be considered one of the single finest film themes in recent times.
Exclusive cover art by Candice Tripp an internationally renowned fine artist that has shown work in galleries such as Lazarides (London) & Joshua Liner (New York) and is currently represented by Black Rat Press in London.
The first time this classic soundtrack to the notorious Lucio Fulci video nasty has ever been made available on vinyl to collectors. This soundtrack is one of the holy grails of Italian cinema with the maestro Fabio Frizzi delivering a dizzyingly brilliant soundtrack that can hold it’s own with anything released by John Carpenter or Goblin.
Zombi 2 (also known as Zombie, Island of the Living Dead, Zombie Island, Zombie Flesh Eaters and Woodoo) is a 1979 zombie horror film directed by Lucio Fulci. It is the best-known of Fulci’s films and made him a horror icon.
Though the title suggests this is a sequel to Zombi (the Italian title of George A. Romero’s Dawn of the Dead), the films are unrelated. When the film was released in 1979 it was scorned for its extremely bloody content, notably by the UK’s Conservative government.
Zombi 2’s incredible success in Europe re-ignited Fulci’s sagging career and reinvented the director as a horror icon. Fulci would go on to direct several more horror films, and Zombi 2 introduced several of his trademarks: hordes of shambling putrefied zombies, hyper-realistic gore and blood, and the infamous “eyeball gag” (a character is impaled or otherwise stabbed through the eyeball).
Despite the massive popularity of the film, Zombi 2 was banned in several countries, including Great Britain, due to the massive gore content.
The infamous shark vs. zombie scene was filmed in a large salt water tank and the shark was fed horse meat and sedatives before filming.
Deluxe reissue includes 4-page insert with brand new exclusive Sleeve notes by Director John Carpenter, Alan Howarth , Sam Smith & an essay by John Doran.
This is not a dream. Death Waltz Recording Company are proud to be returning another classic work to corporeal existence in the form of John Carpenter and Alan Howarth’s score to PRINCE OF DARKNESS. The second in Carpenter’s “apocalypse trilogy” (sandwiched in between THETHING and IN THEMOUTH OF MADNESS) the film takes on the myth of the return of the Anti-Christ to the living world but ingeniously places it into the world of science, dealing with notions of matter, anti- matter, and theoretical physics. As is usual with Carpenter’s films, it was not treated well on release but has since picked up a cult following from home video.
Carpenter and Howarth’s score has the feel of a dream and a nightmare, one which is immediately displayed in the main title theme, where ethereal voices are combined with a typically catchy bassline to create a sense of disquieting mystery. Wild and dissonant synthesizer effects are juxtaposed with more traditional melody which suggests the meeting of our world and that of the Anti-God. The best way to stop the end of the world happening again is to listen to PRINCE OF DARKNESS.
A first for Death Waltz as this will be the labels first foray into new contemporary film music. The Devil’s Business was released to theaters and DVD in 2012 with a USA release happening late 2013, The film is a gritty low budget satanic gangster film that shares its DNA with Ben Wheatly’s “Kill List”. The score by Justin Greaves the main protagonist of Crippled Black Phoenix is a beautiful eerie listen, minimal yet epic and soaked in a smoky atmosphere that fits perfectly alongside the other releases in the Death Waltz Cannon.
John Haughm (born September 14, 1975) is a metal / ambient musician from the United States. He is most famous for being the vocalist and guitarist of the band Agalloch. He has also released music as a soloist, playing ambient with noise and post-rock influences.
Coltrane's sessions for Atlantic in late October 1960 were prolific, yielding the material for My Favorite Things, Coltrane Plays the Blues, and Coltrane's Sound. My Favorite Things was destined to be the most remembered and influential of these, and while Coltrane Plays the Blues is not as renowned or daring in material, it is still a powerful session. As for the phrase "plays the blues" in the title, that's not an indicator that the tunes are conventional blues (they aren't). It's more indicative of a bluesy sensibility, whether he is playing muscular saxophone or, on "Blues to Bechet" and "Mr. Syms," the more unusual sounding (at the time) soprano sax. Elvin Jones, who hadn't been in Coltrane's band long, really busts out on the quicker numbers, such as "Blues to You" and "Mr. Day."
Long awaited full length LP from US based noise polymath Suzy Poling aka Pod Blotz. Following a stream of splits and cassette emissions, "Glass Tears" is a rewarding, head-first trip into a monochrome world of static and forbidden pleasures rendered permissive. Poling's skill is in formulating digestible chunks of tonal scabs and rhythmical stutterings from diffuse sources, analogue machines that sound like they're being born or dying.
There's reams of pleasurable aural personifications on Glass Tears, Poling's voice makes appearances, intoning or narrating, providing hooks and ticks which stick to the listeners' ears. While there's definite Post-Industrial leanings here what's most striking is how cinematic and atmospheric the LP is, a unique soundworld born of noise but not entirely comfortable there.
