Dry Insides - (2015) Doorway CS

Fallow Field CS

Fields Of Mildew - (2015) II CS

Fallow Field CS

Strega - (2015) Mezzanotte CS

Fallow Field CS

Noctivago - (2015) III CS

Fallow Field CS

Empty Front - (2015) Cities Through Windows CS

Second tape from this apathetic synth pop duo.

V. Sinclair - (2015) Vignettes Of Intimate Reflection 3xCS

A full length recording of V. SINCLAIR's strongest works, comprised of material previously released on a trilogy of tapes: The Veiled Garden, The Bell Tower and The Cloistered Estuary. Taken separately these recordings provided distraction and intrigue, together they transform into a mood-altering, weightless hour of tempered industrial and ambient.

Silence Of Vacuum - (2007) 1 CS

1st tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2007) 3 CS

3rd tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2007) 2 CS

2nd tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2013) 4 CS

4th tape of static yet multilayered noise sounds. Intense themes, not for the young or easily offended.

Silence Of Vacuum - (2015) 5: Under Three Layers CS

5th and possibly final tape of Silence Of Vacuum. Unlike previous tapes, it's more varied content. Style has remained close to the same since first tapes of project. Minimal electronic sound walls, where changes happen only on level of details, while overall sound is utterly static. Perhaps notch more variation here, also due tape including 4 tracks, one being complete live set from Lahti/ Finland, 2014.

Copley Medal - (2015) Teskind CS

In keeping with one of the label's unofficial priorities, PR is proud to release work from another of Syracuse's former residents. Ryan Martin, best known for his work in York Factory Complaint, On a Clear Day, and co-operating Dais Records, is the sole composer behind Copley Medal and has amassed a slew of stellar releases in this past year. Teskind is no exception, presenting a beautiful side-long exploratory modular piece for the title track. Following that are two movements of trademark tense electronics to close out. Beautiful work from an ever-engaging project.

Nico Fidenco - (2014) Emanuelle Perche' Violenza Alle Donne LP

Never say that Death Waltz Recording Company doesn’t plumb the depths of exploitation (or in this case sexploitation) to bring you great music, with a treasure being unearthed in the shape of Nico Fidenco’s score to Joe D’Amato’s EMANUELLE PERCHE’ VIOLENZA ALLE DONNE (a.k.a. THE VIOLATION OF EMANUELLE). Regarded as the best of the unofficial “Black Emanuelle” series, D’Amato’s film starts off with the same sexual freedom and exploration as the official one but ends up descending into a hard-hitting voyage of human trafficking and sexual violence. Fidenco’s music as presented mostly represents the character’s exploration of hedonism and philosophy, scoring hook-ups with a truck driver and a couple of Italian girls, and as such is pretty free-flowing and upbeat.

The fantastic main theme is repeated throughout the album alongside some interesting supporting material, including some great offbeat percussion and some slinky melodies with a surprising amount of wind instruments, along with a subtle female voice. Synths appear frequently, along with the expected driving bassline, and it’s not until the end when it gets darker and sleazier, as well as funkier in an almost prog-rock way. It’s a fascinating end to a smooth-flowing record that reminds us that music to sex flicks sometimes needs more than just a wah-wah pedal.

Death Waltz Recording Co. DWRSD007

Nicola Piovani - (2014) Il Profumo Della Signora In Nero - The Perfume Of The Lady In Black LP

Death Waltz Recording Company is proud to present another masterpiece from Italy, with Nicola Piovani’s gorgeous score to Francesco Barilli’s highly-regarded psychological horror IL PROFUMO DELLA SIGNORA IN NERO (a.k.a. THE PERFUME OF THE LADY IN BLACK). The tale of a successful career woman who suffers a downward spiral into a treacherous mental breakdown, the film has been favourably compared in some quarters to Roman Polanski’s REPULSION, thanks to a star turn from leading lady Mimsy Farmer and Piovani’s beautiful yet unnerving music. The score is perhaps less telegraphing than you might expect – at least initially – with the core being a stunning melody that will remain in your head for months.

First performed in a classical style, the theme is reprised in many stylistic variations throughout the score, from a straightforward rendition that seems almost naively innocent, to lush pastoral reprisals, and even a big band version. Piovani uses the theme almost as a comfort zone, a false sense of security, before jarring the melody with piercing strings and harsh percussion to make you bolt upright. The score is haunting in places, with surreal melodies that almost sound like whale song and a slow piano piece that perhaps had an influence on John Carpenter’s HALLOWEEN. A mesmerizing experience, that remains a highlight of Italian film music.

  Death Waltz Recording Company ‎– RSDDW006

Walter Rizzati - (2014) 1990: I Guerrieri Del Bronx LP

Travelling twenty-four years into the past in a beat-up DeLorean, Death Waltz Recording Company has returned from a post-apocalyptic wasteland to bring you the futuristic stylings of Walter Rizzati’s music to cult classic 1990: THE BRONX WARRIORS. Coming from the mind of celebrated shlock-meister Enzo G. Castellari, take John Carpenter’s ESCAPE FROM NEW YORK, swap out the whole of NYC for just the Bronx, add in a little bit of THE WARRIORS and a lot of bikers and you have Castellari’s masterwork. The beauty of Rizzati’s score is that while it’s a tricked-out work of crazy genius for crazed biker gangs in a wasteland, it feels like a compilation of scores for movies that would only really play on the old 42nd Street.

It’s not easy to nail down what Rizzati’s chief weapon is; is it the electrifying guitar that wails out the main theme, the bassline that reaches eleven on the funkometer, or the Manzarek-esque plinking keyboards? Then there’s the thick percussion with the odd time-signatures, like a demonic version of The Dave Brubeck Quartet’s ‘Take Five’, or the out-of-nowhere piano/guitar rag. Or maybe it’s the big religioso number that sounds like it’s influenced by either Carl Orff or Fabio Frizzi. Either way, The Bronx in 1990 is the place to be. Just don’t forget your axe.

It’s 1990 and the Bronx has officially been declared a “No Man’s Land.”

Clint Manswell - (2014) In The Wall (Original Motion Picture Soundtrack) LP

Death Waltz Recording Company are extremely proud to present their first release by major Hollywood composer Clint Mansell (REQIUEM FOR A DREAM, NOAH), the score to the award-winning 2007 horror short IN THE WALL. Telling the surreal story of a man who accidentally kills his pregnant wife and hides her body in a cavity wall, only to be haunted by visions of her corpse escaping, the film deftly moves from psychological horror to creature feature propelled by Mansell’s intense music. The score is anchored by the main theme, a versatile string melody that moves from sinister to emotional to tragic to perfectly match the shocking events of the film.
Mansell’s work continues in the same vein as the music composed for Darren Aronofsky’s films with the Kronos Quartet, expertly mixing the stripped-down string sound with electronic elements and percussion to create a vivid colour palette. The music plays with the conventions of the genre, at times Bernard Herrman-esque high strings pierce the silence, while intense electric guitar and feedback alternate with sparse, echoing drums. The electronics slowly undulate beneath the surface, winding up the tension and used more as a textural device until the final trip-hop rendition of the main theme takes your breath away. A classic score from a truly brilliant composer.
 Streams A & B.

On the eve of the hottest New Year on record, a young pregnant wife happily prepares for the birth of her child. But her secretive husband may have darker plans for the family.

John Carpenter & Alan Howarth - (2012) Halloween II LP

The return of one of horror’s scariest boogeymen, as well as one of the genre’s most iconic theme tunes with John Carpenter and Alan Howarth’s score to HALLOWEEN II. Set directly after the events of the first film, Rick Rosenthal’s sequel sets itself up as the slasher equivalent of THE EMPIRE STRIKES BACK, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth’s score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. HALLOWEEN II is more overtly synth and is perhaps less focused than the original score, although that certainly means it’s nastier and more schizophrenic. The score also brings back the evocative ‘Laurie’s Theme’, incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time ‘Mr. Sandman’ comes around, you’ll feel just like the final girl, delirious at having survived the aural ordeal. And that’s just when The Shape wakes up.

If that wasn't Michael Myers burning up in that car, a lot of other kids are going to be slaughtered tonight.

John Carpenter & Alan Howarth - (2012) Halloween III - Season Of The Witch LP

A true classic of horror cinema scoring, with John Carpenter and Alan Howarth’s score to HALLOWEEN III: SEASON OF THE WITCH. Bravely dumping the character of Michael Myers, the film instead looked at the concept of Halloween itself as a subject, with a mystery involving an Irish toymaker, three gruesome masks, and a chunk of Stonehenge. Eviscerated on release, it’s now been re-evaluated as an underrated picture, not least because of Carpenter and Howarth’s score. Whilst it left the original themes at home, HALLOWEEN III still has a plentiful array of musical delights to scare the living daylights out of you. The main title has a palpable sense of dread, with low droning synths providing a backdrop for high-pitched lines representing a television signal. Edged notes along with a foreboding rhythm provide high tension along with stabbing wild synths, while a certain piece of driving music gives a sense of fate dragging you to a very bloody and nasty death. And then there’s the Silver Shamrock theme. Remember kids, it’s almost time – don’t miss HALLOWEEN III – and don’t forget to wear your masks.

 It's almost time, kids. The clock is ticking.

The National Philharmonic Orchestra - (1974) Music Excerpts From The Motion Picture The Exorcist LP

Lalo Schifrin's working score was rejected by Friedkin. Schifrin had written six minutes of music for the initial film trailer but audiences were reportedly too scared by its combination of sights and sounds. Warner Bros. executives told Friedkin to instruct Schifrin to tone it down with softer music, but Friedkin did not relay the message. Schifrin's final score was thrown out into the parking lot by Friedkin, dubbing it "fucking Mexican marimba music".
In the soundtrack liner notes for his 1977 film, Sorcerer, Friedkin said had he heard the music of Tangerine Dream earlier, he would have had them score The Exorcist. Instead, he used modern classical compositions, including portions of the 1971 Cello Concerto by Polish composer Krzysztof Penderecki, as well as some original music by Jack Nitzsche. But the music was heard only during scene transitions. The 2000 "Version You've Never Seen" features new original music by Steve Boddacker, as well as brief source music by Les Baxter.
The original soundtrack LP has only been released once on CD, as an expensive and hard-to-find Japanese import. It is noteworthy for being the only soundtrack to include the main theme Tubular Bells by Mike Oldfield, which became very popular after the film's release, and the movement Night of the Electric Insects from George Crumb's string quartet Black Angels.

 

 ..as a last resort to try and save her..

Ennio Morricone - (1977) Exorcist: II The Heretic LP

The movie for which this score was composed is a relatively odd one in the first place, so it's no surprise that the music is a bit on the weird side too -- the highlight being the demented "Pazuzu," with blood-and-thunder instrumentation carrying the roaring vocal chant. Not an easy album to find, certainly, but worth it for Morricone collectors.

 Now the struggle between good & evil goes on.

Robert Tomaro - (2015) Slime City (Original Motion Picture Soundtrack) LP

Slime City is the debut film by cult horror director and author Gregory Lamberson. The story follows Alex, who after moving into his new apartment is seduced by his neighbor and soon turns into a melting ghoul who is forced to kill innocent victims in order to maintain a normal human physique.

Slime City debuted in 1988 and spent months in the NY midnight movie circuit, at the tail end of the grindhouse era. Lamberson creatively made a great film with intense special effects with very limited money and a small crew of dedicated movie fans.

A huge part of what makes Slime City so fantastic is it’s wildly creative score, which was composed by the now PHD, and current Music Director of the Beloit Janesville Symphony, Robert Tomaro. Rob’s score is unlike any horror soundtrack past or present. In Robert’s own words, the music is “perhaps what you might get if you locked Igor Stravinsky, Johnny Rotten and Bernard Hermann in a hotel room and didn’t let them out until they wrote something together.” The score is most certainly slimy as the film’s title would leave you hoping for. Very much classically written, but with a serious mix of punk guitar work and weirdo avant-garde synth. A truly unique composition.