Anthology

SKU: SBR177CD
Label:
Sacred Bones Records
Category:
Soundtrack
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Last year I saw John Carpenter perform a selection of his movie themes with his Lost Themes band.  It was a very engaging performance and a hell of a lot of fun.

This new anthology is a collection of movie themes from 1974-1998 performed by Carpenter and his band.

"John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies."

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  • "When the soundtrack album 'The Score' was released in 2005, Epica proved once and for all that they were more than just another female fronted rock band. Like the original version, 'The Score 2.0' is a stunning soundtrack that stirs the imagination whilst succeeding in being an epic trip, even without any accompanying pictures. It's the nuances that make the difference on 'The Score 2.0'. The already timeless piece of music sounds refreshed, and listening truly feels like revisiting a memorable trip. 40 tracks including 20 unreleased versions for over 2 hours of music! Comes in deluxe 2CD digi-pack gatefold sleeve with rare memorabilia and 20 page booklet."
    $21.00
  • Remastered soundtrack to the George Romero gorefest w/alternate takes and one unreleased track.
    $21.00
  • Not sure if this ever saw the light of day on CD - this may be the first time. This is the soundtrack to G'ole - the official film of the 1982 World Cup. Its all instrumental with Rick handling keys, Jackie McAuley (!?) and Mitch Dalton on acoustic guitars and of course Tony Fernandez on drums.
    $17.00
  • One of the great overlooked prog metal albums of the 90s made available again. This album with the odd name was only released in Japan by Toshiba-EMI in 1998. It was the debut album from this Swiss trio and featured the great Thomas Vikstrom on vocals. The music was keyboard driven, a bit off kilter and totally amazing. The band didn't release anything again until this year's Retrospective but the similarities are superficial. Retrospective is a great album but a bit more conventional. Cosmic Handball has a lot more personality. Its been remixed and remastered which can only help as the original production was a bit murky sounding. Highest recommendation.
    $5.00
  • Last year I saw John Carpenter perform a selection of his movie themes with his Lost Themes band.  It was a very engaging performance and a hell of a lot of fun.This new anthology is a collection of movie themes from 1974-1998 performed by Carpenter and his band."John Carpenter is a legend. As the director and composer behind dozens of classic movies, Carpenter has established a reputation as one of the greatest filmmakers in the history of modern cinema, as well as one of its most influential musicians. The minimal, synthesizer-driven themes to films like Halloween, Escape From New York, and Assault on Precinct 13 are as indelible as their images, and their timelessness was evident as Carpenter performed them live in a string of internationally sold-out concert dates in 2016. Anthology: Movie Themes 1974-1998 collects 13 classic themes from Carpenter's illustrious career together on one volume for the first time. Each theme has been newly recorded with the same collaborators that Carpenter worked with on his hit Lost Themes studio albums: his son, Cody Carpenter, and godson, Daniel Davies."
    $14.00
  • DISCIPLINE has performed and recorded together since 1987, and remains one of the top bands in the American progressive rock scene. The band’s current lineup, including drummer Paul Dzendzel, bassist Mathew Kennedy, lead guitarist Chris Herin (Tiles), and vocalist/keyboardist Matthew Parmenter, worked with veteran music producer Terry Brown (Rush, Fate’s Warning) for the mixing of their newest opus, Captives Of The Wine Dark Sea, which Parmenter describes as, “an escape to ameliorate the workaday world.”“DISCIPLINE weaves a wicked web of lush, whimsical melodies, cynical stories and melancholy theatrics — so disturbing some fans have pegged lead-man Matthew Parmenter as ‘unstable,'” writes Heidi Olmac in Detroit’s Orbit newspaper. New Zealand rock critic Kev Rowland describes DISCIPLINE as “one of the most important bands to come out of America in the last twenty-five years.” The band’s earliest live shows were memorable for unusual theatrics. Parmenter (a.k.a. the Magic Acid Mime) would wear different costumes and act out the songs. Though the costumes have long since gone away, spontaneity remains a hallmark of DISCIPLINE‘s stage presence. “I think most of it comes from playing live,” says Parmenter in The Observer and Eccentric newspaper. “If something goes wrong, it’s kind of interesting how you will get out of it.”Jeff Milo of Ferndale Friends newspaper writes, “Go online and you’ll find various zines, blogs, and sites devoted to ‘prog’ music sending some substantial love toward Detroit’s DISCIPLINE.” The band’s previous album To Shatter All Accord (2011) includes the twenty-five-minute song suite “Rogue.” John Collinge, publisher of Progression Magazine, acknowledged To Shatter All Accord with the publication’s highest marks in his review (16 out of 16 stars). The band may be best known for its album Unfolded Like Staircase (1997). With four sprawling epics, including “Canto IV (Limbo)” and “Crutches,” Unfolded Like Staircase is considered by some to be one of the best progressive rock albums of the 1990s. In the Dutch Progressive Rock Pages, Brian Watson goes further: “Unfolded is my favourite progressive rock album of all time. In over thirty years of listening, and out of a collection touching fifteen hundred albums, Unfolded Like Staircase is ‘the one.’” The CD Push & Profit (1993) introduced Discipline to an international audience supported by a tour of Norway. The band also recorded a virtually unknown first album Chaos Out of Order (1988) that remained out of print for twenty-five years until the band’s indie label, Strung Out Records, reissued the recording in 2013. DISCIPLINE has also released three live albums; the This One’s for England (2014, 2xCD), Live Days (2010 2xCD on Cyclops/GFT), and Into The Dream (1999 on Syzygy/SOR).DISCIPLINE has appeared at numerous progressive rock festivals In 2012 the band appeared at RoSfest, the Rites Of Spring progressive rock festival in Gettysburg, Pennsylvania. That performance can be viewed as an Amazon Instant video. The band has also performed at NEARfest (Northeast Art Rock Festival), Terra Incognita, ProgScape, Orion Studios, and six separate performances at ProgDay in Chapel Hill, North Carolina. The band drew praise at UK’s Summers End festival in 2015 with reviews declaring Discipline “the band of the weekend.”. 
    $14.00
  • Actually credited to Simonetti, Morante, Pignatelli. This is the complete soundtrack to the 1982 giallo thriller. It features lots of unreleased cues.
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  • "Dire Straits leader Mark Knopfler's intricate, introspective finger-picked guitar stylings make a perfect musical complement to the wistful tone of Bill Forsyth's comedy film, Local Hero. This album was billed as a Knopfler solo album rather than an original soundtrack album, with the notation "music ... for the film." Knopfler brings along Dire Straits associates Alan Clark (keyboards) and John Illsley (bass), plus session aces like saxophonist Mike Brecker, vibes player Mike Mainieri, and drummers Steve Jordan and Terry Williams. The low-key music picks up traces of Scottish music, but most of it just sounds like Dire Straits doing instrumentals, especially the recurring theme, one of Knopfler's more memorable melodies. Gerry Rafferty (remember him from "Baker Street"?) sings the one vocal selection, "That's the Way It Always Starts."" - Allmusic Guide
    $6.00
  • Remastered version of the soundtrack to Martin Scorsese's "The Last Temptation Of Christ". Fantastic sound.
    $12.00
  • "A haunting soundtrack to a short movie by Mat McNerney (Hexvessel/Beastmilk) and Kimmo Helén (Hexvessel), inspired by Newfoundland Folk and the Canadian wilderness."We researched a lot into Newfoundland and traditional folk music of the past and today, spending a few months looking into and listening to libraries of collected works. I was surprised at how much it reminded me of the Celtic music of my Irish upbringing and ancestry and felt immediate connection to it and an instant ability to relate to the stories. Together with the multi-talented craftsman Kimmo Helén we set about creating a soundscape using only traditional instruments that would have been used in Newfoundland folk. We worked to try to open a portal to dream, nostalgia, a deeper yearning for our roots and the joy that comes from finding your place in the universe. We hoped to be able to help tell Justin's story in as humble and honest way we could and to find a musical voice to his character's inner emotions and journey.""
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  • "Opinions may vary on the progressive metal/rock/what-have-you of PAIN OF SALVATION, but few would deny the copious amounts of creativity involved, not to mention that a POS album at the very least is guaranteed to raise eyebrows and cause a few synapses to misfire. Through all the experimentation with the musical form we call progressive music and a never-play-it-safe attitude has come brilliant melodies, superb musical performances, and a great deal of entertainment value. Now comes "Scarsick", and the reaction from a vast array of metal/rock fans will once again be a strong one, whether positive or negative. Though I would struggle to understand a negative view of this phenomenal album, the array of opinions and puzzled expressions are old hat to the POS camp.Although the styles employed are varied, there is an all-consuming quality to "Scarsick" that dwarfs the majority of progressive acts, primarily because of expert song construction and a sense that everything fits. Of course, the album does indeed flow from a thematic standpoint, as Director of Blown Minds, Daniel Gildenlöw points out: "The concept is about comparing problems and symptoms in modern society with problems and symptoms in individuals formed by the society." It is a complex idea for a complex piece of musical craftsmanship. In fact, the full-on disc beat of "Disco Queen" (trust me, this baby grooves) belies the intense subject matter addressed in the song lyrics. The track happens to be one of the album's highlights, the song having far more involved in it than a danceable beat and catchy chorus. To some the inclusion of a non-traditional style on the track will not be nearly as unsettling as the (basically) rapped vocals on "Spitfall", which happen to be done very well; the tune sports another strong melody as well. A bit of the same occurs on the title track; here the riffs and grooves are especially strong.Just as the band deserves plaudits for a willingness to spread its wings to grand effect, so is its ability to convey passion in its purest form to be commended. A case in point is the melancholic beauty of "Cribcaged". A juxtaposition of sorts is at work here too, considering the serene piano work and magnificent tunefulness combining with lyrics that are so intensely disgusted, as the sounds of an innocent infant are heard. And if it is the band's soulful side that you worship, then look no further than "Mrs. Modern Mother Mary". Much will be made of the lyrics to "America" as well (e.g., "Sick of America"), as it should be; that the upbeat, '70s progginess and stellar melody make it arguably the album's most memorable track is even better. Shades of PINK FLOYD lushness are heard periodically as well, "Kingdom of Loss" one such example. "Enter Rain" closes the album with yet another heartfelt performance and alluring chorus melody.On "Scarsick" PAIN OF SALVATION have created another album for the ages, skillfully combining cerebral stimulation, musical experimentation, rich instrumentation, and hooky songwriting. Few do it as well as this Swedish sensation. Be thankful they continue to deliver such a quality product." - Blabbermouth.net
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  • "Peter Gabriel's first foray into soundtracks was for Alan Parker's contemplative film Birdy and is a successful companion piece, providing a backdrop that is moody and evocative. Nearly half of the album's dozen tracks incorporate threads from material found on Gabriel's 1982 Security set, including "Close Up," which makes use of keyboard passages from "Family Snapshot," and "The Heat," which is a reworking of "The Rhythm of the Heat" and builds to a frenzied percussive crescendo. Material specially written for this project includes the murky opening track, "At Night," the tribal "Floating Dogs," and "Slow Marimbas," a track which would become part of future live performances. The fact that Birdy is comprised of all instrumentals means that listeners whose familiarity with Gabriel is limited to "Sledgehammer" and "In Your Eyes" will be largely disappointed. However, its meditative nature makes it fine, reflective listening for the more adventurous." - All Music Guide
    $12.00
  • "A lot of the music pieces used in these films reappeared later in various other Rossif documentaries, like those for the artists Morandi and Georges Braque, and the similar nature-inspired documentary-series “L'Opera Sauvage”. When sometime after “L’Apocalypse Des Animaux” went out an album with the same title was assembled, it was simply a matter of putting some of the tracks recorded for the films onto the record. So the later Vangelis method of first scoring a movie and later recording (not always the same) music again for the soundtrack-album wasn’t yet practiced for “L’Apocalypse Des Animaux”. All this suggests that Vangelis wasn’t involved in the actual editing of his music into the films, but rather that he provided Rossif’s team with a library of pieces for them to use in whatever way they felt convenient, then or later. The documentaries each involve showing the animals in their natural habitats or nature reserves – here Vangelis' music is used, not very extensively, just here and there, along with a voice-over. Some episodes make a detour to showing animals in zoos and parks or the scientific study of animals in laboratory environments – here no music is used and we sometimes see and hear the attendants and scientists explaining their methods and observations. The filmmakers and narrators are never in picture, in contrast to the later documentary style of people like David Attenborough and Jacques Cousteau.Vangelis has stated that it took about one day per episode to score, which is born out by the fact that indeed each episode has fresh bits of music, and only a few cues are repeated across episodes. Except for the opening track on the album “Generique” which plays along with the opening and concluding credits to each episode, a couple more tracks are used throughout the series, with some more appearing in 3 or 4 episodes. To name a few: a joyous playful melody played on keyboards and flute that usually accompanies animals playing around, an experimental piano + percussion theme also used for the Georges Braque film, a mysterious exotic slow theme usually together with underwater pictures, a rather silly disco theme (also used in the Morandi film) which uses one of those cheap drum-presets that came along with those first-generation electric pianos. Strangely enough, none of these repeated themes appear on the album, whose six further tracks are taken in seemingly random fashion from the other music in the series, although one reason might be that they at least include the ones which have other instruments on them, like guitar or trumpet. For every piece that does appear on the album an estimated 4 or 5 are left out, with most of them just as good as the ones that did make it.From the first episode “Le Singe Bleu” is taken, where it accompanies the agile movements of a young monkey as it jumps from tree to tree and does a balancing act on a horizontal stick (it reappears briefly at the end of episode 5). Episodes 2, 3 & 4 yielded no music at all for the album. The fifth uses two album-tracks: “La Mort Du Loup”, accompanying pictures of wolves being shot at in the snow and on the savannah. And “L’Ours Musicien”, which is actually some 4 minutes, as opposed to the 1 minute put on the album. This accompanies a sweet and funny tale of researchers picking up two baby ice-bears abandoned by their mother, who decide to go rummaging through the researchers’ hut. The final and most apocalyptic episode starts with the earth-organic sounds of stand-out track “Creation Du Monde”, accompanying beautiful slow-motion pictures of large birds on their yearly treks across the sea. The revitalising nature of the sea after oil-spills and other attacks on its eco-system form the idea behind “La Mer Recommencee” and pictures of divers with dolphins and octopuses go with the music of “La Petite Fille De La Mer”. At the end of this episode and the series, as part of a sort of philosophical summing up, “Creation Du Monde” is played out to the very end, even across the end-titles, instead of the usual “Generique”.All this enchanting early Vangelis music, created very effectively using relatively simple means, is evidence of a seemingly endless pouring out of ideas, free of any outside pressure. It all has a very fresh sun-lit feel to it and only on “Earth” again would Vangelis once more approach that same kind of Mediterranean sound. Broadly speaking, the pieces he created fall into 4 categories: melodic pieces, sometimes dreamy and nostalgic, percussion-pieces, wacky funny pieces and more exotic experimental stuff (when some 10 years later Vangelis did the music for “Sauvage et Beau” the same categories applied again, with the exception of the purely percussive). The music doesn’t so much describe the realities of nature itself but rather reflects a sort of philosophical reality. On one level, the association one gets is how people in prehistoric times might have viewed nature: sometimes tranquil (as in “La Petite Fille De La Mer”), sometimes dark and mysterious (as in “Creation Du Monde”) but always as part of themselves. On another level the music manifests a sort of nostalgic longing back to those times, which can nowadays only be glimpsed in the ever-decreasing world of animals, hence the title of the series." - Vangelis Movements
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  • Seems like reunions are about to become the rage in Italy. First Arti & Mestieri and now Goblin. This is the soundtrack to the latest Dario Argento film Nonhosonno. Featuring the original lineup the band does not stray far from the formula of their early efforts - this is dark atmospheric progressive music. The only concession would perhaps be to a modern sound of the instruments used but this is Goblin music through and through. Fans will not be disappointed. 
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