Icons’ Guide To Must Own RECORD STORE DAY ’14 Releases!

The celebratory day of vinyl is upon us once more: RECORD STORE DAY 2014 is packed with some groovy releases from soundtrack kings Death Waltz Records, One Way Static, Mondo, and more! We’ve assembled a list of all the records you should be seeking out tomorrow, so check those out below!


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THE LAST HOUSE ON THE LEFT – David Hess
One Way Static Records
12″ Picture Disc – Limited To 1,500

One Way Static’s first foray into records was a comprehensive release (now out-of-print) of Wes Craven’s THE LAST HOUSE ON THE LEFT. Composed by Krug himself, David Hess, One Way Static are giving those who may have missed out another chance with a limited picture disc edition, that comes loaded with liner notes. Speaking as someone who spins Hess’ musical contribution on a weekly basis, I can safely say this is an essential purchase.


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PARANORMAN – Jon Brion
Mondo
12″ Glow in the Dark 2x LP – Limited To 500

Mondo’s RSD offering is the score to Laika’s massively underrated animated film, PARANORMAN. Packaged in a gatefold (that’ll surely contain some gorgeous art) to hold two glow in the dark LPs, and each copy comes with a randomly inserted clear splatter disc that glows one either red, green, or blue! You’ll want to be standing in line early at your local store, these are limited to only 500!


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FAR CRY 3: BLOOD DRAGON – Power Glove
Invada
12″ Neon Pink 2x LP – Limited To 1000

FAR CRY 3‘s retro inspired ode to a time when video games were just about blowing shit up and riding dragons with lasers for eyes is one of the greatest gaming experiences I’ve ever had. In BLOOD DRAGON, you’re Col. Rex “Power” Colt (appropriately voiced by Michael Biehn), a cyber-commando that spouts filthy one-liners and uses his arsenal to kill with ease, all to the tune of the synthy sounds of Australian duo Power Glove. It’s a complete idolization of everything that made the 80s so iconic, and Power Glove’s score greatly enhances it.


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GHOSTBUSTERS – Ray Parker Jr.
Sony
10″ Glow in the Dark Picture Disc – Limited To ?

Who ya gonna call? To celebrate GHOSTBUSTERS‘ 30th Anniversary of gracing the screen, a glow in the dark 10″ is being released with Ray Parker Jr.’s iconic theme. Apparently a couple of remixes will be included, but I think you’d rather be haunted by ghosts than flipping the LP over to listen to that nonsense.


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IN THE WALL – Clint Mansell
Death Waltz Records
12″ Brown with Red Swirl LP – Limited To 1000

Includes an Obi strip, 12 x 12 art print, and a 36 x 36 poster of the cover art by Jay Shaw!

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.


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l Profumo Della Signora In Nero aka THE PERFUME OF THE LADY IN BLACK – Nicola Piovani
Death Waltz Records
12″ Solid Orange with White Swirl LP – Limited To 1000

Includes an Obi strip, giant fold out poster, and a 12 × 12 lithograph of exclusive original art!

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.


rsd2EMANUELLE PERCHE’ VIOLENZA ALLE DONNE akaTHE VIOLATION OF EMANUELLE – Nico Fidenco
Death Waltz Records
12″ Brown with Red Swirl LP – Limited To 1000

Includes an Obi strip, giant fold out poster, and a 12 × 12 lithograph of exclusive original art!

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.


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1990: THE BRONX WARRIORS – Walter Rizzati
Death Waltz Records
12″ Brown with Red Swirl LP – Limited To 1000

Includes an Obi strip, giant fold out poster, and a 12 × 12 lithograph of exclusive original art!

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.


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