Alexander Grodzinski

Von Music Box Records: In collaboration with Gaumont and Mandarin & Compagnie, Music Box Records presents the new score composed by acclaimed composer Philippe Rombi (War of the Buttons, Asterix: The Secret of the Magic Potion). The film Dalloway (The Residence, 2025), written and directed by Yann Gozlan (Black Box, Visions), stars Cécile de France, Lars Mikkelsen and Mylène Farmer. Clarissa, a novelist in search of inspiration, joins a state-of-the-art artist residency. There, she meets Dalloway - a virtual assistant designed to stimulate creativity. But as the AI becomes more deeply embedded in her life, the boundary between helpful guidance and disturbing intrusion begins to dangerously fade. Yann Gozlan wanted the music to enhance the audience's identification with the character, helping them connect with the heroine's mindset. With its strange textures, blending electronic sounds and acoustic strings, the score allows the audience to experience Clarissa’s inner world – her paranoia, escalating stress, and anxiety – while also giving the film its own distinct identity. Philippe Rombi's score intensifies a palpable sense of unease. Dalloway is released in French theaters on September 17, 2025. The album is available on CD and digital version. 1. Introduction (2:03) 2. Rencontre (1:08) 3. Mauvais rêve (2:35) 4. L'anniversaire de Lucas (1:33) 5. La voix de Lucas (1:50) 6. Les soupçons de Clarissa (3:32) 7. Rendez-vous secret (3:47) 8. Mathias et les hackers (2:03) 9. Mise en garde / Enquête (4:28) 10. Dalloway prend le contrôle (2:57) 11. Confusion (0:56) 12. Paranoïa (2:42) 13. Indices (3:38) 14. Analyse (1:20) 15. Les dessous de Casa (2:30) 16. Électrochoc (3:18) 17. Couvre-feu (2:11) 18. Sans issue (2:47) 19. Évasion (1:56) 20. La voix de Dalloway (2:03) 21. Page blanche (1:37) 22. Le livre (3:26) 23. Final (1:12) World Premiere CD release. 8-page CD booklet with French and English liner notes by Sylvain Pfeffer. Remastered and limited edition of 300 units. In collaboration with Une Musique, Music Box Records proudly presents the eleventh volume of the collection Great Television Soundtracks dedicated to the original score composed by Serge Franklin for the French TV series Une famille formidable (A Wonderful Family). From 1992 to 2018 on French TV channel TF1, a faithful audience got immersed into the adventures and misadventures, day-to-day life or summer vacations, friendships and love stories of the Beaumonts. Catherine (Anny Duperey) and Jacques (Bernard Le Coq) are the happy parents of a blended family. Everyone seems to get along and live a merry life, but appearances can be misleading. It was from the fourth season onward, with the episode entitled Le clash in 2000, Serge Franklin was put in charge of setting the series to music at the request of Joël Santoni (Death on a Rainy Sunday). Serge Franklin favored a marked melodic approach for the episodes as a whole. The numerous changes of atmosphere and settings, the main characters growing older and the arrival of younger characters in the series allowed him to write diverse and colorful music using various types of instruments and musical styles. Moving effortlessly from comedy to suspense and from joy to melancholy, the music of Une famille formidable accompanies the memorable moments of the life of the Beaumont family with its light and ethereal melodies. Supervised and assembled by Serge Franklin, this present edition has been fully remastered from DAT session master elements. The 8-page booklet features an essay by Sylvain Pfeffer discussing the TV series based on interview with the composer. The CD release is limited to 300 units. DISC 1 : 1. Une famille formidable (Medley) (2:10) 2. Méfiez-vous des apparences (2:44) 3. Flâneries le long des quais (2:43) 4. Détectives en herbe (2:30) 5. Guirlandes sur le sapin (2:02) 6. Balade en vélo (2:14) 7. Danger solitude (2:00) 8. Le jour se lève (2:53) 9. Catherine et Jacques flânent (1:06) 10. Sans faire de bruit (2:01) 11. Sur un quai de gare (2:58) 12. Paris Hollywood (1:58) 13. Dança da borboleta (1:18) 14. Même les nuages ont du chagrin (2:38) 15. Quand le printemps revient (1:44) 16. À Paris au printemps (2:23) 17. Solo pour un duo (1:52) 18. Tourments (4:12) 19. La famille part en vacances (2:03) 20. La maison brûle (1:55) 21. Un grenier pour les souvenirs (2:23) 22. Un signe de la main (1:21) 23. Et si la vie n’était qu’un rêve (2:20) 24. Rendez-vous sur le port (1:31) 25. Les rois de la cambriole (1:51) 26. Un album photo (2:19) 27. Sans se retourner (2:04) 28. Chasser le doute (1:22) 29. L’éventail à soucis (1:56) 30. Suspens et baiser final (1:57) Total Time • 65:45 DISC 2 : 1. De retour à Paris (1:47) 2. Réunion de famille (2:38) 3. À l’hôpital (2:48) 4. Petits jeux malicieux (1:25) 5. Emporté par les vagues (1:54) 6. L’enterrement (2:21) 7. La lettre perdue (1:46) 8. Vive la mariée (2:27) 9. Un pour tous, tous pour nous (1:03) 10. La famille enquête (2:10) 11. Les lettres dans le grenier (1:50) 12. Mensonge et jalousie (1:43) 13. Un rayon de soleil (2:47) 14. Une larme, un sourire (2:45) 15. Fini, les vacances ! (1:55) 16. Par amour, par amitié (1:59) 17. Minha guitarra portuguesa (1:13) 18. Maléfices et jeteurs de sorts (2:22) 19. Triste Noël (2:42) 20. Avec un bouquet de fleurs (2:00) 21. Promenade au bord de l’eau (1:45) 22. De la réalité au rêve (2:44) 23. Un nez rouge de clown (2:55) 24. Vers de nouvelles aventures (2:20) 25. Un piano sur la plage (1:42) 26. Sur la pointe des pieds (2:31) 27. Encéphalogramme plat (2:41) 28. Pessimiste gai (1:49) 29. Une terrasse au soleil (2:18) 30. Ainsi va la vie (2:38) Total Time • 66:13 2-CD Total Time • 131:58

Snow Files of the Week: Suite aus „Murder Between Friends" (1994). 1994 befand sich Mark bereits mitten in den X-Akten. Dennoch komponierte er auch immer noch Scores für diverse TV-Filme. Einer davon war „Murder Between Friends", für den Mark natürlich auch auf seine bereits bei den X-Files erprobten Sounds zurück griff. Dennoch ist der Score mehr als nur ein X-Files-light, dafür sorgen die bluesige E-Gitarre, die phasenweise eher an Eric Claptons Spiel in den Lethal-Weapon-Scores erinnert und die männlichen Solo-Vocals, die in direktem Kontrast zu den oftmals eingesetzten, weiblichen Klagegesängen stehen. Die Tracks aus der Suite stammen aus dem dritten Album der „Mark Snow Collection" von Dragon's Domain Records. Die CD ist auf 500 Stück limitiert. Viel Spaß beim Hören!

Wenn ich antworten darf, auch als Besitzer der alten Japan-CD: Nein, inhaltlich ist es das gleiche Programm wie bei allen anderen Veröffentlichungen. Klanglich waren die Japan-Pressungen ja meist besser. Von A VIEW TO A KILL gibt es zumindest inoffizielle Veröffentlichungen mit mehr oder gar der kompletten Musik. Woher diese aber kommt, ob extrahiert von der Filmtonspur oder doch besseren Quellen, weiß ich leider nicht.

Rarewaves hat sie auf Lager und sie kam zwei Wochen nach Bestellung bei mir aus den USA an. Der Erscheinungstermin war im September, auch auf der Seite von Waxwork Records kann man sie bestellen und sie scheint lagernd zu sein. Wenn ich mich nicht täusche, war der ursprünglich angegebene Veröffentlichungstermin bei JPC Ende August, wie auch bei Waxwork. Das wurde dann auf den September verschoben. Und nun scheint sie bei JPC gar nicht lieferbar zu sein. Hatte dort auch erst bestellt und die angegebene Lieferzeit von ein bis zwei Wochen wurde mehrmals überschritten. Bei Amazon das gleiche Spiel. Vielleicht beliefert Waxwork bestimmte Händler nicht? Oder es kommt doch noch was im November.

Die CD ist normal erschienen, nur scheinbar hierzulande von Online-Händlern schwer bis gar nicht zu besorgen, warum auch immer. Auch Amazon Deutschland kann sie nicht liefern. Ich habe die CD bei Rarewaves über eBay gekauft.

LLLCD 1686 Music by Alan Silvestri Limited Edition of 2000 Units La-La Land Records, Sony Classical and Amazon/MGM Studios present a limited edition CD release of renowned composer Alan Silvestri’s (PREDATOR, THE LONG KISS GOODNIGHT, THE AVENGERS: ENDGAME) original motion picture score to the action/thriller/comedy PLAY DIRTY starring Mark Wahlberg, LaKeith Stanfield and Rosa Salazar, and directed by Shane Black. In PLAY DIRTY, expert thief Parker rolls out the biggest heist of his life, a score that pits him, and his skilled crew, against the New York Mob and an avalanche of powerful adversaries. Composer Alan Silvestri infuses all the action-packed twists and turns, suspense and grit that ensues with a propulsive orchestral score bursting with classic Silvestri verve and drenched in delightful old school film-noir vibes. Pitch prefect music for the film and a symphonic treat for the ears - packed with highlights including the sumptuous Main Title! Produced by Alan Silvestri and David Bifano, produced for Sony Classical by Stefan Karrer and JC Chamboredon, and mastered by Rob Kleiner, this special CD release is limited to 2000 units and is art directed by Dan Goldwasser. TRACK LISTING: 1. Main Title 2:42 2. My Real Name’s Parker 3:19 3. Robbing The Robbers 1:28 4. What Have You Done? 2:53 5. Room 12 3:20 6. A Bit Of A Problem 3:32 7. Shootout 3:22 8. Rob An Entire Country 3:18 9. Welcome To New York 3:20 10. Bosco’s Plan 1:50 11. Life Goes On 3:36 12. What A Surprise 3:16 13. The Train Part 1 3:09 14. The Train Part 2 3:13 15. The Train Part 3 2:44 16. Plan B 2:59 17. Parker At Work 2:59 18. A Christmas Chase 3:51 19. A Real Lady 2:00 20. The Vault 2:59 21. Aftermath 2:13 TOTAL ALBUM TIME: 62:00 This is a CD format release.

FRIGHT NIGHT Music by BRAD FIEDEL INTRADA ISC 527 Intrada announces a 40th-anniversary edition of Brad Fiedel's popular score to Fright Night (1985). The score from Columbia Pictures' darkly humorous horror film proved challenging to release the first time around: first-generation masters were incomplete and the full score was taken from second-generation masters. In the intervening years, the first generation masters were discovered, allowing album producer Edwin Wendler to produce an all-new master of the complete score in film order in brilliant sound. It's the definitive presentation of Brad Fiedel's music Intrada had always wished to issue, including an additional 17 minutes of previously unreleased score. The album was mastered by Doug Schwartz with updated cover design by Stéphane Coëdel and updated notes by Daniel Schweiger. Fiedel crafted a score that was both state-of-the-art and old school—imbuing the hip villain with the stuff of supernatural legend. While Fiedel followed the story from a humorous beginning to an unexpectedly shocking climax, Fright Night’s experimental jolts were also firmly bound by the same melodic laws of a classic Hammer film–-filled with themes and motifs that paint The Vampire as an eternal creature of seduction. A highlight of the score is the main theme that introduces vampire Jerry Dandridge with a swaying, hypnotic rhythm, enticing Charlie to peep on his neighbor and the beautiful call girl he’s undressing. It’s a sensual build worthy of a rock god and his conquest. Fright Night tells the tale of a Charlie, a teenage boy who enlists the help of TV host Peter Vincent (Roddy McDowall) in a real-life battle with the undead, featuring a horror homage that would become its own trendsetter—pitting the duo against a ladykilling, Yuppie bloodsucker who just moved in next door. INTRADA ISC 527 Barcode: 7 20258 55270 9 Retail Price: $22.99 SHIPPING NOW THE SCORE 01. Fright Night T.V. Theme (0:09) 02. The House Next Door (0:57) 03. Zombie Show (0:27) 04. Window Watching (2:00) 05. Jerry Takes Off (1:45) 06. Drive To Evil (0:49) 07. Guess Who’s Here (0:33) 08. Jerry Drops In (2:56) 09. Closet Capers (4:01) 10. Bat Attack (1:21) 11. Watch Me Do It (0:28) 12. Charley’s Cathedral (2:34) 13. Charmed (0:42) 14. Holy Water (3:48) 15. Alley Bat (3:11) 16. Evil Visitor (1:44) 17. Charley Begs For Help (0:52) 18. Come To Me (3:55) 19. Vampire Killers (3:22) 20. His Dinner’s In The Oven (8:04) 21. Jerry’s Time Is Up (7:34) 22. The Basement (5:29) 23. You’re So Cool Brewster (0:48) 24. Come To Me (Film Mix) (3:55) 25. Love Theme (2:12) Total CD Time: 63:50

Wie immer etwas mürrisch, aber dafür auch wie immer ehrlich Kommt es mir nur so vor oder hat er Probleme beim Sprechen? Ich hoffe, es ist „nur" das Alter. Live auf der Bühne hat er zumindest immer noch Spaß.

Snow Files of the Week: "Jack O' Lantern/Battery/790 Days" aus "MillenniuM", Episode "The Curse of Frank Black" (1997). Was wäre Halloween ohne "The Curse of Frank Black"? Diese sehr beliebte Folge unter "MillenniuM"-Fans hat alles, was man für diese Nacht braucht: Seltsame Ereignisse, Dämonen, schwarze Katzen, Hexen, Geister und eine insgesamt düstere und unheimliche Atmosphäre. Mark verstärkt diese noch mit seiner düsteren und spukigen Musik. Am Ende der Episode baut Mark sogar ein klassisches Stück in seine Musik ein, die "Sarabande" von Georg Friedrich Händel. Die Musik wurde auf dem ersten Volume von LLL veröffentlicht, welches ausverkauft war und 2015 neu aufgelegt wurde. Auch die Zweitauflage ist mittlerweile ausverkauft. Happy Halloween!

Und Roger meinte auf eine Nachfrage, dass FRIGHT NIGHT II nicht kommt, weil man das Material nicht lokalisieren kann. Schade.

Aus der Facebook-Gruppe.

Der Score von Carpenter, Carpenter und Davis war komplett fertig, als er ersetzt wurde. Gründe dafür sind zwar immer noch nicht bekannt, aber Carpenter hat nun verlauten lassen, dass er den abgelehnten Score veröffentlichen will.

Ich habe das Taschenbuch im Januar bei Amazon vorbestellt. Mittlerweile gibt Amazon eine Lieferzeit von drei bis sieben Monaten an. Mal sehen, ob und wann ich es bekomme.

Intrada announces the premiere release of James Newton Howard's 1990 score to Columbia Pictures' Flatliners. It's a score that has deserved a release for the past 35 years and one of the last major Howard scores to have never been released in any format. It's a massive work, composed for large orchestra and chorus. Befitting the hyperreal style of the film, the composer tackles big ideas like spirituality and religion head on, with a score as grand as the themes suggest. As Howard recalls, “Some memories I have were having a 90-piece orchestra for the first time to do whatever I wanted and bringing in all kinds of different electronics and sampled stuff, including a specific ‘monkey chant’ from Bali. The main idea for me was trying to musically express redemption—a theme that blooms into its big version heard in 'Flatliners End Titles.'" It was also Howard's first time writing for large choir. This Flatliners release features nearly 80 minutes of music (including 18 minutes of demos and alternates) and arrives just in time for the film's 35th anniversary. The album was produced by Stéphane Humez and mastered by Maxime Marion with liner notes by Kaya Savas. The film is a psychological sci-fi thriller directed by Joel Schumacher and follows a group of ambitious medical students—played by Kiefer Sutherland, Julia Roberts, Kevin Bacon, William Baldwin and Oliver Platt—who conduct a dangerous experiment to explore what happens after death. They deliberately stop each other’s hearts for short periods of time, experiencing near-death visions before being revived. However, their experiments soon spiral out of control as they begin to face terrifying manifestations of their past sins, blurring the line between life, death and guilt. 01. Flatliners Main Title (1:59) 02. Pre Lab (1:36) 03. Nelson & Labraccio (0:50) 04. The Lab (1:08) 05. Nelson Preps (2:45) 06. Nelson Flatlines (2:31) 07. Drive To Deli (1:09) 08. Nelson’s Flashback (1:37) 09. Joe’s Death (1:56) 10. The Alley (3:40) 11. Trick Or Treat (1:26) 12. Labraccio Goes Under (4:42) 13. Billy Attacks In Apartment (1:17) 14. Rachel Reflects (0:51) 15. Rachel’s Death (2:29) 16. Rachel’s Revival (2:16) 17. Billy & Screwdriver (1:59) 18. Schoolyard (3:03) 19. Rachel & Dad In Class (1:23) 20. Nelson In Truck (1:18) 21. Billy Attacks In Truck (1:27) 22. Davey Comforts Rachel (0:47) 23. Graveyard (1:52) 24. Rachel Goes Home (3:05) 25. Nelson Calls Rachel (1:58) 26. Nelson Running To Lab (0:53) 27. Nelson Goes Under (1:36) 28. Boys Arrive At Lab (1:02) 29. Revival Attempts (2:16) 30. Nelson & Billy (1:22) 31. Flatliners End Titles (5:38) Total Score Time: 61:44 THE EXTRAS 32. Flatliners Main Title (Demo Version) (2:02) 33. Nelson Flatlines (Demo Version) (2:57) 34. Drive To Deli (Demo Version) (1:24) 35. Rachel’s Death (Demo Version) (1:09) 36. Nelson Calls Rachel (Demo Version) (1:27) 37. Boys Arrive At Lab (Alternate) (1:02) 38. Flatliners End Titles (Demo Version) (3:15) 39. Flatliners End Titles (Alternate) (4:32) Total Extras Time: 17:46 Total Album Time: 79:31

Ist eben Geschmackssache Allgemein mag ich die früheren Carpenter-Scores lieber, im Bereich Halloween ist sein HALLOWEEN III - SEASON OF THE WITCH mein liebster Score. Aber ich finde schon, dass seine neuen Halloween-Scores auf der einen Seite genau seinen alten Stil bedienen, aber auf der anderen Seite durchaus modern wirken, ohne zu sehr in puren Krach zu verfallen. Gerade beim Hören des expandierten Albums zu HALLOWEEN (2018), welches unter anderem auch durch viele ruhigere Tracks ergänzt wurde, finde ich die Stimmung und die Atmosphäre, die die Musik verbreitet, schon sehr „eerie" und teilweise sogar etwas melancholisch. Musikalisch muss man Carpenters Minimalismus eben mögen, aber ich finde, dass genau dieser Minimalismus der Musik zugute kommt, weil sie so eben nicht Gefahr läuft, in heutige Klangmuster zu verfallen. Da ist man im Horrorbereich meist eben eher auf Lautstärke bedacht und fährt alles auf, was man so hat, egal, ob orchestraler oder elektronischer Score. Und selbst die Klangflächen und langgezogenen Töne heben sich bei Carpenter deutlich ab von dem, was man sonst so an „droning" und Sound Design in heutigen Scores zu hören bekommt. Wie bei allen Carpenter-Scores seit Mitte der 90er sind seine neuen HALLOWEEN-Scores natürlich auch mit Rock-Elementen durchsetzt, Daniel Davis spielt ja auch Gitarre. Aber anders als bei dem Blues-Rock von ESCAPE FROM L.A., dem Country-Rock von VAMPIRES oder dem Hard-Rock von GHOSTS OF MARS wird die Gitarre hier oftmals auch als Klangfarbe eingesetzt oder als „Stinger", was Carpenter ja auch gerne macht. Wie gesagt, muss man mögen und ich finde auch nicht alle seine neuen Sachen gelungen (seinen Score für das FIRESTARTER-Remake fand ich eher dröge), aber mich packt sein Stil nach wie vor.

Carpenter produziert mit seiner Frau Sandy King eine Horror-Anthology-Serie namens "John Carpenter presents". Soll wohl sowas wie American Horror Story werden. Wobei sich Carpenters Part wohl mal wieder eher auf das Entgegennehmen des Schecks und das Hergeben seines Namens beschränkt Wobei: Es ist die Rede davon, dass Carpenter Einfluss hat auf die Geschichten und den Stil. Na ja, mal sehen.

Kam nun gestern an. Optisch schon hübsch aufgemacht mit dem Hologramm auf der Box. Ich habe die Scores nun länger nicht gehört, kam bisher aber auch nur zum Hören des ersten Albums. Aber ja, finde ich bis jetzt immer noch gut Carpenter hat mit der Hilfe von Cody und Daniel seinen Sound modernisiert, ohne seine musikalischen Markenzeichen zu verlieren.

Apropos Jack White: Auch Bernd Meinunger ist gestorben. Er war fast 50 Jahre lang der Texter für Ralph Siegel, hat aber auch für unzählige andere Künstler Texte geschrieben, unter anderem Peter Maffay, Drafi Deutscher, Nino de Angelo und Roland Kaiser. In den 90ern wirkte er unter Pseudonym auch an dem Eurodance-Projekt E-Rotic mit.

Brigham Young University Film Music Archive Production. All proceeds from this limited edition compact disc go towards the acquisition, preservation of film music elements and public future releases. Produced by David O. Selznick in 1937, A STAR IS BORN is the story, remade many times, of a young girl with dreams of fame who falls in love with a star whose talent and popularity are on the wane. Max Steiner’s score beautifully accompanies the on-screen romance and heartbreak of this classic Technicolor drama. But the story of the score is a drama in itself and this CD, taken from the composer’s personal acetates which are preserved in the Max Steiner Collection at Brigham Young University, presents, in comprehensive fashion, multiple versions of cues that were written and re-written for the film. In large part, the discs were in excellent condition, while a few had obviously been played numerous times over the years. The package includes a 40 page book with an introduction by Steiner biographer Steven C. Smith and notes by Ray Faiola, who also restored the score and produced the CD master. Package design by Jim Titus. Produced with the cooperation of Warner Bros. Entertainment. 01. Main Title 1:46 02. Advice from Granny (replaced) 3:47 03. Advice from Granny (film version) 3:44 04. Farewell at Depot (replaced) 1:13 05. Arrival at Hollywood 1:55 06. Job Search (replaced) 2:04 07. Job Search (film version) 2:05 08. A Drink With Danny 1:12 09. Finally a Job 2:08 10. Impressionable Waitress (unused) 1:59 11. Contemplations Waltz (unused) 1:27 12. Good For Amusement Only (unused) 6:24 13. Driving Esther Home (partially unused) 2:41 14. The Enchanted Hour Preview 1:32 15. Trocadero Terrace 2:23 16. Boxing Arena Exit Music 1:01 17. Honeymoon Trailer 0:44 18. Gossip Column / The Maine Mansion 1:48 19. A Star is Born / Box Office Poison 2:22 20. Home From the Studio (replaced) 0:57 21. Home From the Studio (film version) 0:57 22. Dressing Table (replaced) 2:48 23. Dressing Table (film version) 2:22 24. Sign Here Mr. Lester (replaced) 1:33 25. Sign Here Mr. Lester (film version) 1:33 26. Academy Award Foxtrot (replaced) 1:14 27. Academy Award Foxtrot (film version) 1:13 28. Oliver Offers to Help (replaced) 1:28 29. Bailed Out / Vicki’s Sacrifice 2:34 30. Norman Commits Suicide 4:03 31. Funeral Mob 1:34 32. Mrs. Norman Maine / Finale 1:03 33. Trailer Score Part Two 1:44

Mutant is proud to announce a distribution partnership with Sparks & Shadows Records, an independent record label formed by Emmy and BAFTA Award-winning composer Bear McCreary. Last year, Mutant was the physical media home for McCreary’s debut rock record, The Singularity, a concept album featuring legendary rock talent including Slash, Serj Tankian (System of a Down), Corey Taylor (Slipknot), Rufus Wainwright, and many more. Mutant will now be the home and co-distributor of Sparks & Shadows’ back catalog on physical media, including McCreary’s scores for films, TV shows, and video games such as Black Sails, Da Vinci’s Demons, 10 Cloverfield Lane, Call of Duty, and much more. To celebrate this collaboration, Mutant is excited to premiere The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) This 10xCD box set features the complete episodic scores for all eight episodes of Season Two of the hit series, as well as the original soundtrack album. The limited-edition, numbered set also contains a 130-page booklet featuring liner notes by composer Bear McCreary. The Lord of the Rings: The Rings of Power (Season Two Complete Soundtrack Collection from the Amazon Original Series) is now available for pre-order at madebymutant.com

Neu von Quartet: Quartet Records, in collaboration with GDM and EMI General Music Publishing, presents a remastered reissue of BLUEBEARD (1972), in full stereo for the first time. It is one of the most bizarre-yet-beautiful Ennio Morricone scores composed during the busiest period of his career. The film is a weird co-production directed by Edward Dmytryck, produced by Alexander Saldkin, and starring Richard Burton, Rachel Welch, Virna Lisi, Nathalie Delon and Agostina Belli. The plot of the film is loosely based on a French folk tale about a nobleman whose last wife becomes curious when he tells her that she can enter any room in his castle except one. In that room, he keeps the corpses of all his previous wives, whom he has murdered. Ennio Morricone divided his score between the melancholic, the macabre and the parodic. One senses his intention to delve deeper into the psychology of the characters and to imbue the images with irony, moving from black comedy to bourgeois horror drama. The album of BLUEBEARD has been released several times on LP and CD since its first appearance in 1972 on the General Music label. In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Barbablù (Titoli) 4:04 Caccia 2:22 Preludio alla prima moglie 1:19 Una macabra scoperta 2:09 1928 2:56 Interludio alla seconda moglie 2:22 Barbablù romantico 3:31 Postludio alla terza moglie 2:45 Dedicato alla quarta 2:39 Il violinista 2:51 La quinta è in coma 2:26 Barbablù al crepuscolo 2:25 Povera sesta 2:46 Brutta fanfara 1:31 Requiem per la settima 3:14 Barbablù 2:23 Preludio alla prima moglie (#2) 0:45 Una macabra scoperta (#2) 3:25 1928 (#2) 2:50 Interludio alla seconda moglie (#2) 1:51 Barbablù romantico (#2) 4:14 Postludio alla terza moglie (#2) 2:31 La quinta è in coma (#2) 2:20 Barbablù al crepuscolo (#2) 2:34 Povera sesta (#2) 3:26 Barbablù romantico (#3) 4:11 Barbablù (Titoli – Versione Film) 2:58 Total Disc Time: 73:01 Quartet Records, in collaboration with GDM and EMI General Music Publishing, present a remastered reissue of the 1972 classic, bizarre and ironic Ennio Morricone cult score for LE TRIO INFERNAL (1972), a successful French dark comedy-drama, sadistic and erotic, directed by Francis Girod, starring Michel Piccoli, Romy Schneider and Mascha Gonska. The film is about an ambitious lawyer who devises a plan with his German mistress and her sister to deceive wealthy millionaires, marry them and then murder them, disposing of the bodies in sulfuric acid, thereby collecting the inheritance and insurance money. Ennio Morricone responds to the challenge posed by Le trio infernal with one of his most complex and contradictory scores, where lyricism is mixed with irony, beauty is subverted, and music is transformed into a narrative commentary laden with ambiguity. The album of LE TRIO INFERNAL has been released several times on LP and CD since its first appearance in 1974 on the Yuki label in France. In 2010, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Acido e Charme 3:52 Rag Nuziale (primo matrimonio) 3:27 Trio Infernale 6:03 Rag Nuziale (secondo matrimonio) 3:27 Acido e Charme (#2) 3:51 Sinfonietta – Requiem All’Acido Solforico 5:23 Rag Nuziale (ultimo matrimonio) 1:18 Trio Infernale (#2) 1:57 Acido e Charme (#3) 1:55 Rag Nuziale (primo matrimonio #2) 2:44 Trio Infernale (#3) 1:47 Acido e Charme (#4) 2:17 Rag Nuziale (ultimo matrimonio #2) 4:16 Trio Infernale (#4) 1:34 Acido e Charme (#5) 2:35 Trio Infernale (#5) 1:43 Rag Nuziale (secondo matrimonio #2) 2:24 Trio Infernale (#6) 4:52 Acido e Charme (#6) 2:48 Trio Infernale (#7) 3:51 Trio Infernale (#8) 2:29 Total Disc Time: 64:42 Quartet Records, in collaboration with GDM and Universal Music Publishing, presents a remastered reissue of one of Ennio Morricone’s most celebrated collaborations with Mauro Bolognini (ARABELLA, L’ASSOLUTO NATURALE, METELLO), the 1975 drama PER LE ANTICHE SCALE, starring Marcello Mastroianni, Barbara Bouchet, Lucia Bosé, Marthe Keller and Françoise Fabian. The film is set in fascist Italy in the 1930s and takes place in a Tuscan mental hospital. There, Dr. Bonaccorsi (Mastroianni), a charismatic, progressive and contradictory psychiatrist, works with mentally ill patients while simultaneously maintaining romantic relationships with three women: a nurse, a colleague’s wife and the hospital secretary. The decadent and labyrinthine atmosphere of the asylum acts as a metaphor for the state of Italian society at the time. Morricone’s score combines melancholic passages with atonal and dissonant moments, reflecting the clash between the lyricism of the human soul—the patients, their dreams, their poetic delusions—and the oppressiveness of the system—the treatments, the medical language, the hierarchy in the asylum. PER LE ANTICHE SCALE was originally released on an Italian 45RPM featuring only two cues from the score. It wasn’t until 1997 that RCA released on CD the mock-up album prepared by the composer in 1975, which was ultimately canceled. In 2007, GDM released an expanded edition with the complete score recorded by Morricone in a 74-minute edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Per le antiche scale (Preludio) 3:25 Passato remoto 7:02 I Interludio 2:18 Sospiri e Rantoli 6:56 II Interludio 2:59 Rimani 5:36 Interludio 2:59 Seconda invasione 2:31 Postludio 3:19 Follia e morte 7:56 Rimanenze 6:07 Per le antiche scale (#2) 3:00 Carnevale 6:23 Sospiri e Rantoli (#2) 2:39 Postludio (#2) 1:26 Follia e morte (#2) 6:06 Per le antiche scale (#3) 2:57 Total Disc Time: 79:19 Quartet Records, in collaboration with GDM, Universal Music Publishing and EMI General Music Publishing, presents a remastered reissue of the beautiful, nostalgic Ennio Morricone score for the 1981 romantic drama LA DISUBBIDIENZA, directed by Aldo Lado, starring Stefania Sandrelli, Jacques Perrin and Mario Adorf. Based on the novel by Alberto Moravia, the film is about a fourteen-year-old boy living in a bourgeois family with strong ties to fascism during the Republic of Salò, becoming involved in the partisan resistance, defying his parents’ authority. The appearance of two women will bring his adolescence to an end. Ennio Morricone composed an enchanting score for LA DISUBBIDIENZA, with one of its most melancholic and heartbreaking themes (“Morire e Viverti”) features the voice of Edda Dell’Orso. Also featured is a profound love theme and beautiful variations on it. Another nostalgic theme, written for solo oboe, defines the boy’s loneliness. It also includes the beautiful song “Dolci Parole,” which is one of the few times Edda has performed a song with lyrics. The score was released on LP in France in 1981 by General Music. In 1996, it made its first appearance on CD in Italy, with the same 10 tracks. In 2011, GDM CD Club released an expanded limited edition, removing two cues from the original vinyl and the first CD release, as they were neither composed for this film nor had anything to do with it. The new edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Ordóñez discussing the movie, the music and the composer. Morire e viverti 5:13 Oboi sommersi 4:30 Al Teatro Goldoni 3:23 La Disubbidienza (source #1) 2:38 Morire e viverti (#2) 5:10 Repressione 2:02 Dolci parole (A. Stainton / E. Morricone) Vocal: Edda Dell’Orso 1:47 La Disubbidienza 4:17 Il colore dei suoi occhi 4:32 Ritorsione 1:11 Morire e viverti (#3) 5:11 La Disubbidienza (source #2) 2:49 Ritorsione (#2) 0:47 Dietro la tenda 5:07 Total Disc Time: 48:44

Kommt am 21. Oktober.

Snow Files of the Week: "Catalogued/Deny Everything/Blood on Paper" aus The X-Files, Episoden "Duane Barry" and "Ascension" (1994). Ein klassischer X-Files-Zweiteiler aus der zweiten Staffel der Serie. Und mit Duane Barry eine der markantesten Figures des X-Files-Universums, aufwühlend manisch gespielt von Steve Railsback. Barry wird seit langer Zeit in manchen Nächten von Aliens heimgesucht, die immer wieder Experimente an ihm durchführen. Als eine erneute Heimsuchung kurz bevor steht, dreht Barry durch und nimmt in einem Bürogebäude einige Geiseln. Die Polizeit hält ihn natürlich nur für einen gefährlichen Irren, aber Mulder ist an den Heimsuchungen interessiert. Mulder gelingt es, Barry zu überlisten und dieser wird angeschossen in ein Krankenhaus eingeliefert. Doch Barry spielt nur zum Schein mit, bricht aus dem Krankenhaus aus und entführt Scully, die er an seiner statt den Besuchern für ihre Experimente überlassen will. Er bringt sie nachts auf den Skyland Mountain, von wo aus er zum ersten Mal entführt wurde. Als Mulder eintrifft, bemerkt er nur noch ein helles Licht am Himmel und findet Barry alleine vor. Scully ist verschwunden. Mark Snow untermalt diese Doppelfolge mit sehr melancholisch-mystischen Klängen. Die kurzen Motive für den Raucher und die Verschwörer tauchen immer wieder auf, da diese natürlich auch ihre Finger im Spiel haben. Die Tracks stammen vom vierten Set X-Files-Musik von LLL. Das Set ist auf 2.000 Exemplare limitert. Viel Spaß beim Hören!

Neu von Dragon's Domain: Dragon’s Domain Records presents PSYCHO, featuring music composed by Bernard Herrmann (CITIZEN KANE, NORTH BY NORTHWEST, VERTIGO) for the 1960 horror classic directed by the legendary Alfred Hitchcock, written by Robert Bloch and Joseph Stefano, starring Anthony Perkins, Janet Leigh, Vera Miles, John Gavin, Martin Balsam, John McIntire and Simon Oakland. Released in 1960, PSYCHO focuses on an encounter between Marion Crane (Leigh) and Norman Bates (Perkins) and its aftermath, in which Arbogast, a private investigator (Balsam), Marion’s lover Sam (Gavin) and her sister Lila (Miles) investigate her disappearance. On the run after embezzling money from her former employer, Marion makes a fateful stop at the Bates motel, where she meets shy proprietor Norman and Marion’s fate is changed forever... Now considered one of Hitchcock’s best films and arguably his most influential work, PSYCHO was seen as a departure at the time from his previous film, NORTH BY NORTHWEST, as it was filmed in black-and-white, on a small budget, with the same crew Hitchcock used for his television series, ALFRED HITCHCOCK PRESENTS. The film was a massive success in its day, spawning three sequels, a remake, a made-for-television spin-off and a television series. Bernard Herrmann is one of the greatest composers of motion picture music in the twentieth century. He is considered the man behind some of the most original and distinctive film scores. He was a master at evoking psychological and dramatic tension in his music to suit the dramatic needs of a film. He won his only Oscar in 1947 for writing the score for THE DEVIL AND DANIEL WEBSTER. Herrmann made a powerful mark in radio and in 1934 he began a 25-year career as a conductor and composer in radio, working for the CBS. In 1938, he scored the notorious infamous presentation of Orson Welles’ Halloween production of H. G. Wells’ THE WAR OF THE WORLDS broadcast. He is best remembered for his collaborations with some of Hollywood’s most celebrated film directors like Alfred Hitchcock, Orson Welles, Martin Scorsese and Brian DePalma. Described as a perfectionist, he believed that most directors didn't have a clue about music so he would blithely ignore their instructions. His filmography includes CITIZEN KANE, THE MAGNIFICENT AMBERSONS, NORTH BY NORTHWEST, VERTIGO, MYSTERIOUS ISLAND, CAPE FEAR, FAHRENHEIT 451, OBSESSION, TAXI DRIVER and many hours of episodic television including THE TWILIGHT ZONE and HAVE GUN, WILL TRAVEL, among others. First released on vinyl in 1975 by Unicorn-Kanchana and later released in the early days of the compact disc format, this recording captured the first complete presentation of music from PSYCHO as performed by the National Philharmonic Orchestra and conducted by the composer himself in 1975. Dragon’s Domain Records is excited to bring PSYCHO back to the marketplace under license from Unicorn-Kanchana, newly remastered by James Nelson at Digital Outland and retaining the original album liner notes by Christopher Palmer. PSYCHO is a limited edition release. PSYCHO will begin shipping the week of October 28th, 2025. 01. Prelude (2:08) 02. The City / Marion / Marion and Sam (4:34) 03. Temptation (3:06) 04. Flight / The Patrol Car / The Car Lot / /The Package / The Rainstorm (8:43) 05. Hotel Room / The Window / The Parlor (4:01) 06. The Madhouse (2:14) 07. The Peephole (3:10) 08. The Bathroom / The Murder / The Body (2:07) 09. The Office / The Curtain / The Water / The Car / The Swamp (6:39) 10. The Search (A) / The Shadow / Phone Booth (2:23) 11. The Porch / The Stairs / The Knife (4:33) 12. The Search (B) / First Floor / Cabin 10 / Cabin 1 (6:09) 13. The Hill / The Bedroom / The Toys / The Cellar / Discovery (5:24) 14. Finale (5:45) BONUS TRACKS 15. The Hill / The Bedroom / The Toys / The Cellar / Knife (reprise) / Discovery (film edit) (1:49) PSYCHO: A NARRATIVE FOR STRING ORCHESTRA 16. Part 1: Prelude (2:08) 17. Part 2: The Madhouse / The Murder / The Water / The Swamp ( 6:23) 18. Part 3: The Stairs / The Knife / The Cellar / Finale (6:36) Total Time: 78:37 Dragon’s Domain Records proudly presents the third volume in a new ongoing series of music from classic horror films from the Golden Age, featuring two world premiere releases of music from THE GORGON and THE MANSTER. Released in 1964, was directed by Terence Fisher (CURSE OF FRANKENSTEIN, HORROR OF DRACULA, THE MUMMY), written by John Gilling and J. Llewellyn Devine, starring legendary actors Christopher Lee and Peter Cushing, along with Richard Pasco, Barbara Shelley, Michael Goodliffe, Patrick Troughton, Joseph O’Conor and Prudence Hyman. THE GORGON begins in 1910, in Vandorf, a seemingly idyllic German village which is harboring a horrific secret: Seven people have died after encountering a mysterious force that turns bodies into stone. When Bruno Heitz, a bohemian artist believed to have committed suicide by hanging himself is blamed for the murder of his pregnant girlfriend, his father challenges local officials who he suspects of conspiring to hide the truth. An esteemed academic, he sends for help from his good friend Professor Meister (Lee), who is tutoring his other son Paul (Pasco). That night, the elder Heitz is drawn to Borski Castle by a strange and haunting melody, sung by a shadowy figure who appears to have writhing snakes on her head instead of hair. Staggering back to his son’s studio, he desperately scribbles a note while slowly turning to stone... Paul arrives the following day to learn that his father has also passed away, allegedly from a heart attack. His questions are rebuffed by Dr. Namaroff (Cushing), a medical doctor who also runs the local asylum, though he does find a sympathetic ear in Carla (Shelley), who is Namaroff’s assistant. Later that night, Paul finds himself compelled to visit the castle. He merely gets a glimpse of a mysterious figure reflected in the garden pool before passing out and awakening five days later, only to learn that he has noticeably aged. Professor Meister arrives to help Paul who, after exhuming his father’s stone corpse, is determined to locate and kill the monster. Namaroff insists publicly that the killer is one of his escaped lunatics, but in private he confides to Carla what he truly believes, that the murderer is someone else, a person possessed by the spirit of one of the mythical Gorgon sisters who, when gazed upon, turn people to stone... Composer James Bernard was the man responsible for creating Hammer Studio’s unique sound, having begun scoring for the studio with THE QUATERMASS XPERIMENT. He had commenced his music studies later in life, after completing his service during the Second World War. Following his work on X THE UNKNOWN and QUATERMASS 2, Bernard scored Hammer’s first major horror film, THE CURSE OF FRANKENSTEIN. Each of these scores featured his trademark blend of harmonies and themes that often melodically spelled out the protagonists’ names. Unlike many composers, Bernard frequently orchestrated his own scores and THE GORGON represents one of his more romantic horror efforts, undoubtedly inspired by the film’s central female character. Released in 1959, THE MANSTER was directed by George P. Breakston and Kenneth G. Crane, written by William J. Sheldon and Breakston, starring Peter Dyneley, Jane Hylton, Tetsu Nakamura, Terri Zimmern, Norman Van Hawley, Jerry Itô, Toyoko Takechi, Kenzo Kuroki and Alan Tarlton. THE MANSTER tells the story of Larry Stanford (Dyneley), an international journalist based inTokyo. His latest assignment sends him to an isolated laboratory located near a volcanic mountain. His efforts to interview a reclusive scientist (Nakamura)yields what he perceives to be a new friendship, but in reality Stanford has been secretly injected with an experimental serum, becoming the latest guinea pig in a mad, genetic experiment... The doctor’s beautiful assistant (Zimmern) is tasked with seducing Stanford in an attempt to observe how the drug changes his personality. He soon becomes more aggressive, ignoring help from his friend and editor Ian (Van Hawley), who has also flown Larry’s wife (Hylton) in to help. Soon, the city of Tokyo finds itself in the grip of terror as several young women are brutally murdered, and a police inspector (Itô) suspects a link between Stanford and the killer. Unbeknownst to all, Larry has begun a physical transformation with the appearance of an eye on his right shoulder that grows into an animalistic head, later evolving into a second beastly body... The music for THE MANSTER was composed by Hirooki Ogawa. The composer was born in Tokyo, Japan. Among his most notable scores were for the GEKKÔ KAMEN and MOONLIGHT MASK television and theatrical series in the 1950s.Some of the films featuring his scoring work has been recently released in the U.S., including WATARI THE NINJA BOY (Daininjutsu eiga Watari) and NINJA SCOPE (Tobidasu Boken Eiga: Akakage). This third volume in Dragon’s Domain Records series of classic horror films has been mastered by James Nelson at Digital Outland, featuring exclusive liner notes by Starlog Magazine’s David Hirsch with Sam Scali on the music featured on the album. THE GOLDEN AGE OF HORROR VOL. 3 is a limited edition release and is expected to begin shipping the week of October 28th,2025. SPECIAL NOTE: These recordings were originally taken from analog masters and music & effects tracks and therefore certain limitations from the source tapes may be evident. We have tried to preserve as closely as possible, the quality of the original recordings. THE GORGON (1964) Music by James Bernard 01. Main Title (3:22) 02. Death in the Forest / Broken Finger / Woman of Stone / Bruno's Body / Inquest Conclusion / Village Thugs (2:33) 03. The Siren's Call /Turning to Stone (4:31) 04. Surviving Son Contemplates (2:22) 05. The Legend / Terrible Reflection (4:04) 06. Nightmare / It Was Only a Dream / Exhumation / Come Away With Me (3:35) 07. Take Me Away Now (3:01) 08. Meister Steals the File (2:33) 09. It's Too Late / It's the Full Moon / Paul Escapes / Back to the Castle (2:55) 10. She's Free & Finale (4:27) 11. The Gorgon (1964) Theatrical Trailer (2:42) THE MANSTER (1959) Music by Hirooki Ogawa 12. Murder in the Onsen / Main Title / Climbing Into the Mist (2:37) 13. Disposing Kenji's Body (1:47) 14. Stanford Arrives at the Lab / Suzuki Drugs Stanford / Preparing the Hypo / Injecting Stanford (2:44) 15. Tokyo Branch Office / Call From the Wife / Geisha House (2:31) 16. Saki Before Our Bath / An Evening with Tara (2:46) 17. The Girlfriend or Me/ Tara's Demands / Hand Transformation (4:05) 18. Something On His Shoulder / The Priest / Where Did You Get Those Prayer Beads? / Murderous Rampage (2:57) 19. Emiko / Eye On His Shoulder / Second Head (2:06) 20. Matthews Searches for Stanford / Manster vs. Police / Wife Discovers Manster (3:08) 21. Mansterhunt (2:00) 22. Searching Tara's House (1:16) 23. The Shipyard (2:23) 24. Suzuki Shoots Emiko (1:39) 25. Manster Stabs Suzuki / The Split / Man vs. Monster / Finale (4:11) 26. The Manster (1959) Theatrical Trailer (1:33) Total Time 74:05 Dragon’s Domain Records presents WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried (THE MAN FROM U.N.C.L.E., STAR TREK, ROOTS) for the 1969 dark horror comedy directed by Lee H. Katzin, written by Theodore Apstein and Ursula Curtiss, starring Geraldine Page, Ruth Gordon, Rosemary Forsyth, Robert Fuller, Mildred Dunnock, Joan Huntington, Peter Brandon, Michael Barbera, Peter Bonerz, Richard Angarola, Claire Kelly and Valerie Allen. Released in 1969, WHAT EVER HAPPENED TO AUNT ALICE? was based on the novel ‘The Forbidden Garden’ by Ursula Curtiss. WHAT EVER HAPPENED TO AUNT ALICE? is the story of an aging Arizona widow named Claire Marrable (Page) left destitute after her husband, a prominent wealthy businessman, passes away leaving behind considerable debts. Penniless and desperate, Ms. Marrable retreats to Tucson where she cons elderly female housekeepers out of their life savings before murdering them and burying their bodies in her desert garden. Shortly after Mrs. Marrable hires petite Alice Dimmock (Gordon) as her next housekeeper (victim), the conniving black widow’s homicidal schemes begin to unravel... The original director of the picture, Bernard Girard, was fired from the project after shooting only half the film. Lee H. Katzin was then brought aboard to complete the movie receiving sole directorial credit. WHAT EVER HAPPENED TO AUNT ALICE? is the third installment in producer Robert Aldrich’s loose trilogy of psycho-biddy “Grand Guignol” films, horror thrillers featuring elderly women going crazy, following WHAT EVER HAPPENED TO BABY JANE? and HUSH…HUSH, SWEET CHARLOTTE. Born February, 1928 in the Bronx, Gerald Fried’s interest in music found its first fruition at the High School of Music & Art in New York City. He attended The Juilliard School of Music as an oboe major, graduating in 1945. Among his earliest friends was a bright kid named Stanley Kubrick. The two of them used to hang around Greenwich Village and talk about their budding interests, Fried’s in classical music and Kubrick’s in filmmaking. Their interests merged when Kubrick began filming DAY OF THE FIGHT, an 18-minute short about boxing. Knowing Fried was a music major, Kubrick asked him if he could write the score for his boxing picture. Fried agreed, then spent months going to the movies to learn how film scores worked, there being no schools or courses on film music in those days. Fried wrote an effective score, and Kubrick sold the film to RKO Pathé. Fried rejoined Kubrick to score four more of his films, including THE KILLING and PATHS TO GLORY, where the young filmmaker first gained his reputation. After the success of THE KILLING in 1956, Kubrick moved to Los Angeles, shortly followed by Fried, who was immediately hired to compose and arrange music for several films, including THE VAMPIRE, THE RETURN OF DRACULA, MACHINE GUN KELLY and I, MOBSTER, I BURY THE LIVING, and TIMBUKTU (1959). By the 1960s, Fried moved into television, scoring episodes of such seminal shows of the decade as GILLIGAN’S ISLAND, THE MAN FROM U.N.C.L.E., MISSION: IMPOSSIBLE and STAR TREK. By the 1970s Fried was composing music for numerous made-for-TV movies. His best-known score of the decade was for the 1977 miniseries ROOTS, which he took over scoring when Quincy Jones fell behind and was unable to meet the broadcast deadline for the eight-hour miniseries. Both Jones and Fried won Emmy Awards for their musical efforts on the series. During the ‘80s, Fried continued to compose music for television series, movies, and documentaries, and an occasional feature film. These are just two of the many magnificent scores Fried wrote throughout his career. The composer passed away on February 17, 2023 at the age of 95. His work remains a testament to his talent and dedication to the art of composition and he is remembered as a key figure in the evolution of music for film and television. Dragon’s Domain Records presents the world premiere release of WHAT EVER HAPPENED TO AUNT ALICE?, featuring music composed by Gerald Fried. The music has been mastered by James Nelson at Digital Outland and the liner notes have been written author and composer Brian Satterwhite. WHATEVER HAPPENED TO AUNT ALICE? is a limited edition release. WHATEVER HAPPENED TO AUNT ALICE is expected to begin shipping the week of October 28th, 2025. 01. Come With Me (1:40) (Sherlie Matthews) 02. Prologue: The Respectable Widow (3:51) 03. Prelude To Murder / Opening Titles (3:27) 04. Miss Tinsley Death (3:55) 05. A New Tree / Alice Dimmock Arrives (2:44) 06. Snooping Around / A Stormy Night (4:11) 07. Falling In Love (1:24) 08. The Dog (4:50) 09. Discovering The Truth / $46,000? / Comparing Handwriting (4:16) 10. I Don’t Want To Lose You (1:26) 11. Late Night Call (2:25) 12. Fight To The Death (3:17) 13. Stamp Collection / Pine Trees / End Titles (3:06) 14. Come With Me (Alternate Version) (2:58) (Sherlie Matthews) 15. Cocktail Party I (4:30) 16. Cocktail Party II (4:19) 17. Car Radio (Source) (5:14) 18. Dixieland (Source) (3:42) 19. Mon Pauvre Amour (Source) (3:41) (Lilyan Chauvin) 20. Mon Pauvre Amour - Instrumental (Source) (3:41) 21. Viens À Moi (Come With Me) (2:04) (Lilyan Chauvin) 22. Viens À Moi (Come With Me) (Instrumental Version) (2:05) 23. Quand Revient La Nuit (Source) (2:25) (Lilyan Chauvin) 24. C’est La Vie (Source) (2:10) (Lilyan Chauvin) Total Time: 78:22 Dragon’s Domain Records presents THE HILLS HAVE EYES, featuring music composed by Don Peake (THE PEOPLE UNDER THE STAIRS) for the 1977 horror film written and directed by Wes Craven (LAST HOUSE ON THE LEFT, A NIGHTMARE ON ELM STREET, SCREAM), starring Susan Lanier, Robert Houston, John Steadman, Janus Blythe, Peter Locke, Russ Grieve, Virginia Vincent, Dee Wallace, Brenda Marinoff, Martin Speer, James Whitworth, Lance Gordon, Michael Berryman and Cordy Clark as Mama. Released in 1977, THE HILLS HAVE EYES follows Big Bob Carter (Grieve), a retired detective, his wife Ethel (Vincent), their son, Bobby (Houston), daughters Lynne (Wallace) and Brenda (Lanier), Lynne’s husband, Doug (Speer) and their granddaughter as they travel together through the desert on their way to California. Stopping at an isolated gas station to refuel and rest, Fred, the owner (Steadman) advises Big Bob to stay on the main road. Being stubborn, Big Bob ignores his advice and takes a shortcut through a nuclear testing site. After wrecking the car, the family finds themselves stranded in the middle of nowhere. And they are not alone... Don Peake is a multi-talented musician who has worked as a guitarist, arranger, record producer, and film music composer. Starting his professional musical career as a guitarist in 1961, Peake's talent was recognized early when he toured as lead guitarist with the Everly Brothers at the age of 21, playing in the U.S. and Europe for two years. Peake returned to Los Angeles to establish himself as a recording musician, and played for many of the legendary performers under Phil Spector's production including The Righteous Brothers - "You've Lost That Loving Feeling," Ike and Tina Turner - "River Deep Mountain High," as well as recording with Mahalia Jackson, Billy Preston, Cannonball Adderly, Marvin Gaye, and Diana Ross. Peake became the first white guitarist to play with the Ray Charles Orchestra, touring with Charles, and recording with him for ten years. During that time, Peake studied guitar with Barney Kessel, Howard Roberts, and Joe Pass, three legendary guitarists. Peake became one of the premiere session guitarists in Los Angeles, recording for Jan and Dean, The Mamas and the Papas, Sonny and Cher, The Beach Boys, and many others. Don was inducted into an elite group of musicians led by drummer Hal Blaine known as "The Wrecking Crew." This amazing range of musical experience led Peake to composing music for film and commercials. He studied composition and orchestration extensively with Dr. Albert Harris, Academy Award winning composer Paul Glass, and conducting with Broadway's beloved Maestro Samuel Krachmalnick. His film scores include Wes Craven's cult classic WALK PROUD, MOVING VIOLATION, MODERN LOVE, and BREAKIN’, which earned him a Platinum Album. Don spent three and a half years scoring the popular Universal Television series KNIGHT RIDER. He also scored the American Playhouse production of THE MEETING, a film about the meeting between Martin Luther King and Malcolm X. Previously released on compact disc as a limited edition release by Hitchcock Records, Dragon’s Domain Records is excited to bring THE HILLS HAVE EYES back to the marketplace, with the music remastered by James Nelson at Digital Outland, reprising liner notes by the composer. THE HILLS HAVE EYES is a limited edition release. THE HILLS HAVE EYES is expected to begin shipping the week of October 28th, 2025 1. Opening Credits (2:07) 2. Stay On The Main Roads / Truck Explosion / Here They Come / Mutants Watch / Pretty Girl / Spider (2:58) 3. Bobby Runs After Beauty The Dog / Bobby Runs Back Down The Hill (3:42) 4. Oil Can Spout / Old Man Tells Story / Mutant Attacks Big Bob (3:28) 5. Bobby Hears A Noise / Nailing Big Bob To A Tree / Bobby Runs / Mutant Enters The RV (2:47) 6. Explosive Diversion / Big Bob’s Burned Corpse (2:10) 7. Stealing The Baby / Lynne Is Shot / RV Fight / Finding The Walkie-Talkie (2:46) 8. Dog Scare / Running Back Up The Hill / Finding The Camp / Mutants Run To RV / Ruby Steals The Baby (2:48) 9. Ruby Runs With Baby / The Rabbit / Brenda Sees Mutant / Dead Mom Decoy (2:11) 10. Gas Trap / The RV Explodes / Chasing The Baby / Rock Fight / The Rattlesnake (2:42) 11. End Credits (1:23) 12. Bobby Runs Back Down The Hill (Alternate) (0:35) 13. Bobby Runs (Alternate) (0:23) 14. Lynne Is Shot / RV Fight (Alternate) (1:22) 15. Chasing The Baby / Rock Fight (Alternate) (1:04) 16. Dog Scare / Running Back Up The Hill (Alternate) (0:55) 17. Wild Synth Wind (0:18) 18. Wild Axe Hits (0:10) 19. Percussion Suite 1 (0:40) 20. Percussion Suite 2 (1:02) Total Time: 36:24

Von Quartet: Quartet Records presents the soundtrack album composed by Pedro Osuna (ARGENTINA 1985, THE LEGEND HUNTERS) for the horror thriller CRAZY OLD LADY, produced by J.A. Bayona (A MONSTER CALLS, SOCIETY OF THE SNOW) and directed by Martín Mauregui. The film is a tour-de-force starring Carmen Maura and Daniel Hendler, about a man whose ex-girlfriend asks him to temporarily take care of her senile mother, Alicia. But Alicia won’t let him leave, turning a simple task into a nightmare from which he must escape. Pedro Osuna is a talented young Spanish composer who has already been part of Michael Giacchino and Hans Zimmer’s teams on several major productions. He surprised audiences with his music for ARGENTINA1985, and his new score for VIEJA LOCA is a declaration of love for the genre of classic horror film music, where echoes of Herrmann, Goldsmith and Christopher Young coexist in a personal style of writing and orchestration entirely the composer’s own. Osuna conducts a large orchestra recorded in Los Angeles. Without a doubt, it is one of the most pleasant surprises in recent film music. Vieja loca 1:52 El hechizo de César 0:51 El hombre más malo del mundo 1:24 Comienza el viaje 2:58 No se grita 1:08 Antígona 2:23 ¿Es verdad o mentira? 2:58 Bigotudo 0:54 Sueño convertido en pesadilla 2:07 La pesadilla llega 0:47 Esperanza 5:32 Campeona metropolitana 1:12 La visita 3:01 Franquito 3:38 La verdad 3:18 Mordeme 3:36 Final 8:02 Caja de música 1:11 Antígona (versión alternativa) 2:01 Vieja loca suite 8:53 Total Disc Time: 57:56 Quartet Records presents the soundtrack album composed by Víctor Reyes (LOVE GETS A ROOM, ESCAPE, DOWN A DARK HALL, the Emmy-winning THE NIGHT MANAGER) for the war drama film LA TREGUA, directed by Miguel Ángel Vivas and starring Miguel Herrán, Arón Piper, Javier Pereira and Fernando Valdivielso. Set during World War II, the story takes place in the frozen steppes of Kazakhstan, home to Spassk99, a Soviet gulag where the USSR crammed together the “enemies of the people.” Among them were two groups of Spaniards: Republican soldiers trained by the USSR who were condemned for wanting to leave Russia when the war in Spain ended, and volunteers from the Blue Division, captured after fighting alongside the Nazis in Leningrad. These enemies must put aside their ideologies and unite. Victor Reyes composed an intense, atmospheric, exciting vibrant, and dark score, written for orchestra and electronics, in a combination that is sometimes terrifying and sometimes hopeful, representing the inner voices of the characters. Capitán… Teniente 2:20 De uno en uno 2:23 Estrépitos de música 3:43 Vuestro lugar 1:49 Quédatelo 2:01 Alcohol 0:54 Una tregua 1:17 Todos españoles 2:24 Ella 2:52 Consejos de un comunista 1:30 Kazajistán, Invierno de 1941 4:08 Lo siento 1:04 Memoria 2:03 De aquí a Muros 3:44 Hablas Kazajo 2:09 Ciudadano soviético 1:51 Pater 1:30 Una brújula 1:34 Despedida 1:34