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Waxwork Records, the leader in beautifully packaged soundtracks on vinyl (plus a DM premiere)
01:40 pm


Waxwork Records

Waxwork Records
I love movie soundtracks. The best films usually have awesome scores (which is part of what makes them extraordinary), so whenever I really dig a particular flick I almost always NEED the soundtrack. I used to scour the used LP bins, searching for soundtracks that I wasn’t even sure existed—keep in mind this was pre-web, before you could easily look up such information. I’m not a “vinyl only” guy, but the size of LP packaging (especially if it’s a gatefold sleeve) seems to go hand in hand with the larger-than-life images projected on a movie screen. I’m especially drawn to horror scores from the ‘70s and ‘80s, when greats like John Carpenter and Goblin were creating amazingly frightening works that stand on their own as incredible pieces of music.

These days, there are a number of independent record labels that specialize in putting out vintage soundtracks on vinyl, but one label clearly stands out from the pack, and that is Waxwork Records. The label issues stellar, creative packages, complete with new liner notes, high-quality jackets, and thick pressings on colored vinyl that often reference the movie itself. New album artwork is also commissioned for every release, with Dave Rapoza of Marvel Comics creating the images for Waxwork’s latest: an expanded edition of the soundtrack for the cult classic The Warriors (1979). Barry De Vorzon’s spooky, pulsating synth rock score—complete and on vinyl for the first time—sounds fantastic. Like many Waxwork releases, it’s going fast, with the colored vinyl editions, including a deluxe package, already out of print.
The Warriors
The Warriors

In just a few short years, Waxwork has put together an impressive discography of 21 titles, many of which surely required a ton of legwork to secure the rights for. Perhaps their biggest coup was landing the original soundtrack and the complete score for the monumental Taxi Driver (1976). Penned by the legendary Bernard Herrmann—arguably the greatest film composer ever—the dreamy jazz pieces are synonymous with the film. As Martin Scorsese writes in his liner notes: “You can’t pull the images and the music apart. There’s no point in trying.”
Taxi Driver
Taxi Driver

Earlier this year, Dangerous Minds told you about Lalo Schifrin’s unnerving, rejected score for The Exorcist—and guess what? Waxwork is readying that one for release as well. They’ve also got a 2016 subscription service, in which subscribers are the first to get their hands on five different titles—plus loads of other of goodies—including the previously unavailable soundtrack for the ‘80s slasher, My Bloody Valentine.
My Bloody Valentine
My Bloody Valentine package
First looks at Waxwork’s ‘My Bloody Valentine’ package

More on the MBV release in a bit. First, I had a bunch of questions for the co-founder and CEO of the label, Kevin Bergeron, which were asked via email.

When did you start Waxwork Records? What was the impetus?

Kevin Bergeron: Waxwork Records launched in January 2013. The label was started out of necessity, really. I had played and toured in punk bands for many years, and I truly enjoy being in a recording studio and then pressing vinyl. Playing in punk bands for years is good conditioning for running your own business. You learn a lot on your own. There’s lots of discovery and character building skills you acquire that you just can’t learn anywhere else. I live in New Orleans, and it’s a very poor city where not very many people are motivated to do much of anything. I knew that when my last band split I wanted to continue working, putting out music. I was seriously broke, but I really went for it and started Waxwork with a lot of intensity and attitude. I knew that I didn’t have a lot to fall back on. Before Waxwork, I was a cremator at a mausoleum and after that a student majoring in biology. Just depressing stuff. I needed to make music in some form and put it out. I walked away from everything else, and started Waxwork with my partner, Suzy Soto. We pushed very hard, and still do now, over three years later.
Rosemary's Baby
Rosemary’s Baby

How do you think that Waxwork stands out from the pack of other labels that specialize in vinyl-only pressings of vintage movie soundtracks? And why exclusively vinyl?

Kevin Bergeron: Waxwork’s releases are the most deluxe, definitive, and true to the way the audio was originally intended to be heard. We seek out the original master tapes. We work from those tapes because they’re the very first recorded source of the soundtracks that we release. Like, those tapes were in the studio with the performers, recording everything in real time.

I use this example often, but it’s very true: If you hold up a Waxwork release in one hand and a record from a different label in another hand, you’re going to realize quickly that a Waxwork release is of better quality. That a lot of thought, time, effort, and man hours went into creating it. That it’s worth your time. Worth owning. That’s how we stand out, at least, amongst the other record labels specializing in soundtracks. Waxwork isn’t a hobby for us, or something that we divide up our time with something else. We exclusively run Waxwork. So, we put a lot of effort into everything.

Why vinyl? Because it’s the sexiest way to listen to music. With a decent stereo set up, it sounds the best to me. It’s a really fun, interactive way to experience recorded music, as well.
C.H.U.D.: “Toxic Waste Puddle” vinyl

Much more after the jump, including an exclusive listen to two side-long tracks from the My Bloody Valentine set…..

Posted by Bart Bealmear | Leave a comment
Over four hours of creepy horror-prog mixes for your Halloween party, right here
08:12 am



Looking for the perfect Goblin-esque Halloween party soundtrack? You found it right here.

Here’s over four hours of expertly chosen and cleverly mixed bits of horror movie soundtrack elements and obscure scare-pop that will give any occasion the feel of a Dario Argento creepfest.

I had the good fortune of discovering these mixes a few years back on a messageboard I frequented along with the mastermind behind them, “DarkLord Disco,” Ryan Todd.

Back then he had a website where you could download the mixes or request CDs—which had beautiful covers inspired by horror film poster art. Alas, the website is down, but the mixes live on over at Soundcloud. I’ve gathered the first five for you here. There is a sixth mix that is comprised entirely of direct-to-video film soundtracks which you can obtain from Ryan’s Soundcloud.

These mixes rely heavily on what I call “horror-prog” elements and seem to be highly influenced by ‘80s Italian horror. Think lots of Goblin style heartbeat rhythms and lots of John Carpenter style synth-work.

You can click through to Todd’s Soundcloud to see full tracklists. He digs DEEP.

I bust these out every year around this time and fall in love with them all over again. If you’re a fan of ‘80s horror or dark synthy prog, you’re going to eat these up.

The macabre mixes, after the jump…

Posted by Christopher Bickel | Leave a comment
Iconic horror soundtracks played in a major key become soothing, triumphant, dorky
10:15 am


horror movies

Transposing minor key songs into a major key (or vice versa) has become a thing on the internet in the past couple of years—a process that has been made rather easy with the advent of pitch-correction software. The results are often astounding. Some popular recent examples that have gone viral are REM’s “Losing My Religion” and Metallica’s “Nothing Else Matters,” both reworked into a major key. These minor-to-major reworks often give the songs a “triumphant” quality. A good example of this is this reworking of Europe’s “The Final Countdown”—already pretty “triumphant” as it was—now it sounds like a goddamn national anthem.

Musician, writer, and amateur filmmaker Ian Gordon has recently reworked a handful of iconic horror themes into a major key. The results, for the most part, turn creepy dread into pleasant elevator music. YouTube user Muted Vocal has uploaded a selection of five of these reworked themes: The X-Files, Halloween, A Nightmare on Elm Street, The Exorcist, and Saw. The changes are fascinating:

The X-Files theme played in a major key sounds exactly like Weather Channel “Locals on the 8s” music.

John Carpenter’s iconic Halloween soundtrack now sounds like Vangelis mashing up his Chariot’s of Fire theme with “Baba O’Riley.”

The Saw theme is now the intro music to an imaginary Hugh Grant film.

Mike Oldfield’s “Tubular Bells”—the theme from The Exorcist—now sounds like the wimpy, tinkly breakdown part of a Styx track, right before the “rock part” kicks in.

A Nightmare on Elm Street‘s theme played in a major key is the only one that retains any creep factor whatsoever—and maybe that’s just me, because I think Christmas is creepy. It sounds like the theme to a Hallmark Channel Holiday special.

These are all really great, but the Halloween theme left me wondering… what would the Chariots of Fire theme sound like in a minor key? I bet it’d be scary as hell. Perhaps Mr. Gordon can get on that and let us know?

Enjoy, here, the pleasant sounds of transposed horror:

via Nightflight, Bloody-Disgusting

Previously on Dangerous Minds:
Can ya dig it? Cabaret Voltaire’s insane version of Isaac Hayes’ ‘Theme from Shaft’
Soundtracks: Cinematic themes from Nick Cave, Sonic Youth, Tom Waits, John Cale and more
You know, this is—excuse me—a damn fine cover! The Joy Formidable revamps the ‘Twin Peaks’ theme

Posted by Christopher Bickel | Leave a comment
Sextape: Hours and hours of awesome music from ‘70s porn films
02:45 pm



I’ve blogged before about the French music producer known only as Drixxxe who makes these pretty spectacular mixes of songs from ‘70s softcore porn-y films. Since the last time I wrote about Drixxxe, he’s added two more mixes to the “Sextape” theme. They’re both amazing.

A lot of these don’t have tracklists, but some of songs come from films like Sessomatto, Black Lolita, Aunt Peg, Madame Claude, Emanuelle and the Girls of Madame Claude, Vampyros Lesbos, Sex O’Clock USA, Skin Flicks, Odyssey, Le Sex Shop and Emanuelle and the Last Cannibals and many, many more.

Here they are for your listening pleasure. Enjoy!

Below, Sextape 1:

The rest after the jump…

Posted by Tara McGinley | Leave a comment
Troma classics ‘Surf Nazis Must Die’ and ‘Street Trash’ soundtracks released on vinyl
01:53 pm



Surf Nazis Must Die album cover
Troma fans, B movie freaks and 80’s kids rejoice! The first physical release for the soundtracks of two 1987 cult films, Surf Nazis Must Die and Street Trash are now available to spin on your very own turntable. Neither synthed-out soundtrack has ever been available before, unless of course you’re the proud owner of a beat-up bootlegged cassette you’ve been holding onto since high school.

The first pressing for Surf Nazis (composed by Jon McCallum who also did the soundtrack for the equally excellent Miami Connection), was limited to 1000 copies. 800 were pressed on standard black 180 gram vinyl and another 200 blue and red “Blood in the Water” colored variations were distributed at random by Strange Disc Records, in a gorgeous old-school gatefold for which McCallum also did the stunning cover art for. If you are a lover of movie soundtracks and vinyl, this one can still be had for the low price of $20 over at Strange Disc’s online store. 400 copies of a cassette version of the soundtrack were also released exclusively on Cassette Store Day this year (September 27th), and are available now for seven bucks over at one of my favorite record labels, Light in the Attic.
Street Trash album cover
The movie soundtrack for the greatest movie Troma ever made, the gloriously gross Street Trash also saw the light of day for the first time last month, and the pressing will not disappoint the movies die-hard fans. Composed by Rick Ulfik, the album is being distributed by Lunaris Records for a mere $20 bucks and is available in standard black, opaque yellow, and a color called “Toilet Blue” in honor of the infamous Street Trash toilet melt-down scene. The release includes liner notes from Ulfik, the single “We Do Things My Way” written by producer Tony Camillo (who’s worked with everyone from Stevie Wonder to Parliament) and is performed by actor Tony Darrow (who Martin Scorsese cast in Goodfellas after seeing his performance in Street Trash). It’s also available on cassette for eight bucks. Squeee! If you are a vinyl addict like me, you may want to sit down while viewing the following images and the video trailer heralding the Surf Nazis release.
Surf Nazis Must Die Blood in the Water colored vinyl
Surf Nazis Must Die cassette
Street Trash
Street Trash “toilet blue” vinyl

Posted by Cherrybomb | Leave a comment
Exclusive interview with ‘Solaris’ and ‘Drive’ composer Cliff Martinez

When it comes to modern film scores, there are very few that stand out, to my mind, as being classics. The kind that stand out not just for helping to define a film’s aesthetic, often in such an integral way that you couldn’t imagine the film existing without the music, but that then take on a life of their own separate from, while still acknowledging, the film itself.

If I had to name some classic modern film scores, though, top of that list would be the music for Nicolas Winding Refn’s noir thriller Drive, and Steven Soderbergh’s 2003 remake of Solaris. I managed to see both these films when they were first on theatrical release, and both soundtracks had the incredible effect of standing out from the usual homogenized Hollywood fare, creating their own highly unique sound worlds, so much that they actually helped shape the aesthetic of the film, and, in turn, made the cinema-going experience even more immersive.

That’s quite a feat, but most impressive of all, these two wildly different soundtracks came from the mind of just one composer, Cliff Martinez. A well-respected music industry veteran, Martinez started out drumming for the Red Hot Chili Peppers in the early 1980s, but tired of the live-band lifestyle and decided to apply his love of making music to other media, namely films. With the British label Invada having recently re-released the Solaris score on deluxe 180 gm vinyl picture disc (which our readers have a chance of winning, at the bottom of this interview) I took the chance to speak to Martinez about his work on both these films, their respective directors, and his past life as a drumming Chili Pepper:

Dangerous Minds: Before you started scoring films you were drummer for the Red Hot Chili Peppers. How did you make the move into full-time soundtrack work?

Cliff Martinez: Well, I had a fascination with music tech in the mid/late 80s. I had one of the first samplers, the Prophet 2000, and the very first hardware sequencer, the MSQ200 by Roland. These new tools allowed you to think about music in different ways, plus, being primarily a drummer and percussionist, the technology allowed people who didn’t have composition training to write and create music.

So I wrote a lot of strange musical sound-effect collages, and I was looking for an outlet. The band I was in wasn’t really appropriate for experimental electronic music. One day I stumbled across Pee Wee’s Playhouse on TV. On paper this was a children’s show, but it was actually a very subversive adult comedy, too. They had a lot of innovative composers involved, like The Residents, Danny Elfman and Mark Mothersbaugh. I happened to know the director at the time so I gave him a cassette of my sound collage stuff, I got hired to do one episode, and I just fell in love with the process of putting music to picture. I also felt that soundtracks allowed for a more experimental approach to composing, as opposed to straightforward songwriting. After that I had a credit to my name, and through a mutual friend I was introduced to Steven Soderbergh and scored his first film. And of course, that was very successful.

DM: Indeed it was! Did anyone involved in the making of Sex Lies & Videotape have an inkling of how successful it would be?

Cliff Martinez: I don’t think anyone involved could have guessed the success of that film. We all knew it was a quality picture, but I guess we just didn’t know what to expect. It was very different, it was very independent minded film, and indie films were not that popular at the time. I was at Sundance for the second screening, and there was already a big buzz about it after the first screening. It was a bit like driving a rocket ship, I mean it took me by surprise! I knew it was a good film but I thought the sexual content made it uncommercial. Also, there wasn’t a precedent for independent films becoming hits back then. We all knew Steven was very talented and would go on to make great films, but I didn’t realize the commercial potential of these very personal films.

DM: I remember seeing Solaris in the cinema when it was released and thinking I had never heard a film score quite like it. It chimed very much with that kind of “chill-out” music popular at the time. What were the influences for that particular score, and what is your process in general when working on a film?

Cliff Martinez: As with most films the director has a big impact. They cut the film before I ever see it, and in most cases they put in temporary music that can have a big impact. Especially Steven, who makes some very interesting choices. Steven has always liked to make ambient music whenever appropriate, and he wanted something like that for Solaris, but has also wanted the sound of the orchestra, which is unusual because he generally prefers an electronic sound. So I had to approach it as an ambient score, but not ambient electronic, an ambient, minimalist, orchestral score. My philosophy is that if you model yourself on another composer too closely, it becomes plagiarism, but if you take from two different composers and combine them that can make for something original. At the time I was fascinated with the baritone steel drums I had bought and put in my living room, so I was adamant about using them in the film. At the same time Steven was cutting to a lot of different types of music, he was really jumping around. And the two things I really fell in love with that he had used were the work of Giorgi Ligeti and the music of Tangerine Dream, which was very rhythmic. Those two things were the biggest influences, so I would throw them together and add the baritone steel drums and some other bell-type percussion instruments. It ended up coming together really well, Solaris is one of my favourite scores.

DM: Was Tangerine Dream a big influence on the 80s/analog-electronic score for Drive?

Cliff Martinez: Oddly enough not really, the film I did right before Drive was Soderbergh’s Contagion. Steven went through different phases of influences for the score; the first one was All The President’s Men, The French Connection, these 70’s scores, sort of conspiracy films, but then he threw that out and used some Tangerine Dream. It was the second time he’d used this kind of rhythmic synth stuff as an influence, and then he also scrapped that too, and started using more contemporary rhythmic, electronic music.

So for Drive, it was really a combination of all of those influences; the retro 70s stuff, a retro 80s synth pop thing, and tried to make it contemporary sounding and rhythmic. Tangerine Dream was an influence on Contagion but I wouldn’t say so much with Drive, although there was an 80s synth pop aesthetic. That was set up by the songs being used, and I felt obligated to incorporate that into the score as well.

DM: And as with Sex, Lies & Videotape, did you have any inkling of what a success Drive would become?

Cliff Martinez: Again, I knew it was an indie film made for not a lot of money, so I didn’t think it would be marketed aggressively with commercials or a big campaign. But I knew it was good. But I underestimated that one too. For some reason I thought it was a very male movie, I underestimated the star power of Ryan Gosling. So I thought it would be an underground movie for men, ha ha!  And the success of the soundtrack shocked me too, because while I knew the sales were driven by the songs, the songs had all been previously released and hadn’t been big hits. And certainly dramatic underscore is rarely a popular hit. So the fact that it did so well as a soundtrack would shock anybody! Usually you don’t hear the word “hit” and the word “soundtrack” in the same sentence. Ever.

DM: So, surely the songs Refn had already chosen to use in the film had an influence on your score? Do you usually take into account a film’s incidental music when composing its soundtrack?

Cliff Martinez: Usually for me the song and the score go their separate ways. That’s usually because the selection of songs is not as focused as it was on Drive, it’s more eclectic, so it’s hard to define what the style of a score is. With The Lincoln Lawyer, for example, I don’t know what you would call it, it’s kind of a mixture of urban contemporary and hip-hop, I couldn’t quite put my finger on what it was but I knew that I couldn’t work out a way to accompany that style so I didn’t try. But with Drive it was five songs, and four of them sounded like they could have been composed by the same artist. So it was a very narrow style which was an homage to the 80s. So I thought “Ok.” At the time all the rage in software was vintage synth sounds, so it was a very easy style to incorporate. But usually I don’t [take influence form a film’s songs], though it depends to a degree on the importance of the songs. Sometime, like Contagion only had one song, a U2 song at the end. and I don’t feel much of an obligation to accommodate that in the score. But in the case of Drive with that pink fog at the opening, and that song over the titles, it felt like the songs played a very important role in defining the style of the film. So in that case I decided to try and go in that direction, which turned out to be a good idea. It was the synergy of all the different elements that made Drive work: the music, the cinematography, the locations, the performances of course. And the sound design! That was the only thing that got an Oscar nomination and it was important as well. All those things seemed to work really well together, the sum of the parts is greater than the whole in the end. You know I wish I knew what the recipe for a successful film and score is because I would love to repeat the experience!

DM: What is your own favorite score you have written? If you had to choose one of your own works to place in a time capsule, which one would it be?

Cliff Martinez: Solaris, that’s always been my favorite and it still is. I wish I could roll out of bed every day and write something like that. Sometimes the force is with you, and I think in part it was also the film, it had some interesting themes like existence and love and some far out existential concepts. I also had the backing of a big film studio, which I normally don’t have, I don’t have the financial wherewithal to hire a 90 piece orchestra, so that made a huge difference. The music wasn’t initially intended to be emotional, so this kind of cold and austere music had a life to it that I didn’t really expect. It wasn’t until I heard it on the Fox studio stage that I realized the music had been transformed by this orchestra. For some reason, it’s the one score I can still stand to listen to! Usually I know every molecule of a score and I’m sick and tired of it when I am finished, but Solaris seems to have a life of its own, which for me is rare. I can’t pinpoint what makes it time capsule-worthy, but if I had to stick one in that would be it.

DM: OK, last question. You started out as drummer, if there was any one band you could drum for, who would it be?

Cliff Martinez: I wouldn’t wanna drum for anyone at all, ha ha! You know I gave it up because I started to have hearing loss issues. I didn’t like the touring lifestyle and I didn’t like the idea of repeating the same material night after night. If I sound like a sourpuss, I guess I am. Being a drummer is great in your 20s, but I much prefer being a composer and writing music than drumming live, though I guess in my heyday, if I had the ability to be a really great jazz drummer, I would have loved to have played with Miles Davis in the 70s.

DM: Thanks Cliff!

As mentioned above, Invada records are giving one lucky Dangerous Minds reader a chance to win each of the Solaris vinyl pressings; black vinyl, white vinyl and picture disc. For a chance of winning simply send your name and address to The winner will be notified by email.


Posted by Niall O'Conghaile | Leave a comment
Nightmare Concert: An interview with horror soundtrack maestro Fabio Frizzi
11:12 am


Lucio Fulci
Fabio Frizzi

Fan of obscure horror? If so, the names Fabio Frizzi and Lucio Fulci should need little introduction. 

But if not, here goes… For fans of niche horror, very little comes close to the cult reverence held for the Italian “giallo” genre of bawdy, gory, hyper-stylized, pseudo-slasher films from the 60s, 70s and 80s. Typified by the likes of Dario Argento’s Suspiria and Mario Bava’s Blood And Black Lace, the best of the giallo genre eschews tight plotting and believable set-ups for overwhelmingly dark moods and unsettling technical brilliance.

Although the two directors mentioned above deserve credit for a) inventing (Bava) and b) expertly honing (Argento) the genre, for many the ultimate director of giallo schlock is Lucio Fulci. The mastermind behind classics like The Beyond, Zombie Flesh Eaters (aka Zombi 2), City Of The Living Dead, The New York Ripper and many, many more, his scenes of underwater battles between sharks and zombies, of nipples being sliced open by crazed psychopaths, of faces devoured by cannibalistic fake spiders, not to mention his literally eye popping special effects, are the stuff of horror legend.

Behind every cult horror auteur, there’s usually an unsung soundtrack supremo, and in this case, that man is Fabio Frizzi. Although perhaps not as well known as fellow countrymen Goblin, who set the bar for giallo soundtracks very high with their work with Dario Argento, Fabio Frizzi has still racked up some of the best loved movie themes within the genre. From the intricate, brilliant choral-jazz-funk of The Beyond to the droning, doomy synths of Zombie Flesh Eaters (which, for me at least, is THE definitive zombie film theme of all time) Fulci commands just as much fan respect and admiration as Claudio Simonetti and co.

Which is why I was blowled over to find out that this Thursday, on Halloween night, Fabio Frizzi will be performing live in London at a special concert called Frizzi To Fulci, celebrating his numerous themes for Fulci with the help of a large live group called the F2F Orchestra. For horror soundtrack buffs like myself, this gig is the holy grail, possibly even moreso than the recent Goblin live shows, as the chance of seeing Frizzi perform live seemed even more remote.

Unfortunately, what with Halloween being Gay Christmas an’ all, I won’t be able to make the show (ironically, we’re hosting a triple bill of giallo classics, including The Beyond) but I jumped at the chance to interview Fabio Frizzi; to find out more about his background, his inspirations, and, of course, his work with Lucio Fulci. Frizzi To Fulci is sold out (there are limited VIP tickets available) so for those of us who can’t make what promises to be a very special evening, here is my interview with the soundtrack maestro himself:

Dangerous Minds: When did you first start writing and playing music and what was the inspiration?

Fabio Frizzi: I was attracted to music from a very young age, my father used to sing in a very big choir in Bologna, which is where we lived. When I was 2 or 3 my friends and family used to meet and sing together. When I was about 6 I was part of a small choir at school.

But then something strange happened when I was a teenager. I was still in love with music, but I wanted to do other things. I was a swimmer, and while it wasn’t a career, I was pretty good. At 14 I started to have problems with asthma and my doctor told me it would be better to stop swimming for a while. It was a tragedy for me, because, you know, at 14 you are still a baby! But my father had a great idea, he asked a guitar teacher to give me lessons, because he knew I still liked music. So I began and, day by day, I got better, This was at the same time that The Beatles were gaining popularity, so we were all listening to that.

At 15 I had my first group, which was classical, but after a while I moved from classical guitar to acoustic and electric, you know how guys are! But I kept going and it became my real love. I always say that my first girlfriends, when I was about 17, they had to come with us to the rehearsals, because for us Saturday and Sunday was dedicated to the music!

When I finished school my dad wanted me to become a lawyer, and I started studying that, but it was always secondary. I met a very big Italian publisher called Carlo Bixio, he believed in my talent and helped me as I put together my first group, Bixio-Frizzi-Tempera when I was about 23. But you have to remember that my father was already working in the cinema field. So it was easier for me than it would be for other people; I knew Italian actors, I would go to premieres and screenings, so it was easier, yes, but I was passionate. I studied, because, after all, it takes a while to get good at making music!

Read the full interview after the jump…

Posted by Niall O'Conghaile | Leave a comment
Bollywood Swinging: Hushpuppy’s excellent ‘New Delhi Disco Chicks’ mix tape

I feel like I have been waiting my whole life for someone to make a mix of the best Desi Disco tracks from 70s/80s Bollywood movies, and finally it has arrived!

Well, perhaps not my whole life, more like the last 5 or 6 years, or certainly ever since discovering the wonderful work of Bappi Lahiri via MIA’s cover of his classic “Jimmy Jimmy Aaja” in 2007. A few years ago I put together a YouTube playlist of some of my favourite Bollywood disco clip, which you can check out here, though unfortunately a lot of those clips have since been removed.

Not “Jimmy Jimmy Aaja”, though, which has since become a staple of my dj sets, and which I am going to post here now for no other reason than it’s awesome, and to say that if you haven’t seen it, then you need to:

Bappi Lahiri & Parvati Khan “Jimmy Jimmy Aaja Aaja”

As some of the YouTube commenters have pointed out, this track bears more than just a passing resemblance to Ottawan’s “T’es OK” (Bappi Lahiri was well known for his liberal “interpretations” of other people’s music) but I’m willing to overlook that as this version is just so much better.

Bollywood can at times seem pretty impenetrable for Western audiences, but it operates at such a high level of over the top camp that i’s pretty irresistable for lovers of kitsch. I’m still a bit mystified as to why Bollywood isn’t more celebrated within the gay community, but hopefully as the internet gives access to more and more of these films and their soundtracks, the audience will grow.

So praise be to Glasgow dj Hushpuppy then, for putting together an hour of his favourite Bollywood disco/soundtrack moments for all of our ears. Rest assured there’s plenty of Bappi Lahiri on this mix (full tracklisting available here.) This mix is not definitive (which would be impossible, I think) and represents only the very tip of the Bollywood disco-funk iceberg, so I expect to see more djs busting out the Desi Disco in the near future. For now, let’s dig those New Delhi Disco Chicks:

New Delhi Disco Chicks - Bollywood Mixtape Vol. 1. by Hushpuppy on Mixcloud

There’s plenty more esoteric, exotic excellence on Hushpupppy’s Mixcloud page, including his great Weird Sounds In The Bath House series. Check it out here.

Posted by Niall O'Conghaile | Leave a comment
Last chance to download Andy Votel’s ‘Hindi Horrorcore’ mixtape today!

And believe me, you’ll be glad you did!

Andy Votel is one of the UK’s most renowned crate diggers and DJs, as well as boss of the Finders Keepers record label.

Last year Finders Keepers printed up a limited run of a mix compilation called Hindi Horrorcore, which, as the name would suggest, compiled the best of Bollywood’s creepy film score music. The mix was given away free with Finders Keepers purchases, and this year Votel has kindly uploaded the full mix for punters who missed out the first time round.

Yes, we are fans of niche, Halloween-themed mixes here at DM, and this one is a beauty, taking an old trope (“spoooky sounds”) and giving it a fresh twist that will appeal to fans of obscure psyche rock, world music and film soundtracks.

There is no track listing for the mix, but there are some names connoisseurs of Bollywood music will recognize. This is taken from the CD’s Discogs page:

Subtitled: “From The Bollywood Bloodbath: the B-Music from the Indian horror film industry”.

“A bewitching hour of pre-vamped vintage Hindi horror from the Desi-Dracula’s music cabinet featuring rare tracks from Bappi Lahiri, R.D. Burman and Sapan Jagmohan” - butchered by resident werewolf Andy Votel. Available with all orders over £25 from the Finders Keepers webshop.

Get this mix now, before it disappears like a vamp in the daylight, from this link.

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‘A Night At The Scala’: Mark Moore’s movie fanatic soundtrack mix
10:51 am


Blitz Kids
Mark Moore

Mark Moore is the producer/prime mover behind S’Express, creators of the cult classic “Theme From S’Express,” and one of the most influential figures in British dance music history.

Lynchpin of acid house he may be, but Moore recently uploaded this brilliant compilation of film soundtrack music to his Mixcloud page, inspired by his nights haunting the seedy Scala cinema in London. The 30-track mix features some brilliant music from the cult classics Akira, Brazil, Eraserhead, Klute, Rosemary’s Baby, Rollerball, American Gigolo, Halloween, Emmanuelle, Taxi Driver, The Ipcress File, and lots more.

Moore writes:

Perhaps you need to be a movie fanatic to enjoy this mix. I don’t know - you tell me. I actually think all these tracks stand up on their own as listening masterpieces. Even the strange, scary ones.

Inspired by my teenage nights at The Scala Cinema near Goodge Street, where you would end up after the clubs shut. I remember nights coming down from speed unable to take the usual uplifting delights of Pasolini and sipping coffee with Jah Wobble. Watching the mayhem as the Carburton Street Squat rabble came down: Boy George, Marilyn, Steve Strange and Philip Sallon hurling bitchy comments at all the straight boy post-punkers. I saw Throbbing Gristle, 23 Skidoo, Spandau Ballet and Modern Romance play there! I got my movie education there.

There’s nothing better than watching Eraserhead or Female Trouble with a packed house full of clubland’s finest dressed up to the nines. I even wrote a song about the Scala, ‘Twinkle (Step Into My Mind)’.

In loving memory of late night Scala. x


A Night At The Scala (Movie Soundtrack Mixtape) by Mark Moore on Mixcloud

The full track listing for this mix can be found on Mixcloud.

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Ali Renault: lord of the doom-dance

Ali Renault is one of my favourite producers working right now. Formerly one half of the ace Italo revivalists Heartbreak he has been building a reputation over the last few years with his solo techno-disco outings on labels like Moustache and Dissident, and now he has just dropped his excellent debut album for the London label Cyber Dance.

Renault’s heavily Italo-influenced sound is clean and crisp, but with a tangible sense of creeping dread, like that point on a night out when you notice the sun has come up and your high is beginning to wear off. It’s what might happen if you took the synths of Claudio Simonetti, slow them down to a warped ketamine crawl and lock them in a wardrobe with Michael Myers. It’s not nearly as hellish as that makes it sound - in a way it’s kind of comforting, like the knowledge that someday you are going to die. It’s no surprise to learn that Renault’s formative musical influences as a teenager were both metal and techno. 

“I like using old cheap hardware and I enjoy trying to evoke a dark mood with machines” he says.  Renault’s self-titled debut album is 8 tracks of what he describes as “detective-noir” and will appeal to fans of golden age John Carpenter, classic Detroit techno, Garth Merenghi re-runs and the darker side of Italo disco. This isn’t music designed to impress with tricks and technology, it has a cleanliness of form and a melodic richness that is unique and brilliant. You can download the excellent “Pagan Run” from the 20 Jazz Funk Greats blog at this link (highly recommended), and here’s a download of the track “Promises”, courtesy of Mixmag:

And here’s another album track, “Dignitas Machine”:

Ali Renault performs “Zombie Raffle” live at Magic Waves festival 2010:

Ali Renault can be purchased on vinyl from Juno and Beatport.

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‘Disco Argento 2: The Sequel’ - even MORE Disco-Horror madness!

So buzzed was I by the reaction to my first Disco Argento mix (downloads maxed out on Soundcloud* - thanks guys!) that I decided to go digging through the vault of horror/disco cash-in records yet again to put together a follow-up. And so I give you… Disco Argento 2: The Sequel! As with most sequels, it feeds heavily off the original’s success while boldly pushing the concept into uncharted waters (the 1980s). I feel as if this time I got to truly express my vision, though it could be argued that I am over-indulging myself (twelve minutes of Pat Hodges?!).

I’m pretty chuffed to be able to put a few real gems on this mix - tracks like Stelvio Cipriani’s theme for Tentacles (actually called “Too Risky A Day For A Regatta”), Riz Ortolani’s energetic jazz-funk workout “Drinking Coco” from Cannibal Holocaust and the simply divine “New York One More Day” by Franisco DiMasi from the score for Lucio Fulci’s The New York Ripper (possibly the only passable excuse for that super sleazy film to exist). What is with these Italians and their fabulous soundtracks? It’s also the second appearance of the day for DM pal Matt Berry, heard here in his Garth Marenghi’s Darkplace guise as Todd Rivers, with an electrifying remix of his ode to thwarted passion “One Track Lover”. Here’s the tracklist in full:

GOBLIN Tenebre
FABIO FRIZZI Zombi 2 (aka Zombie Flesh Eaters)
FRANCISCO DI MASI New York One More Day (Disco Beard edit)
ROBERT RODRIGUEZ Police Station Assault
RIZ ORTOLANI Il Corpo Di Linda
TODD RIVERS One Track Lover (Synthia Remix)
FAT BOYS Are You Ready For Freddy?
FRANCIS HAINES The Trioxin Theme (aka Return Of The Living Dead Theme)
JOHN CARPENTER & ALAN HOWARTH The Duke Arrives/Barricade/Snake dialog
PAT HODGES Fly By Night (Midnight Mix)
RIZ ORTOLANI Drinking Coco
STELVIO CIPRIANI Tentacoli (aka Tentacles)
THE CHAMP’S BOYS ORCHESTRA Tubular Bells (Cosmic Mix)

  Disco Argento 2: The Sequel! by theniallist
An excellent trailer re-edit by Orgasmo Sonore of Stelvio Cipriani’s Tentacoli:

*You can now download Disco Argento Vol 1 here:

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