Quentin Tarantino an­nounced dur­ing last month’s San Diego ComicCon that En­nio Mor­ri­cone will be scor­ing all of the di­rec­tor’s The Hate­ful Eight. This isn’t the first time Tarantino has used Mor­ri­cone’s mu­sic in his films. Most re­cently, In­glou­ri­ous Bas­terds used mu­sic the com­poser had writ­ten for films such as The Big Gun­down, Re­volver, and Al­lon­san­fàn, and Django Un­chained used mu­sic from Two Mules for Sis­ter Sara, along with the orig­i­nal com­po­si­tion, An­cora Qui. This does mark the first time that Tarantino will have an orig­i­nal score for one of his films, as all of his prior movies have fea­tured pre­vi­ously-re­leased mu­sic or pop songs recorded specif­i­cally for them, such as Urge Overkill’s cover of Neil Di­a­mond’s Girl, You’ll Be a Woman Soon in Pulp Fic­tion.

The Philip Glass and Marco Bel­trami score for the Fan­tas­tic Four re­boot is out, and is not as ex­cit­ing as one was hop­ing. This is for the most part another stan­dard su­per­hero score, although there are as­pects to it that raise it up a lit­tle more than the usual mar­tial pomp. The strong em­pha­sis on strings lends an as­pect to cer­tain parts of the score, such as Ruin, that re­ally em­pha­sises the sci-fi as­pect of the Fan­tas­tic Four’s story. The util­i­sa­tion of Glass adds flour­ishes and small de­tails that play up the body hor­ror as­pect of the char­ac­ters, as well. The dig­i­tal bonus cut from pro­ducer and rap­per El-P is the best thing here, though.

La-La Land re­leases Joe Krae­mer’s score for Mis­sion Im­pos­si­ble: Rogue Na­tion this month. In a de­light­ful rar­ity, the score was con­ducted by the com­poser. It’s a rous­ing, brass-heavy score, as one would ex­pect for such a spy film. It’s avail­able as both a com­pact disc and via dig­i­tal down­load, although the CD con­tains two tracks - It’s Im­pos­si­ble and This is the End, Mr Hunt - not avail­able on the dig­i­tal ver­sion. Ad­di­tion­ally, the la­bel has put out a six-CD set of mu­sic from the orig­i­nal tele­vi­sion se­ries to co­in­cide with the new film. In ad­di­tion to a trove of pre­vi­ously un­re­leased mu­sic, the mu­sic has been re­stored and re­mas­tered.

In fur­ther Mor­ri­cone news, there are a cou­ple of reis­sues worth not­ing. While not a genre film specif­i­cally, the 1990’s Cinema Par­adiso is such a love let­ter to the joys of film that we feel AMS Records’ new re-re­lease bears men­tion­ing. The Ital­ian la­bel is mak­ing Mor­ri­cone’s score avail­able on vinyl for the first time in 15 years, in a gate­fold sleeve with fan­tas­tic new cover art­work. It’s on solid purple and clear trans­par­ent mixed vinyl, and given that this is one of the high­lights of lat­ter-era Mor­ri­cone mu­sic, you’d do well to add it to your li­brary.

At the same time, AMS has another Mor­ri­cone score, this time to the 1973 spaghetti western, My Name is No­body. Also in a gate­fold sleeve with new art­work, this might not be as well­known as the mae­stro’s work for A Fist­ful of Dol­lars or as cultishly revered as A Fist­ful of Dy­na­mite, but is just as nec­es­sary as both.

Rusted Wave an­nounced ear­lier last month that they would be adding to their line of Wet Hot Amer­i­can Sum­mer mer­chan­dise the first of­fi­cial mu­sic re­lease from the 2001 film. A 7-inch sin­gle fea­tur­ing Craig We­dren and Theodore Shapiro’s Higher and Higher, as well as We­dren’s Wet Hot Amer­i­can Sum­mer, was put out just in time for the Net­flix de­but of Wet Hot Amer­i­can Sum­mer: First Day of Camp. Since there is no of­fi­cial sound­track for the movie, this is a mini sound­track of sorts. Rusted Wave worked with We­dren to re­mas­ter the tracks for the lim­ited-edi­tion re­lease.

We thought we’d seen the last of the new wave of sound­track la­bels, but it ap­pears there’s another one. Ja­pane­se­based la­bel Brave Wave has cre­ated a new im­print, called Gen­er­a­tion, ‘that stands for de­fin­i­tive edi­tions of le­gendary video game sound­tracks.’ Their con­cept is to cre­ate the ul­ti­mate ver­sions of these

game scores, with the first re­lease be­ing a dou­ble vinyl LP of Street Fighter II’s ar­cade mu­sic. The Gen­er­a­tion re­lease will fea­ture both the CPS-1 and CPS-2 ver­sions of com­poser Yoko Shi­mo­mura’s mu­sic. A re­lease date hasn’t been an­nounced, other than ‘later this year.’

Scream­works Records dig­i­tally re­leased Wo­j­ciech Gol­czewski’s score for Ted Geoghe­gan’s lat­est film, We Are Still Here. Much in the way that Fabio Frizzi’s mu­sic bol­stered Lu­cio Fulci’s work on the likes of Zom­bie Flesh Eaters with metro­nomic pre­ci­sion and build, so does Wo­j­ciech Gol­czewski’s score. Tones and drones for days high­light this ‘80s Fulci throw­back. For those who found Disas­terpeace’s score to It Fol­lows not min­i­mal­ist or creepy enough, this is the score to get, and it’s avail­able from all ma­jor dig­i­tal mu­sic re­tail­ers, as well as Spo­tify.

Fin­ders Keep­ers’ founder Andy Vo­tel teased via his Twit­ter ac­count that the la­bel would be putting out a CD and LP from Mag­netic Sys­tem, a mid-to-late ‘70s su­per­group fea­tur­ing Franco Bixio, Fabio Frizzi, and Vin­cenzo Tem­pera. Given the group’s as­ton­ish­ingly var­ied re­leases, it’s hard to fig­ure out what may be on it. How­ever, given that oeu­vre in­cludes an un­re­leased score for an Um­berto Lenzi Godzilla film whose sole sin­gle shares cover art with this up­com­ing LP, one can hope for some se­ri­ously deep elec­tronic funk cuts.

Giallo Disco Records’ lat­est re­lease is an imag­i­nary sound­track for a fake film. Bear­ing no re­la­tion to the 2014 Matthew Berkowitz thriller of the same name, Wild in Blue is a faux ‘80s teen drama de­scribed as ‘con­tro­ver­sial.’ Lis­ten­ing to the cuts by the likes of Um­berto, An­toni Maiovvi, and more, I like to think that the film might have been the sort of thing that took the blunt hon­esty of The Break­fast Club and com­bined it with the co­caine-fu­elled an­tics of Less Than Zero. The elec­tronic synth-laden mu­sic is avail­able dig­i­tally and on LP.

Brad Fiedel’s score to Ter­mi­na­tor 2: Judg­ment Day has seen two dou­ble vinyl LP re-re­leases an­nounced this past month. On­line re­tailer Zavvi had an exclusive trans­par­ent ver­sion in a lim­ited edi­tion of 500 that has al­ready sold out, de­spite not be­ing due out un­til early Septem­ber. Silva Screen’s ver­sion on liq­uid metal sil­ver in trans­par­ent 180gram vinyl should fare slightly bet­ter, with a dou­bly-large press­ing, lim­ited to 1000. Ei­ther way, try to get your hands on this. It’s one of the finer ‘90s scores out there, and hav­ing it in some way, shape, or form is a ne­ces­sity for any genre fan.

Speak­ing of James Cameron film scores re-re­leased as dou­ble vinyl LPs, Mondo put out James Horner’s Aliens score at Comic-Con on lim­ited-edi­tion vinyl. It ob­vi­ously sold out rather quickly, but one of the hall­marks of re­cent Mondo re­leases is that while there are lim­ited vari­ants only avail­able at cer­tain times or places, they’re mak­ing a con­certed ef­fort to re­lease these as read­ily-avail­able re­tail ver­sions, too. Keep an eye out for this at your lo­cal shop or on­line soon.

Mondo also did a wide re­lease of Gus­tavo San­tao­lalla’s score to the 2013 post-apoc­a­lyp­tic sur­vival game, The Last of Us. It’s a mas­sive four-LP set fea­tur­ing all of the mu­sic from the game, as well as mu­sic from the Left Be­hind ex­pan­sion pack.

In fur­ther Comic-Con re­lease news, Rare Stu­dios put out the mu­sic to the 1991 Nin­tendo game, Bat­tle­toads, by David Wise, in con­junc­tion with iam8bit. It was a lim­ited-edi­tion of 300 copies on a slime-coloured vinyl LP, but we keep hear­ing ru­mours of a wider re­lease, although noth­ing def­i­nite. In terms of fun re­leases, this might rank right up there with that En­joy the Ride Records Best of Nick­toons dou­ble LP – which just sold out of its sec­ond press­ing.

If you en­joyed Dust­bug Records’ last re­lease – the Christo­pher Lee-nar­rated story-on-record ver­sion of the Ham­mer Drac­ula film – you’ll ab­so­lutely flip for their edi­tion of The Leg­end of the 7 Golden Vam­pires, which is nar­rated by Peter Cushing. The 1974 Kung Fu vam­pire film was billed as ‘black belt vs. black magic,’ and fea­tures a James Bernard score. The record has been re­stored from the orig­i­nal tapes and pressed on blood red and black belt mar­bled 180-gram vinyl, lim­ited to 500 copies.

Fi­nally – be­cause they’re not due out un­til Oc­to­ber 16th – Re­lapse Records an­nounced both a new LP from Zombi, en­ti­tled Shape Shift, as well as a solo re­lease from the duo’s Steve Moore. That solo re­lease is the score to the 2014 Bel­gian hor­ror film, Cub. It’s a dou­ble­dose of elec­tronic mu­sic, and the tracks that have thus far pre­miered seem to in­di­cate pos­i­tive things.

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