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Beat Records Company is glad to present the expanded version of the original motion picture soundtrack of the movies L’Anticristo (Alberto De Martino, 1973), featuring the music by Ennio Morricone and Bruno Nicolai and Sepolta Viva (Aldo Lado, 1974) by Ennio Morricone, already available in the classic Collector Releases series, out of production since a while. This album, very popular among the two composer’s fans offers two OSTs realized for excellent movies, the first, on the Excorcist (Willia…
Beat Records is relaunching on the market the classic Western OST by Nora Orlandi and Robby Poitevin for the film La morte non conta i dollari (aka Death at Owell Rock), directed in 1967 by Riccardo Freda (under the pseudonym George Lincoln), with a screenplay by Giuseppe Masini and Riccardo Freda, photography by Gábor Pogány, editing by Anna Amidei, music by Nora Orlandi and Robby Poitevin, produced by Enrico Cogliati Dezza for Cinecidi, distributed by Warner Bros., and starring Mark Damon, Ste…
"Side A : percussive like an ongoing emergency. Side B : electrifying, from after the recomposition. A heavy atmosphere, a combative start. A fiery physicality emerges from each piece. Ripit progresses through a cluttered sky. Rough, thick raw material, a ceiling with pale lights passes at breakneck speed. A space roaring with sirens screaming. We are making good progress in the meanders of a troubled psyche, in the spiral of a bubbling world. Finally, the rhythms are reassuring; the noises and …
“Some of it sounds so pure and clear and I am picturing him huddled around all that gear, simply magical. In my memory he didn’t play ‘for’ the audience but was rather trying to perfect these various permutations of sound within himself…and a few of us just happened to be present.” – Tom Lee
Open Vocal Phrases, Where Songs Come in And Out & Sketches For World of Echo offers two intimate unedited Arthur Russell solo live performances recorded at Phill Niblock’s Experimental Intermedia Foundation …
Long overdue, here is the fourth volume of the Mighty Mellow collection, from the editors of The Mood Mosaic series. Mushy funk, abstract jazz, with tracks by Pete Jolly, Annete Peacock, Dusty Springfield and many others.
Tip! Kuunatic’s hotly anticipated 2nd album “Wheels of Ömon,” takes another adventuresome deep dive into their self-made fantasy mythology, proposing whole new worlds of psychedelic drama and ritual. In addition to their core sonic palette of tribal drums, pulsing bass, atmospheric keyboards and grouped female vocals, the acclaimed Japanese psych-rock trio played an array of Japanese traditional instruments on "Wheels of Ömon." The result is a thrilling, kaleidoscopic album that brushes against …
*300 copies limited edition* A debut that is not a debut. Eva Fernández Suárez and Thomas Barrière have both been around for a while, just not as a duo. Eva is originally from the Asturias region in northern Spain but has been residing in France for quite a few years now. As a solo singer, her work is firmly rooted in classic folk-inspired material, more specifically in the bleak, bare-bones, and stripped-down kind. With her slow, rhythmic delivery, perfectly placed melodic nuances, and a vocal …
Tip! "With « A Bright Sun Shining Down Through All The Opaque & Toxic Layers Of The Underground », Tzii attempts a breakthrough in opacity. Close to emotional ambient, sometimes with slight touches of medieval trad («muxu» means kisses in Basque) and close to raw and mineral materials, Tzii rubs on airy atmospheres, in warm colors, looking for an altered state, almost gaseous. Muffled harmonies, melodious drone, reverb melodies, modulated distorted voices from elsewhere sounding like liberating …
Mermaids Are Real is the collaborative project between Niki Dimitriadi & Selfish Limbs, based in Thessaloniki, GR. Their debut self-titled album explores themes like love, loneliness, and death, where the existential anguish alternates with a light-hearted playfulness. Spoken word, vocal live-looping, and drone soundscapes blend together with repetition and improvisation approaches. Somber fairy tales meet the dark ambient textures and together create a world where magic and reality can’t be dis…
Maciej Śledziecki and Marion Wörle show just how exciting the world of the pipe organ is today as the ensemble gamut inc. The retro-futuristic duo uses self-programmed software to dock onto the MIDI consoles of church organs, control their stops in a manually impossible way and perform sound synthesis with surprising results. Their annual AGGREGATE festival in Berlin is a meeting place for the international “New Organ Movement” scene: electronic musicians, composers and organists from different …
2025 stock The acoustic publication of this "Diary" by and with John Cage represents an impressive document, spoken by an extraordinary voice, produced by one of the great artists of the 20th century. The new design of the 8-CD set includes a 64-page booklet in a presentation box (digi-box, carton). The booklet contains several photographs taken in John Cage's loft and during the recording in 1991.
“I began the Diary optimistically in 1965 to celebrate the work of R. Buckminster Fuller, his con…
2025 stock The significance of the seven pieces brought together here is that they both generate a striking panorama of the intelligence of the material presented, over a period of four years, from 1939 to 1943, by the composer whom the critic Fred Goldbeck described as “the greatest Giraudouxian of our age”, and clarify in an extraordinarily oblique manner the prehistory of this “automation” of the creative act, towards which one can detect the perpetual temptation in the young Cage.
2025 stock In 1985 György Ligeti created six piano studies. The exceptionally new of these studies is the possibility of having one player generate the vision of several different simultaneous tempo layers. The extremely high level of difficulty of these studies demands the pianist's utmost virtuosity. With Volker Banfield, Ligeti found the right pianist for his studies. The fourth study, 'Fanfares', is dedicated to Banfield. Olivier Messiaen's 'Vingt regards sur l'Enfant-Jésus', too, makes hug…
2025 stock When Pablo Casals rediscovered the cello suites of Bach at the beginning of the 20th century and firmly established them in the concert and record repertoire, the novel thing about it was that he played them "senza basso", i.e. without piano accompaniment - something that seemed quite unimaginable in the 19th century. In a time of music-historical over-maturity and experimentation, renowned composers soon came up with their own attempts, among them most famously Max Reger's "Solo Suit…
2025 stock Three rather meditative pieces from the repertoire of "Ars Acustica", but nevertheless: Fluxus! The New York-born artists whose radio plays are collected on this CD, Philip Corner, Alison Knowles, and George Brecht, have appeared together in performances, and they are also connected by their relationship to John Cage's aesthetic, by work with chance operations, and by Zen. Explaining Fluxus is like wanting to hold a river in your hand.
2025 stock Are we now in a position to experience within ourselves every kind of music as a harmonious system? In this case there would be only one music existing independent of the composer and the notation. Is it then the case, that the responsibility for the music has not only been shifted from the composer to the performer, but even further to the listener? The person who listens to this record will have to decide.
Zsigmond Szathmáry: organ
2025 stock WERGO's unique "studio reihe" series continues with a rather special CD release:
The present recording of Arnold Schoenberg's "Pierrot lunaire" was the first long-playing record released by the newly founded label WERGO in 1962, which laid the foundation of the label's decades-long story of success. This important recording –with the soprano Helga Pilarczyk and under the direction of Pierre Boulez – has not been available on CD up to now. Now the label releases this highlight from its…
2025 stock Jakob Ullmann's career can be measured by the obstacles placed in his path. It was in the teeth of these obstacles that he learnt his craft: they have left their mark on his artistic stance, and the fact that he ultimately overcame them proved the rightness of his approach. For a number of reasons, Ullmann's works failed to blend into the musical landscape of the former state of East Germany. Avoiding peremptory gestures and unalterable laws, his restrained scores seemed strange and a…