Preorder Cine 10 Luigi Porto “Scimmie” and Zoltan´s “Tombs of the blind Dead” 12″ EP

Dear cinematic Listener!

Presales are starting now for LUIGI PORTO´s Score for ROMANO SCAVOLINI´s Film „L´Apocalisse delle Scimmie“ simply titled „SCIMMIE“ (Cine 10).

We do offer following versions:

LP/CD Set limited to 250 copies – first come first serve! –

20,- incl. priority shipping Europe

25,- incl. prioirty airmail shipping Rest of the World

Digi CD

15,- incl. priority shipping Europe

18,- incl. prioirty airmail shipping Rest of the World

Release date is September 8th – all preorders will be shipped in the first week of September!

Digi CD allready in stock and shipping now!

We are very soon sold out on following titles:

Exploit 01 Omaggio a Joe d´Amato e Marcello Giombini 7“ EP

Exploit 02 Omaggio a Lucio Fulci e Fabio Frizzi 12“ EP

Cine 07 Sospetto „Non bussare alla porta del diavolo“ lim. Ed. LP/CD/DVD

There are only a few copies left so take your chance if you dont have them allready!

Zoltan will release in the first week of September the „Tombs oft he blind Dead“ 12“ MLP and you certainly can order your copy also through Cineploit for Euro 15,- (excluding shipping).

You can save alot with combined shipping so drop us a line, let us know where you are from and what you want and we send you an invoice.

Thanks for your attention and hear from you soon!

Luigi Porto´s Colonna Sonora “SCIMMIE” out September 8th!

It is a great honor and pleasure to finally announce the release of the first soundtrack on Cineploit by Italian artist LUIGI PORTO !

September 8th LUIGI PORTO´s  score for ROMANO SCAVOLINI´s upcoming film „L´Apocalisse delle Scimmie“ will be released under the title “Scimmie” (Cine 10).There will be 250 copies as an LP/CD Set, 250 LP only and 500 copies as a Digi CD.

Luigi Porto is an Italian musician and composer. He released some experimental songwriting albums with his former solo project Appleyard College, and with the Italian band Maisie. He is a resident composer in a contemporary opera company based in New York City.

With a background in visual arts, he works also as a sound designer in films and theatre performances. SCIMMIE, his first release under his own name, is a soundtrack to an unreleased experimental movie.

In his own words:

<<SCIMMIE is a musical conversation that flows parallel to Romano Scavolini’s film.

These were the agreements. When we met the first time, he told me “I don’t want film music. You have to create a sort of “pain symphony”, something that continues even if the film stops, a music that doesn’t care”.

The work, divided in three volumes like the film, was conceived during the last years in several places of the world, while from time to time I was moving for work reasons. I wanted to collect contrasting experiences, put them in line without seeking for harmony – releasing instead many individual energies, make them explode and implode, simply suggesting a direction.

I used many composition techniques to do this, from classical 4 voices writing to sampling, overdub, psychedelic jamming. I wanted to let this music emerge and sink between various identities, without being afraid of making a faux paus – instead trying to speak languages that are unfamiliar to everybody, even through the various featuring, conceived as “representatives”. It is a political vision. Contradiction, schizophrenia, I wanted to ride them, ritualize them, show them. Not as a contamination, but  as a struggle, a fight.

I try to compose and, once written and recorded, handle the tracks as they were found objects, with continuous elevations and debasements – actually “shuffling the cards” (even Romano in the meanwhile was doing it with the film, editing the episodes and then shuffling them). Hiding the composition process sometimes, and sometimes instead showing it totally naked, make it emerge. Writing “straight”, recording, letting the material settle until the emotional detachment comes, and then mistreating it, jamming upon it, giving space to randomness to find new paths. This, for me, is a method and a liturgy. >>

ROMANO SCAVOLINI is probably known best for his movies „Un Bianco Vestito per Mariale“ (aka „Spirits of Death“), „Dog Tags – Platoon to hell“, „Savage Hunt“ or „Nightmare“. „L´Apocalisse delle Scimmie“ is starring John Phillip Law in his last role before his death.

Zoltan “Tombs of the blind Dead” 12″ EP

Dear cinematic Listener,

ZOLTAN will release an 12″ EP dedicated to the Blind Dead movies from Amando d´Ossorio on Rise Above Records. Mid August this nice Tribute will see the day of light and of course you can also order it via Cineploit. We will keep you updated here and on FB when it is ready to ship, in the meantime the art of the sleeve.

First Teaser for LUIGI PORTO´s “L´Apocalisse delle Scimmie”

Cineploit is proud to announce the release of LUIGI PORTO´s soundtrack to ROMANO SCAVOLINI´s Opus „L´Apocalisse delle Scimmie“ which is scheduled for late August. The Album will be called “Scimmie Vol. 1″ (Cine 10) and here a first teaser for this impressive score to a kolossal movie which will be released soon!

Delay on Cine 08 & Cine 09 – new release date MAY 25th!!!

New releases THELEMA “Growing” (Cine 08) & RASHOMON “The Cameraman´s Revenge” (Cine 09) delayed!!!

Due to the useless Record Store Day there is a massive delay on the two new titles – new release date 25th May! We are very sorry, presales starting now!

here a new Video for Thelema´s “Growing”

Schöne Worte von Marcus Stiglegger / Deadline Filmmagazin

War das Wiener Label Cineploit schon von Beginn an immer für Überraschungen gut hat es sich mit dem neuen Album der österreichischen Formation THELEMA nun selbst übertroffen. Statt der gewonten soundtrackartigen Passagen und gelegentlichen Melodie Hooks stehen nun tatsächlich Lieder im Zentrum, zudem gesungen von einer cleanen Frauenstimme. Das ist Jenseitspop vom Feinsten und mündet auch hier immer wieder in dronigen Abgründen, die souverän durchschifft werden. Ein reifes Album, das nicht umsonst „Growing“ heißt, aber zugleich nicht so geschmeidig im Label Programm steht wie andere. Dafür appeliert es an ein breiteres Publikum. Vielleicht gar eine gelunge Einstiegsdroge?

Anders erscheint dagegen die nach Kurosawas Filmklassiker benannte Dark Ambient/Experimentalformation RASHOMON. Das erste Album des dahinter steckenden ZOLTAN Musikers heißt „The Cameraman´s Revenge“ und bietet eine Sammlung irritierender und durchaus spannender Klangcollagen mit Ausflügen in den Goblin-artigen Progrock und Morricones filigrane Melodien. Dieses Album erschließt sich am besten über das exklusive Video, das auf einer DVD beiliegt, bewährt sich aber gerade beim mehrmaligen Hören. Futter für das innere Kino. Es bleibt spannend in Wien.

 

First Review on Rashomon´s “The Cameraman´s Revenge”

George Pacheco for the Boston Examiner

Rashomon is an eccentric side project of Londo-based musician Matt Thompson – who also provides heart-pounding synth soundscapes under the moniker of fellow Cineploit Records artist Zoltan – a dense and challenging outfit which takes the classic approach of „film music“ and tosses it on ist ear.

„The Cameraman´s Revenge“ is the latest  Rashomon effort from Thompson and impresses big time with it´s carefully textured and densely layered approach to cinematic soundscapes. Thompson is diligent and thougthful in his composition, utilizing multiple instruments to create atmospheres which vary from malevolent and suspensful to haunting, beautiful and even occasionally humorous. Mellotron, Fender Rhodes, Jew Harp and MiniMoog meet the comparatively „traditional“ instrumentation of guitars, bass and drums to create mood music which can be tribal and discordant one minute, to subtly beautiful in the blink of an eye.

The success of Rashomon must certainly be laid squarely at the feet of Thompson´s impeccable eye for quality, as well as his obvious love for the classic cinematic music of Italy, Spain, America and of course, his native England. „The Cameraman´s Revenge“ takes it´s influence from Italian giallo and suspense cinema – particularly Ennio Morricone´s dissonant score fort he Enzo Castellari film „Cold Eyes of Fear“ – while also providing detours into psychodelic rock passages which wouldn´t sound out of place on a Popol Vuh soundtrack for a Werner Herzog film starring Klaus Kinksi.

There is also a certain playfulness to Thompson´s compositional style, one which lends itself almost to the cut and paste sound collage style of Norwegian weirdos When and Bogus Blimp. Each track here takes numerous detours during it´s sonic journey, never allowing the listener too much comfort as „The Cameraman´s REvenge“ plies it´s musical trade with a schizophrenic sense of style.

So yes, „The Cameraman´s Revenge“ may prove tob e uneasy listening at times, but the treasures which are revealed through conscious effort and patience from the listener should prove to be boundless when it comes to the sonic danger which is Rashomon.

Review at Boston Examiner