Press

Marcus Stiglegger / Deadline

One of the first groups to bring back the sound of the classic Italian scene of the 70s – and still one of the best! Orgasmo Sonore spent their previous two records working through classic tracks from Italian soundtracks of the 70s – and this time around, they turn their ear towards the even funkier styles of the sound library scene – but with results that are equally great, given that many of the composers are the same! The group run through rare library tracks penned by Bruno Nicolai, Allesandro Alessandroni, Lesiman, Piero Umiliani, and others – all with this tight small combo feel that’s heavy on sweet keyboards and great guitars, and which gets just the right sort of production approach to keep things right. The album may well be the group’s best so far – and we’ve loved everything they’ve done already – and titles include “Tempo Sospeso”, “Confronto”, “Moonlight Drive”, “L’Erba Di Prima”, “Praries”, “Viadotti”, and “Space Team”.  © 1996-2015, Dusty Groove, Inc.

Marcus Stiglegger Deadline

Dusty Groove Chicago USA

Really great work from Zoltan – easily one of the best groups to work in the retro soundtrack underground – always with a sound that really gets things right! This album’s got a feel that’s every bit as rich as it’s striking cover image – a spooky, eerie approach to the music that makes everything feel slightly off and unsettling – the way that the best Italian horror scores can do, especially those gems from the time when electric guitar and keyboards were making big inroads! These guys share a bit of Goblin’s aesthetic, but definitely have their own vibe – one that’s much more cinematic, despite the fact that the record isn’t truly a soundtrack at all. Maybe the best from Zoltan so far – with titles that include “The Ossuary”, “Table Of Hours”, “Antonious Block”, and the extended suite “The Integral”.  © 1996-2015, Dusty Groove, Inc.

Review for Luigi Porto´s “Scimmie” for the Boston Examiner by George Pacheco

Austria’s Cineploit Records have carved out a positive reputation in recent years for their dedication to the music and culture of Italian genre cinema, specifically from the 1970s and 80s. The label’s most recent release represents a bit of a shift, however, a modern soundtrack release for the 2012 film L’Apocalisse Delle Scimmie from Fiume native director Romano Scavolini, most known for his 1981 horror opus Nightmares in a Damaged Brain.

Luigi Porto composed the score-shortened here simply to Scimmie for its CD release-for Scavolini’s film, and brings with him an avant-garde sensibility which takes influence from the tense and suspenseful giallo scores of old, while adapting that classic Italian soundtrack style with a most of darker, modern extremes. There’s a bit of influence from the musique concrete movement of recorded sound, as well as a host of atmospheric and, at times, startling vocal performances from man, woman and monkey, a host of which adorn the album’s striking red cover art.

There’s even a track featuring hip hop artist Mr. Death, who raps over the track “Distaste II” to a subtle strings and a down-tempo beat. Elsewhere, the use of those strings close out the score in a suitably dark fashion, while wordless female vocals strike the perfect, balanced chord to set up Luigi Porto’s ScimmIe as a great, uniting force between Italian score sounds of old with a smart, focused vision of the new.

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Thelema & Rashomon Double Feature DEADLINE Filmmagazin Germany

by MARCUS STIGLEGGER

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.

Thelema – “Growing” in Boston Examiner/USA

Austria´s Thelema continue to grow and progress on their latest effort for homegrown label Cineploit Records, exploring dynamic and emotionally resonant territory with a starkly melodic sound.

Growing ventures further beyond the Portishead and Twin Peaks influences which defined the bands „Hearing the Light“ opus a couple of years ago via a dense layered and textured sound, one which incorporates female vocals, E-bow and ominous, tolling church bells alongside the band´s established sound of synth and piano heavy electronica.

Hans Jurgen is the man behind Thelema, and it´s on Growing where the man´s capabilities as a songwriter are truly rising to the forefront. There are moments here which speak largely of the man´s fascination with the cult scores to evocative cinema of the 1960´s and 70´s, particularly the Italian Giallo & Horror Film. There are even moments which mimic the showdowns of the old spaghetti west, amplified by Jurgen´s tasteful use of electric guitar.

There vibe of Growing is pensive for the most part, however, drawing comparisons perhaps to bands like Antimatter and Sigur Ros, while sounding entirely like no one else out there right now in the experimental, electronic music scenes. This is something to be commended, and certainly serves as a feather in the cap for Cineploit Records, for whom Thelema has clearly become a flagship act, a band whose potential is seemingly limitless when it comes to reinventing moody, melodic electronic music.

Sospetto “Non bussare…” in Rue Morgue/Canada

Orgasmo Sonore Nicolai Tribute & Sospetto “Non bussare…” reviews by Darren Allison/Cinema Retro

I’m very proud to say that I have travelled alongside Cineploit Records since the summer of 2012, and what a journey it is proving to be.  Since then, they have featured regularly in our printed magazine. Unfortunately, Cineploit’s latest two releases arrived shortly after our print deadline; nevertheless, I wanted to make sure they received the exposure they fully deserve.

Omaggio a Bruno Nicolai ed alle sue musiche per il cinema Giallo – Orgasmo Sonore

The efforts of Cineploit really do demand applauding. Over the past couple of years their devotion to the music genres of Euro Horror, Poliziotti, Italian westerns and Giallo have begun to find broader audiences. Among the label’s artists’ is Orgasmo Sonore, a group that have already produced two previous albums of diverse delights. For their latest release, they have focused on the work of Bruno Nicolai. ‘Omaggio a Bruno Nicolai ed alle sue musiche per il cinema Giallo’ (Exploit 05) arrives in the form of a 12” 180g Vinyl mini album (45rpm) with a beautifully Euro flavoured gatefold sleeve. Containing 6 tracks (26 mins), the album is a tribute to Nicolai, selecting music from five of the composer’s Giallo soundtracks from 1971-1975. Ok, so there may not be anything new here for the Nicolai collectors, however, it has been put together exceptionally well, and if anything serves as a perfect introduction to the composers bulging body of work. The music is certainly faithful and true, ‘La Dama Rossa Uccide Sette Volte’ (or The Lady in Red Kills Seven Times) (1972) kicks off the album impressively, from its haunting childlike intro – right through to its razor sharp Harpsichord strings. Whilst still beautiful, a track such Sergio Martino’s Magico Incontro (1972) loses its edge to some degree – which is no doubt due to the absent wistful tones of vocalist Edda Dell’Orso. Dell’Orso became such an integral element of Nicolai’s (and Morricone’s) sound, it set an almost unattainable level, and there the bridge becomes blatantly apparent. Nevertheless, do not be deterred from this fine album, if anything, I find adding alternative or cover versions of my favourite composers’ work somewhat welcoming, especially when produced in quality such as these.  Orgasmo Sonore has (unobtrusively) mixed various sound bites to the music, which, as a result, also refreshes the entire concept.    

Producer and band member François Rideau has delivered an excellent tribute to the legendary composer. Oh, and to add a further dash of retro flavour, the record is pressed in a glorious yellow Vinyl with blood red splatter!  Stylish, original and above all, hugely enjoyable – it’s just a shame that it isn’t fatter in terms of its content. Regardless of this, I have little doubt fans of Giallo will absolutely lap it up.

Non bussare alla porta del diavolo – Sospetto

It was great to hear the latest offering from Sospetto. Whilst Sospetto are extremely modern in their execution, it is clear that they are heavily influenced by the Giallo soundtrack traditions of the 60s and 70s. Every so often, ripples of Fabio Frizzi and (arguably more often), the work of Euro-horror specialists Goblin, seem to transcend from their music. Of course, for fans of Giallo in particular, this isn’t a bad thing – and probably the reason why ‘Non bussare alla porta del diavolo’ (Cine 07) will surely prove successful. As with their previous album ‘Segni Misteriosi, Con Il Sangue Dipinto Sul Muro’ the music is Oppressive, ethereal and sometimes heavy. However, despite their obvious influences, Sospetto have a unique talent of sounding both fresh and unique. With this latest release, the German duo of Christian Rzechak and Hobo Jeans have raised the bar to some degree, smoothing out some rough edges and producing a much more polished album in the process. Tracks such as ‘Sulla Strada Verso Il Nulla’ and ‘Viena Da Me’ are a pure delight, enhanced by the laid back, lounge-like wordless vocals of Christine Marks – they are simply crying out for a film to accommodate! On the flip side tracks such as ‘Citta Che Esplode’ are sharp and funky, percussion driven pieces that wouldn’t sound out of place in a Richard Roundtree Shaft film from the 70s.

Diversity seems key to this album, and there’s almost 35 minutes to enjoy spread over its 14 tracks. The packaging for Sospetto’s 180g LP comes in a super gatefold sleeve with a design to fit seamlessly alongside the Giallo soundtracks of the day. The LP is also available as a special set containing the 180g Vinyl, a CD version of the album and a bonus DVD (PAL encoded only) containing a 23 minute film by the group in 1.85:1 (16:9 enhanced). A classy album, and arguably the groups finest album to date.

If interested in either of these titles, please be aware that they are strictly limited, so please contact Alex at Cineploit to check availability, tell him I sent you and he’ll see you right.

Darren Allison, Soundtrack Editor, Cinema Retro Magazine

Zoltan & Thelema Tributes in Cinema Retro

Orgasmo Sonore & Sospetto in Deadline, Germany

Orgasmo Sonore in Cinema Retro, UK

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Cineploit Feature Rue Morgue, Canada

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Metal Hammer Greece – have a good read 😉

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Dusty Groove Chicago

D´Amato Tribute 7″ Exploit 01

A great little record that’s almost worth the price of the cover art alone – especially if you dig Italian horror films as much as we do! Side one is a tribute to the film Le Notti Erotiche Dei Morti Viventi – served up with a groove that would be perfect in a 70s giallo thriller – these cool quick-tempo beats with a nice undercurrent of sex – topped by keyboard riffs that echo Goblin or Keith Emerson – and all recorded with a very vintage feel! The flipside features two tracks in tribute to the film Man-Eater – the first done with cool keyboards that almost have a John Carpenter vibe – the second with an even spookier mix of noise and organ! (Very limited package – on blood-red vinyl, with heavy cover and inner sleeve too!)  © 1996-2012, Dusty Groove, Inc.

Fulci Tribute 12″ Exploit 02

A powerful tribute to the work of horror film director Lucio Fulci – served up in a package that’s even more striking than his original movies! The super-deluxe effort is way more than just a single – as the whole thing is wonderfully put together, with a solid feel of a full soundtrack – especially in the way the music recreates themes by Fabio Frizzi and Walter Rizzati from original Fulci films – all with very bold, spooky instrumentation that very much in the best Italian horror mode of the 70s! Way better than we even expected – and a record that’s a perfect complement to a collection of rare spooky soundtracks. (Totally cool, very limited package! Comes on very heavy mottled yellow vinyl, with a giant 7″ label in the middle – all in a heavy color cover and inner sleeve!)  © 1996-2012, Dusty Groove, Inc

Thelema – Ephemerol – Tribute to Scanners Exploit 03

A 32 minute suite of sounds from Thelema – dedicated to the film Scanners and its original score by David Cronenberg and Howard Shore! The music here feels as if it’s more the group’s own, but is definitely in the spirit of the creepy movie – lots of spare organ lines that move slowly through space, mixed with some analogue electronics that are sometimes spacey, sometimes noisy – peppered with a few more electric bits that really surprised us!

 Zoltan – Psychomania – Tribute to John Cameron Exploit 04

Zoltan really knock it out of the park here – offering up their own take on the amazing music that John Cameron scored for the film Psychomania – all at a level that may well have more darkness and edge than the original! There’s plenty of analogue electronics in the mix – brooding bassily over these spare, sonorous rhythms – sometimes almost hinting at a touch of funk, but often in more spacious territory overall. And although the set’s billed as a single, it’s more like a suite of tracks – extended and full of variety! Side two is very weird – mostly silent, but with a few sounds that pop out here and there!

Orgasmo Sonore – Omaggia a Bruno Nicolai Exploit 05

Maybe the coolest record ever from this always-great group – one of the best contemporary acts to really get the sound of vintage soundtracks right – working here in a special package that features unusual vinyl, a great cover, and some amazing music within! The tunes are all from older Italian films of the 70s, all composed by the great Bruno Nicolai – but served up here by Orgasmo Sonore in this sublime blend of keyboards, strings, and other great elements – all with the feel of some vintage Ennio Morricone production! The LP plays at 45rpm, for extra-great fidelity – but it still features a total of six tracks that include “Panic In The Elevator”, “Magico Incontro”, “Sabba”, “La Dama Rossa Uccide Sette Volte”, “Gatti Rossi In Un Labirinto Di Vetro”, and “La Coda Dello Scorpione”. (Wonderful yellow vinyl, splattered with red!)

Thelema Hearing no Light Cine 01

A cinematic cover, and some cinematic music to match – one of the moodiest projects we’ve heard from the contemporary underground of artists inspired by older film soundtracks! Keyboards are the dominant instrument here – often used in spare, snakey ways that recall older European cinema – but with a quality that’s less scene-setting than just purely musical – sometimes groovy, sometimes a lot more stark and atmospheric. There’s a few moments of spoken Icelandic dialogue – and titles include “Ljos”, “Close Your Eyes & See”, “Become A Hearer”, “Grey Evening”, and “Still Hearing The Light”.

MalaBimba S/T Cine 02

A really great group with a strong influence from 70s Italian soundtracks – one that serves up some mighty spare instrumentation that just includes percussion and keyboards – the latter of which is heavy on organ and synthesizer! The music has a really sinister feel – like the kind of grooves, both funky and mellow, you’d find on some sort of spooky soundtrack from years back – almost like some of Goblin’s best film scores of the 70s, but without as much jamming overall! The approach is really wonderful – lean, mean, and far from cliche – and titles include “Isolato”, “Malabimba 1″, “La Fortuna Alterna”, “La Svolta”, “Addormentato”, “La Piaga Dell Umo”, and “La Violenza”.

Zoltan “First Stage Zoltan” Cine 03

There’s a massive amount of keyboards pictured on the inside cover of the album – which you can hear to great effect in the music of Zoltan! The group’s clearly inspired by the sound of 70s soundtracks – and maybe a bit of 80s, too – especially the John Carpenter-type of film score that was often heavy on keyboards, used in really spare and spooky ways! Moogy moments mix with Yamaha, Juno, Jupiter, and other electrified lines – held fast by some firm funky beats and raw guitar riffs – and recorded beautifully with just the right sort of vintage sound! You could easily play the whole album as the score for one of your favorite slasher films from back in the day – and our hat’s off to Zoltan for getting the sound so right. Titles include “Canali Replica”, “Windowless Monad”, “Pilman Radiant”, “Krollspell”,” The Tall Man”, and “Black Iron Prison”.

Orgasmo Sonore “Revisiting obscure Film Music Vol. 2 Cine 04

A sublime second set of work from Orgasmo Sonore – even hipper than their first, and again a wonderful reworking of soundtrack modes from the Italian scene of the 70s! Compositions here are by Ennio Morricone, Stelvio Cipriani, Piero Piccioni, and others – but the group makes the music very much their own – by transforming the tunes with tighter, funkier instrumentation – almost giving the songs a small combo sort of feel, while still retaining all the majestic charm of the originals! The approach is mindblowing – easily one of the best contemporary experiments of this nature we’ve ever heard – and the record is pleasing both to ears that love vintage soundtracks, and to those that dig funky instrumentals too. Titles include “Too Risky A Day For A Regatta”, “Incubi Ricorrenti”, “Metropolis”, “Summertime Bossa”, “Volto Di Donna”, “Pillage”, “Les Dunes D’Ostende”, “Un Ombra Nell’Ombra”, “La Sconda Caccia”, and “Pearls”. (LP comes with bonus CD version of the full album.)  © 1996-2012, Dusty Groove, Inc

Sospetto “Segni Misteriosi….” Cine 05

A cool contemporary combo, but one who draw heavily from the sound of Italian film scores of the 70s – all with an approach that easily makes this album a perfect partner for any giallo soundtracks you might love! Instrumentation is nice and dark – a cool mix of strings and keyboards, with some slight and subtle rhythms – all used together in ways that are never too jamming, and which really preserve a strong sense of tension throughout – but also offer up some melodic moments as a respite, too – that balance between darkness and light you’d find in the best film scores by Ennio Morricone! The overall presentation is wonderful – truly classic, and worthy of the great cover as well – and titles include “Sotto Il Sole”, “Gli Occhi Della Dolcezza”, “Uccelare”, “Canto Del Cigno”, “Agente D’Oriente”, and “Senza Calore”. (LP comes with bonus CD version of the full album!)  © 1996-2012, Dusty Groove, Inc.

Oscillotron – Eclipse Cine 06

Weird and spooky sounds from Oscillotron – a one-man outfit, but working here in sharply cinematic splendor! The music here takes plenty of cues from the late 70s/early 80s horror generation – with some wonderfully dark keyboard lines that resonate strongly throughout the entire set – sometimes spare and moody, sometimes quite full and forceful! Like other titles on the great Cineploit label, this one has a new artist picking up a sweet retro cinematic vibe – and honestly carrying off the whole thing almost better than original film scores from years back. Titles include “Embryo”, “Oracle”, “Dawn”, “Eclipse”, “Terror” and “Assembly”.

Sospetto – Non bussare… Cine 07

Tremendous work from Sospetto – a current group, but one who are steeped in the best traditions of 70s Italian horror films – especially the work of Goblin and some of their keyboard-heavy contemporaries! The grooves here are wonderful – with a vivid vintage feel that makes everything sound like it was lifted from some eerie b-grade film from years back – done with instrumentation that’s very heavy on keyboards, plus other bits of weird sounds, odd tones, and even the occasional voice or violin part too. Titles include “Muta”, “Non Bussare Alla Porta Del Diavolo”, “Cariglione Di Stefania”, “Fiera Delle Anime Morte”, “Addio Strega”, and “Citta Che Esplode”. Also includes a bonus DVD – a short film made by the group! (Please note that the DVD is PAL coded.)

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VIRUS Review von Christian Ladewig

Zoltan – First Stage Zoltan

Ältere Leser, auch jüngere, die sich auch mal was merken konnten, werden sich an VIRUS-Ausgaben erinnern, in denen wir über das Duo Zombi aus Pittsburgh, USA, berichteten. Die haben weiland ganz viele, na ja, Zombiefilme aufgegessen und danach fies dräuende Synthesizer-Lavaströme auf die Welt losgelassen, die auch dem alten Fulci das faltige Zelt in die Hose gestellt hätten. Auf Cineploit Records kommen jetzt Zoltan aus London. Die können das auch. Und wie. Bedrohliche Sägezahnplucker-Aufrüttler aus den Kellern der Professoren Moog, Roland und anderer Stromkreisattentäter, die mich an pizzagesichtige Untote aus Bella Italia denken lassen. Die Sounds, nicht die Tüftler. Genau, wie von den Machern beabsichtigt. Diese englischen Bluthunde Draculas haben die Wasserfälle aus Tasteninstrumenten-Ikonographie der in den Siebzigern ganz großen Orgel Onanisten wie Rick Wakeman, natürlich Keith Emerson oder deren genreverbundenen Eleven wie Goblins Claudio Simonetti komplett verstanden und schlicht zu Eigen gemacht. Die walzenden Ambeint-Wände des Bandsounds treffen immer wieder auf verspieltere Synthie-Prog-Arrangements, eher jazzigen Genese, fast an avantgardistische Filmscores wie den zum schrägen französischen Science Fiction Trickfilm „der fantastische Planet“ erinnernd. Ja, die großen blauen Außerirdischen (die vor Avatar immer noch) hätten ihre Freude. First Stage Zoltan ist eine Platte, auf CD oder ungleich mächtigerem Vinyl (übrigens artworktechnisch einer ordentlichen Progressive-Rock-Rarität von ca. 1971 schon pervers nahe), die nicht rockt aber doch mächtig rockt. Wenn Sie verstehen, was ich meine. Synth-Revival voran!

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Babyblaue Seiten – Prog Reviews

Was macht eigentlich Matt Thompson inzwischen? Wer? Na der einstige Saitenzupfer von Guapo und zudem auch einer der Gründer jener Band, die er dann aber Mitte des letzten Jahrzehnts verlassen hat. Nun, nach dem Ausstieg bei Guapo betätigte sich Thompson vornehmlich solistisch. Unter dem Künstlernamen Rashomon produziert er Soundtracks zu imaginären Filmen. Vor einiger Zeit hat er sich zudem mit seinem Bruder Andy zusammengetan um dieser Passion zu fröhnen. Andy Thompson, ein leidenschaftlicher Sammler “altmodischer” Keyboardinstrumente, kennt man vielleicht als den Macher der Planet Mellotron Internetseite (und als zeitweiligen Tastenmann von Litmus). Dazu kam noch der Schlagzeuger Andrew Prestidge und das Trio Zoltan war geboren. Im Herbst 2012 legte die Band ihr Albumdebüt “First Stage Zoltan” vor.

Eine Art von imaginärer Soundtrackmusik machen auch Zoltan. Analoge Tastensounds (sehr viele Tastensounds) und “altmodische” Elektronik kommen hier zum Einsatz, dazu oft Bass und Schlagzeug. Das Ergebnis klingt ein wenig nach den Filmsoundtracks eines John Carpenter (z.B. “The Fog”) oder gar jener Italo-Schund-Horrostreifen aus den 70ern und frühen 80ern, die oft mit einer Mischung aus zeitgenössischer Elektronik und Proto-Retroprog à la Goblin versehen wurden. Schwebende, immer leicht angeschrägte Tastensounds, kernige Elektronik, auf- und absteigende Berliner Sequenzermuster, hupende und knurrende Synthesizer, geheimnisvolles Mellotronflöten, hymnische Keyboardflächen und immer wieder sehr treibende Bass- und Schlagwerkeinlagen erzeugen eine seltsam mitreißendes bombastisch-elektronisch-retroprogressives, zudem sehr fett und dynamisch produziertes Gemenge.

Nach dem eben geschriebenen muss man natürlich zwangsläufig das US-Duo Zombi als Vergleich heranziehen und in der Tat gibt es da starke klangliche und stilistische Gemeinsamkeiten. Etwas mehr retro als “Surface To Air“, aber deutlich elektronischer als “Spirit Animal” kommt “First Stage Zoltan” aus den Boxen. Allerdings hat die Musik von Zoltan ein europäischeres Gepräge, klingt meist “gotischer” und düsterer und ist auch etwas abwechslungsreicher und komplexer gestrickt. Guapo interpretieren Carpenter-Soundtracks? Allzu intellektuell oder tiefgründig ist das Ganze zwar nicht, sondern lebt – wie auch die Musik der schon erwähnten Soundtracks – vornehmlich von Effekt, Exaltiertheit und Bombast, doch tut das dem Spaß am Zuhören keinen Abbruch.

Wer altmodischen Elektro-Symphoprog schätzt, schundige Horrorstreifen aus den späten 70ern des letzten Jahrhunderts, angeschrägt-unkommerziellen Tastenbombast und die Musik von Zombi bzw. deren musikalisches Konzept, der sollte sich “First Stage Zoltan” dringend besorgen. Angeblich gibt es nur 500 Stück davon. Tolles Cover!

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Orgasmo Sonore & Sospetto reviews by George Pacheco for Boston examiner.com

The rising Austrian label known as Cineploit are well on their way to establishing themselves as a credible voice amongst those with an obsession with 1970s Italy, specifically the wild and evocative musical sounds emanating from such famed composers as Ennio Morricone, Bruno Nicolai and Stelvio Cipriani.

Cineploit‘s two latest releases continue in the label’s formidable tradition for offering only the finest and most unique musical endeavors, with still hot releases from Zoltan and Malabimba gaining fans daily, and Cineploit’s recent vinyl tributes to Italian horror directors Lucio Fulci and Joe D’Amato solidifying the label’s dedication to the analog format.

Orgasmo Sonore and Sospetto do indeed arrive in both vinyl and compact disc format, the former a collection of classic covers from the golden era of Euro-cult Italian cinema, with the latter existing as a modern day re-imagining of themes and musical motifs commonly found within the giallo, poliziotteschi and horror genres.

Orgasmo Sonore is the creation of one Frank Rideau, an Italian soundtrack aficionado who’s been making the underground rounds in recent years, arranging his own take on classic themes of the day. Revisiting Obscure Film Music Vol. 2 collects fourteen covers from such maestros as Cipriani, Walter Rizatti and prog rockers Goblin-as well as French psych-soundtrack genius Francois de Roubaix-and one original composition to create a musical experience which is both homage and reinvention; a thoroughly enjoyable retelling of Italy’s unique cinematic musical heritage.

Sospetto, meanwhile, composes a soundtrack for a movie which doesn’t exist-or at least not yet-with their Cineploit debut Segni Misteriosi, con il sangue dipinto sul muro. Translated as ‘Mysterious Signs with Blood Painted on the Wall,’ Sospetto’s fifteen track opus ventures across genre lines to encapsulate all of the musical motifs commonly found within 1970s Italian thrillers.

Sospetto composers Christian Rzechak and Hobo Jeans have all the aces here, crafting songs which perfectly mimic the creepy and malevolent sound of classic Morricone, particularly that found on the maestro’s early giallo work for director Dario Argento. Indeed, much of Segni Misteriosi wouldn’t sound out of place on the soundtrack for Argento’s established ‘Animal Trilogy’ of gialli, Cat o’ Nine Tails, Four Flies On Grey Velvet and The Bird with the Crystal Plumage.

A dark, percussive atmosphere prevails here on the lion’s share of Misteriosi-creating an atmosphere of impending dread-while other tracks tend to capture the energetic and action packaged motifs often found within the violent police thrillers of Umberto Lenzi and Stelvio Massi. Meanwhile, Orgasmo Sonore’s lone original piece, “Summertime Bossa” contains the groove and exotic spice present within the classic works of composers Piero Umiliani and Piccioni.

Both efforts present the Cineploit in an even more favorable light; releases which cement the label as a guiding light for fans who live and bleed Italian cinema.

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Marcus Stiglegger / Deadline # 36

In der letzten Ausgabe von Deadline hatte ich das Wiener (!) Label Cineploit vorgestellt, das nun gleich drei neue Werke nachlegt: Die britischen Analog-Elektro-Rocker haben mit dem Album »First Stage Zoltan« (Cine 03) eine eindrucksvolle Hommage an die pulsierenden und mitunter schrägen Soundscapes der wilden 1970er herausgebracht. Benannt nach einem Hammer-Horror-Klassiker, erinnert der dichte Sound mit analogen Synths und vollem Rockinstrumentarium an eine Mischung aus Krautrock, John Carpenter und Goblin (Ära PROFONDO ROSSO bis ZOMBI). Und geboten wird die schwere Vinylscheibe im edlen und festen Gatefold-Cover, mit monumentalem Artwork und CD. ZOLTAN wird man zukünftig auch live auf europäischen Bühnen erleben dürfen.

Anders geht der kanadische Multiinstrumentalist Frank Rideau mit ORGASMO SONORE vor. Auf dem neuen Album »Revisiting Obscure Film Music Vol. 2« würdigt er die große Ära der 1970er-Jahre, vom italienischen Giallo-Thriller bis zu John Carpenter. Immer wieder klingen bekannte Motive durch (aus Lucio-Fulci-Filmen etwa), manchmal nah am Original, doch stets entwickelt sich daraus etwas höchst Eigenes. Eine Reise durch das Genrekino jener Jahre, inspiriert von Morricone, Theodorakis und Bruno Nicolai. Speziell für Soundtrack-Fans eine wahre Fundgrube. Und wer weitere Nahrung für das innere Kino sucht, sollte sich mit SOSPETTO beschäftigen, einem deutschen Duo, das Musik im Stil der italienischen 1960er und 1970er kultiviert. Das knüpft mit synthetischen Chorälen an Fabio Frizzi an, beschwört die Melodien von Bruno Nicolai und Morricone, und doch lebt SOSPETTO von einem zeitgemäßen Touch. Es fällt nicht schwer, einen Giallo oder Poliziotto zu diesen Klängen zu imaginieren, weniger konventionell als vielmehr essenziell vielleicht. SOSPETTO sind für die Musikszene, was AMER für den Film leistete. Ich zieh nach Wien, wenn das so weitergeht. Bin ohnehin Österreicher.

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Another wonderful review for “Omaggio a Lucio Fulci/Fabio Frizzi” 12″ EP  & “Omaggio Joe D’Amato/Marcello Giombini” 7″ EP by Mr. George Pacheko for Boston Examiner!

The eager and upcoming Cineploit label has just added two limited edition vinyl releases to their ever-expanding arsenal of musical mayhem, inspired and influenced by the unique madness of Italian genre cinema.

In the first of Cineploit’s seven-inch vinyl series, Deak Ferance and Roger Conrad present their take on the films of Eurosleaze legend Aristide Massaccesi, a.k.a Joe D’Amato, and the music of Italian synthesizer pioneer Marcello Giombini. The seven inch is presented in blood red and black ‘splattervinyl,’ and consists of three songs from D’Amato’s infamous sex ‘n gore epics Anthropophagus and Erotic Nights of the Living Dead.

The approach of Ferance and Conrad to the already spacy and avant-garde synth minimalism of Giombini adds a bit more bounce to the composer’s original sparse approach, lending a bit of a disco beat to the Erotic theme while retaining the gothic sounding classical scales associated with Anthropophagus and its tale of a ravenous, blood-hungry man-beast prowling the shores of a desolate ‘n deserted island.

The work of Alain Leonard and Alex Wank is comparatively progressive when it comes to the sound achieved on the duo’s tribute to the films of Italian gore godfather Lucio Fulci. Leonard and Wank tackle themes from two different composers on here, Fabio Frizzi’s iconic score to Fulci’s 1981 masterpiece The Beyond and Walter Rizatti’s creepy and atmospheric efforts for the director’s House By the Cemetery from the same year.

Leonard and Wank successfully filter the essence of Frizzi and Rizatti’s score into a psychedelic haze of beats, samples and effects, integrated seamlessly into the composer’s original themes and melodies. The effect as a whole is hypnotic and impressive, particularly in how both men have essentially manipulated these tracks into something which they can proudly claim is their own, twisted musical creation.

The most impressive aspect of these limited edition (350 pressed) releases, however, is how much care and attention Cineploit has clearly to the finer details, with both releases displaying a devotion to the artwork and presentation essential for winning over the hearts and minds of their fellow Eurocult fanatics.

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Nette Worte von Dr. Marcus Stiglegger für seine DEADLINE Kolumne Im Abseits, Ausgabe # 35!

Wer die Wiener Death-Metal-Band PUNGENT STENCH kennt, wird sich freuen, dass deren Drummer Alex Wank jüngst ein neues Label für Soundtracks imaginärer und existenter Exploitationfilme gegründet hat:

Cineploit. Das für Horrorfans wohl spannendste Projekt dürfte Omaggio sein, die offizielle Hommage an den italienischen Horrorfilm der 1970er-Jahre. Auf einer 7’’ widmete man sich MAN EATER und IN DER GEWALT DER ZOMBIES, auf 12’’ dem HAUS AN DER FRIEDHOFSMAUER sowie der GEISTERSTADT DER ZOMBIES. Die Grundmelodien der Originalsoundtracks, deren Sounds und Beats bleiben erhalten und sind deutlich erkennbar, man hat bei diesen Coverversionen jedoch die Originale sorgsam mit zeitgemäßen Industrialelementen aufgewertet. Von Italo-Gothic-Kino zum Gothic-Dancefloor gewissermaßen. Beide Scheiben liegen auf farbig gesprenkeltem Vinyl vor.

THELEMA dürften einigen aus dem Kontext von Darkambient, Ritual- und Neofolkmusik bekannt sein. So war der Gründer u. a. involviert in die Alpinfolkband STURMPERCHT. Das ästhetisch eher am klassischen Hollywood-Genrekino orientierte Album »Hearing the Light« schleicht sich finster und mysteriös ins Ohr und evoziert den Geist (nicht die Form) des Film Noir, jener nihilistischen Thriller der 1940er-Jahre. Dabei bedient man sich gläserner und fremdartiger Sounds sowie einer ätherischen Frauenstimme, woraus etwas Neues, Unberechenbares entsteht. Diese Platte wird wohl am ehesten dem Anspruch gerecht, einen imaginären Soundtrack zu komponieren – irgendwo zwischen Ennio Morricone und BOHREN & DER CLUB OF GORE. Und schließlich ist da noch Wanks eigenes Projekt MALABIMBA , benannt nach einem dubiosen 70er-Sexfilm, ein Duo, das unterschiedlichste genuin italienische Genres heraufbeschwört, mit analogen Keyboardsounds und teils fast funkigen Beats. Das ist verführerisch sleazy und verlangt nach entsprechenden Retrobildern – vom Giallo zum Polizeifilm, vom Erotikdrama zum Splatterhorror.

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2 Reviews by Geoff Birchenall /ZERO TOLERANCE for Cine 01 & 02 starting with MalaBimba

MalaBimba are an Austrian duo who are, it seems, huge fans of Giallo Cinema and the musical works of the likes of Goblin, Riz Ortolani and Franco Micalizzi. With this self titled debut they have gleefully carved out a rustically-produced homage to all things Giallo, and conjure a beautiful-yet-menacing dark-trash aesthetic that was in the DNA of 70´s Italian Cinema which wowed grindhouse theatres back in the day. The fact that the recording process was carried out on tape machines adds to the authentic vintage feel  and woven with that deep, deranged yet playful keyboard-assault, conjures images Argento set-pieces featuring impossibly red blood dripping from the neck of a bella donna italiana! Belissima!

Zero Tolerance – Geoff Birchenall – 4/5

and for Thelema

This is the first release on Austrian´s Cineploit, a label dedicated to releasing music inspired by European Cinema from the 60´s to the 80´s and I must report that Thelema have left a wonderful impresion of the label´s vision. Formed in 1994, Thelema is the project of Hans-Jürgen, whom you might have come across as Sturmpercht. Hearing the Light which also features the chanting of Icelandic musician Steindor Andersen , is a heavy blend of Portishead atmospherics – especially with the female vocal accompaniments on certain tracks – Giallo posturing and Badalamentiesque composition that rewards repeated spins with myriad hidden jewels.

Zero Tolerance – Geoff Birchenall – 4,5/5

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2 Reviews von Christian Ladewig für VIRUS Magazin

Omaggio a Lucio Fulci e Fabio Frizzi 12″

Meine Herren, vor ein paar Jahren hat man Freakgespräche über Italo-Soundtracks geführt und, auch ob der Nicht-Verfügbarkeit der LPs, auf Veröffentlichungen wie die, die uns jetzt regelmäßig aus der österreichischen Hauptstadt erreichen, gehofft. Drummer und Genrefan Alex Wank, hier mit dem in Wien lebenden Franzosen Alain Leonard an den Tasten, zollt den Scores zu Fulcis Haus an der Friedhofsmauer und – fantastisch – Über dem Jenseits Tribut. Man covert, bereits 1997, Musik aus italienischen Horrorfilmen. Das ist an Meisterlichkeit kaum zu überbieten. Gibt’s männlicherweise nur auf knackig limitiertem Vinyl, das dafür aber mit Postermotiven und in gelbem Splattermuster.

Omaggio a Joe D’Amato e Marcello Giombini  7″

Teil zwei des fantastischen aktuellen Soundtrackpakets aus dem Hause Cineploit. Auf einer rotgemusterten Single im Filmartwork-Cover finden wir Interpretationen der Titelsongs von Onkel Aristides Schundklassikern In der Gewalt der Zombies und des legendären Karnickelfresserfilms Man-Eater. Mal was zum Lernen: Komponist Marcello Giombini hat nicht nur die klassisch beeinflussten Orgelscores zu Italosauereien der Kategorie Aua beigesteuert, sondern ist auch ein bedeutender Vertreter früher Synth- und Computermusik mit teilweise unverschämt teuren LPs in der Sammlerwelt. Apropos: Die Scheibe hier ist selbstverständlich auch fies limitiert. Zugreifen, Mädchen und Knaben.

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Dusty Groove Review for MalaBimba!

A really great group with a strong influence from 70s Italian soundtracks – one that serves up some mighty spare instrumentation that just includes percussion and keyboards – the latter of which is heavy on organ and synthesizer! The music has a really sinister feel – like the kind of grooves, both funky and mellow, you’d find on some sort of spooky soundtrack from years back – almost like some of Goblin’s best film scores of the 70s, but without as much jamming overall! The approach is really wonderful – lean, mean, and far from cliche – and titles include “Isolato”, “Malabimba 1”, “La Fortuna Alterna”, “La Svolta”, “Addormentato”, “La Piaga Dell Umo”, and “La Violenza”.

and for Thelema!

A cinematic cover, and some cinematic music to match – one of the moodiest projects we’ve heard from the contemporary underground of artists inspired by older film soundtracks! Keyboards are the dominant instrument here – often used in spare, snakey ways that recall older European cinema – but with a quality that’s less scene-setting than just purely musical – sometimes groovy, sometimes a lot more stark and atmospheric. There’s a few moments of spoken Icelandic dialogue – and titles include “Ljos”, “Close Your Eyes & See”, “Become A Hearer”, “Grey Evening”, and “Still Hearing The Light”.

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ZOLTAN Review by George Pacheko for Boston Examiner

Zoltan evoke minimalistic electronic grandeur on their Cineploit debut

London’s instrumental outfit known as Zoltan are cut from the same macabre musical jib here on their First Stage Zoltan debut as Pittsburgh’s diabolical duo ZOMBI, in that both acts evoke powerful, minimalistic grandeur with layers of electronic ambiance.

The influences behind Zoltan’s dark and creepy sound emerge primarily from the obscure recesses of 1970s Italy, namely the cult film soundtracks of composers Fabio Frizzi and Stelvio Cipriani, both of whom scored numerous, grotesquely artistic horror flicks during the country’s cinematic boom of the 60s, 70s and 80s.

Films such as The Beyond, Nightmare City and Lucio Fulci’s classic Zombie are all prime examples of Zoltan’s musical inspiration at work, while similar stylistic avenues also emerge from the synthesizer fog here, not the least of which are the equally classic film/score works of American horror director JOHN CARPENTER. There is a malicious, bass-driven undertone to the band’s work which works hand in hand with Zoltan’s higher, more ambitious orchestrations, the moods of which link quite often with the jazzier end of 70s film scores, a la Alain Goraguer’s Planete Sauvage, for example.

Indeed, while shades of Halloween certainly permeate Zoltan’s electronic symphonies, there exists a certain depth to the band’s composition which lifts them above mere homage and plagiarism into the upper echelon of their field; deserved praise for a band so relatively new to the scene, yet utterly deserved: Zoltan totally rules.

Zoltan on Boston Examiner

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MALABIMBA Review von Christian Ladewig für Virus Magazin Deutschland

Alex Wank kommt aus Wien und war im früheren Leben Drummer der berühmt-berüchtigen Perverso-Metaller von Pungent Stench, die nicht nur Bilder des Virus-Frühphasen-Kunstboys Joel-Peter Witkin sondern auch ordentlich Humor an Bord hatten. Alex ist aber auch großer Fan italienischer Horror- Giallo- und anders zu verortender Bahnhofskinofilme aus dem Lande der guten Tomatensoßen. Als Fachmann der Materie und Musikus hat er natürlich einen besonderen Narren an den dräuenden Sleaze-Synthesizer-Soundtracks der Filme gefressen und vor nicht allzu langer Zeit sein Label Cineploit gegründet. Hier veröffentlicht er Soundtracks zu imaginären italienischen Genrefilmen. Das macht Spaß. Eines seiner Projekte ist das Drums & Tasten-Projekt Malabimba (benannt nach einem 1979er Bumsschloss-Heuler von Schmiermeister Andrea Bianchi) der Gebrüder Di Cipolla und vorm inneren Auge laufen dann auch sofort Szenen nackiger Rosalba Neris auf der Flucht vor schnaufenden Lucianno Pigozzi-Unholden mit komischen Hüten oder mindestens schwarzen Handschuhen ab, die früher von Leuten wie Cipriani, Micalizzi, den De Angelis Jungs oder Goblin unterlegt worden wären. Es pocht und pluckert, dass man sich in einer Mitternachtsvorstellung wähnt und manchmal musste ich beim Hören der Scheibe eher noch an die angefunkten Synthies John Carpenters als an die Cinecittà denken, was aber beileibe nichts Negatives ist. Der Gedanke, wie die Soundideen der Zwiebelbrüder wohl klängen, wenn man das Gerüst aus Keys und Schlagzeug mit Orchestrierung und/oder einer Band auskleiden würde, kommt mir äußerst reizvoll vor und beschäftigt den Komponisten bestimmt ebenfalls. Malabimba gibt’s auch als limitiertes Vinyl, was eine Freude ist.

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CINEPLOIT Featurette von Christian Fuchs für FM4 House of Pain Giallo & Italohorror Special im Radio sowie Blog!!!

Todes-Swing und Cineploitation

Im House of Pain wird es abseits des großen Dario auch um andere Größen des Genres gehen, in dem die Grenzen zwischen Krimi und Horror, Surrealismus und Sexploitation auf knallbunte Weise verschwommen sind.

Essentiell bei den grellen Meisterwerken von Regisseuren wie Mario Bava, Lucio Fulci, Aldo Lado oder Pupi Avati ist neben den stilisierten Bildern dabei die Tonspur. Im bewussten Kontrast zur Brutalität der Mordszenen setzten Komponisten wie der göttliche Ennio Morricone, die umwerfenden Progrocker Goblin, aber auch Stelvio Cipriani oder Fabio Frizzi auf sanftes Hauchen und Seufzen, auf gespenstische Kinderlied-Assoziationen oder funky Loungeklänge.

Unzählige Musiker, von Trip Hop bis Industrial, Doom- und Death-Metal bis zur Electroszene, ließen sich über die Dekaden von diesen Mördermelodien betören und inspirieren. Der Wiener Alex Wank, Ex-Drummer der Todesblei-Stars Pungent Stench, hat aus dieser Leidenschaft heraus ein Label gegründet. Die Bands auf Cineploit Records, mit so malerischen Namen wie Thelema, Malabimba oder Zoltan, tauchen tief ein in das eigenartige Musikuniversum der Giallo Movies. Fingerschnippender Todes-Swing aus der (Blut-)Rotlicht-Ecke ist das, bisweilen auch hypnotische Synthesizersounds für die Spaghetti-Vorhölle.

Cineploit Featurette auf House of Pain Giallo Special

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a fantastic and smooth MALABIMBA review by George Pacheco for Boston examiner.com who brings it to the point!!!

Inspired by the classic cinematic composers of 1970s Italy, the Austrian duo known as Malabimba achieve quite an evocative first effort here on their self-titled debut for Cineploit Records, a moving and memorable sonic excursion which drives home some severely shakin’ sonic ruckus.

To be fair, there is also a hefty share of 1960s bossa nova groove and 80s synth magic present within Malabimba’s organic, funky grooves, embracing the Italian soundtrack aesthetic with glee ‘n glorious aplomb. Utilizing a handmade aesthetic in their approach, Malabimba make it a point to create all of their groovy sounds the old fashioned way, ensuring that the brilliantly warm, analog production does them the best possible sonic favors.

As a result, the bass, guitar and organ tones are fleshed out to the max, setting up plenty of moods throughout the album’s eighteen tracks, from rugged and aggressive vibes—perfect for a hard boiled Italian crime thriller or poliziotteschi—to the smooth, swinging sexiness of “La Svolta” or “Diventare Adulto,” which wouldn’t sound out of place on one of Stelvio Cipriani’s erotic film scores.

Malabimba aims to please, regardless of the mood, setting up a fitting audio accompaniment each and every time. Right from the get go, it becomes clear that this musical duo is more than just the sum of their inspired parts, but rather songsmiths who take said influence and run with it, in the process creating their own weird, wild and wonderful world of memorable mood music.

MalaBimba on examiner.com

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another fantastic review for THELEMA by George Pacheco for examiner.com!!!

The brainchild of engineer and multi-instrumentalist Hans Jurgen, Thelema’s Hearing the Light is the flagship release for a new, Austrian-based ‘cinematic music’ label Cineploit, showcasing a stark yet impressive opening salvo.

The music here on Hearing the Light is dark and minimalistic, for the most part, relying on restrained instrumentation and simple melodies to leave their mark upon the listener. Jurgen succeeds in creating a palpable atmosphere, however, utilizing minimal electronics, minor guitar/bass work and sparse percussion in smart combination with each other, resulting in a decidedly well-flowing piece of art.

If there’s anything ‘cinematic’ about Thelema’s work, it’s very much noir in nature, probably owing a debt to Angelo Badalamenti’s iconic score to the television series Twin Peaks than anything funk or prog related. There also seems to be a marked Portishead feel to the tracks with female vocal accompaniment, such as “Still Hearing the Light” and “A Light Reprise,” and it’s on these songs where the morning star of Thelema shines the brightest.

Hearing the Light impresses from start to finish, however, and is clearly meant to be engaged and enjoyed as an album experience. Multiple spins only reveal more hidden grooves and atmospheric jewels within this bleak yet impressive soundscape.

Thelema on Examiner.com

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Interview about CINEPLOIT for examiner.com!!!

Proudly flying the flag for ‘cinematic music’ in all its varied shapes and forms, the freshly formed Austrian label Cineploit Records has a handful of new releases on the horizon from such artists as the soundscape-ish Thelema, library-funk enthusiasts Malabimba and Zoltan’s progressive Goblin worship. Label owner Alex has hit the ground running with a boatload of enthusiasm, and spoke with Cape Cod Rock to divulge the latest news.

Since your Cineploit venture is fairly new, would you care to introduce our reader a bit to your aims and goals in starting up this label venture? Cinema, soundtracks and exploitation seem to all be prime inspirations, are they not?

Sure! Cineploit is a brand new thing for me with the idea having been born last January. I was looking for a way to release the first album of my Malabimba project, when I discovered that Hans Jürgen of Thelema was ready for an album of his own. So, I figured that two releases would be a good way to start a small label, dedicated to ‘cinematic music!’ I also got in touch with the band Zoltan for another fitting release for the label, while at the same time I had a chat with Frank of Orgasmo Sonore and offered him help in releasing his next LP for Europe.

So in a very short period of time I had already some great acts together. They’re all very different musically, but all heavily connected to soundtrack music, especially of the great times of the 70s and 80s. I think all of us love these so called ‘exploitation movies’ of all genres and origins, and, as you know, these movies mostly had great music to offer. As there are artists out there inspired and devoted to this kind of musical ‘style,’ I thought, “Let’s give it a try!”

Were you at all nervous starting up Cineploit, particularly given the unstable nature of the music industry at this point in time? With so much upheaval as to how people are acquiring and listening to their music, were there any concerns or reservations on your part, or were you confident that obsessive fans of obscure, underground music and cinema would understand your mission?

I am still nervous! (laughs) it is risky, absolutely, but you know, I love music and I love vinyl, and I think all these acts need to be released and need to be heard. If the right person is reading this or is hearing somewhere music out on Cineploit, I believe this person would like to have it on vinyl.To listen to music on the computer is one thing, to have it with nice artwork on your turntable is something else. I really hope there are enough devoted people out there open for obscure cinematic music!  All releases will be limited and will be on nice heavy vinyl with fine artwork and with great mastering, so you guys out there you will be investing in quality cinematic music made by dedicated people!

Continuing on this subject, how WOULD you classify the ‘mission’ of Cineploit, and do you think that those of us who support and collect independent film and soundtrack music all sort of speak the same underground, ‘cult’ language? Have fans been supportive and eager to get involved with what you’re doing with Cineploit?

I want to give a home to acts and musicians devoted, dedicated and influenced by all these great film music composers of the golden & silver age of the 60s to the 80. All acts so far on Cineploit have probably a different kind of approach and diverse influences, but at the end of the day we do admire all the wonderful times cinema (especially from Europe) gave us during that era. We all speak the same, cult language I guess! Reactions so far are great, but I am absolutely at the very beginning and it will take some more time to get Cineploit and all acts on it around properly. Any help is very welcome!

You have three releases immediately on the horizon, namely Thelema, Malabimba and Zoltan. What can you tell us about these releases? What separates them conceptually, and what sort of similarities do you think they all share when it comes to flying the Cineploit ‘banner,’ as it were?

Thelema is heavily influenced by Twin Peaks and such, MalaBimba by Police & Crime movies from 70s Italian productions (with music by Franco Micalizzi or Stelvio Cipriani and many others) and Zoltan by progressive bands like Goblin or Tangerine Dream. So as you can see, they all have different influences and sound very different but then again all of them are totally ‘cinematic,’ as I call it. We did some YouTube clips, and watching these I think the music fits perfect to the scenes we took from different 70s sources. They’re all very imaginative and activating the mind´s eye so to speak!

Would you say there is a goal of balance when you’re looking for acts and albums to release? Something which speaks with its own unique voice, yet can also fit in nicely with the goals of Cineploit? What are some of your criteria for signing new acts?

Absolutely. When I hear something new, I immediately can tell if it has something in common with Cineploit. It has to have that cinematic touch. I have to hear the right influences, and I don’t care if it´s a big band kind of sound or stripped down minimalistic ambient. I’ve been devoted to music for decades, and I hear immediately if an artist has it what I need to hear or if the approach of the artist is similar to my way of enjoying music.

What are some of your favorite styles of music to listen to on a personal basis, and is Cineploit basically a reflection of your own taste? I’m assuming you worship the Italian soundtrack music of the 60s, 70s and 80s in a similar fashion as myself? What do you think unites us all in this appreciation of this medium, do others find your obsession strange at all?

Oh well, I am totally addicted to all these wonderful composers from Italy from the 60s through the 80s. I started collecting Morricone records some twenty years ago, and it ended in having to have all of them: Franco Micalizzi, Luis Bacalov, Nora Orlandi, Riz Ortolani, Bruno Nicolai, Alberto Baldan Bembo, Alessandro Alessandroni, Stelvio Cipriani, Piero Umiliani, Piero Piccioni, Gianni Ferrio,Nico  Fidenco, The De Angelis brothers, Giorgio Gaslini, Berto Pisano, Luciano Michelini, Lallo Gori and dozens of others. It is, of course, connected in loving the films, but the music itself is somehow wonderful and magical and absolutely timeless for me.

I guess Cineploit kind of reflects my beloved Italians, but then again it is very different. These guys were fantastic composers and had mostly their own orchestras to execute their compositions in a brilliant way!  The ones who don´t appreciate this film period mostly tell me it is too slow, too old fashioned, too unspectacular – they just have no clue at all, I would presume! You have to have a certain feel for this time period and if you are open for this a whole new world appears and you get rewarded big time!

I understand you will be working with Orgasmo Sonore in the future, as well? What other plans do you have in the future with regards to releases?

Yes I will. I’ve been in touch with Frank for over a year now, and helped him sell copies of his music in Europe. To release the first Orgasmo Sonore volume here would have been a bit too early for me, plus our connection was too short back then. Now the time is right for me to get things going for him here in Europe. He is an excellent musician and a very fine person with the perfect musical taste! I really do love his covers! Orgasmo Sonore will be out this Autumn, together with a new, unnamed German project. These guys are doing own compositions and believe me, it’s absolutely incredible stuff, and very much influenced by all these great composers mentioned before but then again with a very own touch.

How far would you want to go with Cineploit? Are you seeking to reach heights attained by labels like Cinevox, Digitmovies and such, or do you think underground will be the way to go a la Chris Soundtrack Corner and other small labels?

Well my goal is to give my artists a platform for nice vinyl editions and get them out to interested listeners. If we all break even I guess we are all happy! I think you can´t compare my vision to labels such as Cinevox or Digitmovies simply because these labels are releasing scores from mostly Italian movies back from the great days. I guess it is also easier to sell some copies of composers with a name and history, as well. Cineploit is releasing acts in the spirit of these composers, but at the end these are their very own products with this cinematic touch. So yeah, we will stay underground, absolutely.

Please fill us in on any other future plans and final words, man! Thanks so much for taking the time out to speak with us, and here’s wishing continued success with Cineploit!

I almost forgot, in June I will also release a Lucio Fulci Tribute which contains two epic songs I did back in the 90s with a project I had at the time. They’re sort of covers, but developed to almost own songs, originally by Fabio Frizzi and Walter Rizzati. This material was once used for a Fulci Tribute CD which was released in the US end of the 90s – too good to be forgotten!

I also can imagine releasing some great scores from the 70s which still haven’t had a release on vinyl! Time will tell! Thanks for your effort and dedication helping us! It’s very much appreciated, since we are all at the very beginning! Every possible help is needed! We’re still looking for more distribution partners, features and if somebody wants to work with any artist of the label for a movie or such please get in touch! Support cinematic music!

Cineploit on Examiner.com

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