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ORGASMO SONORE – Revisiting obscure film music vol. 2

LP/CD Set – first 250 copies Bonus CD – SOLD OUT!!!

LP – 250 copies SOLD OUT

DIGI CD – lim. ed. 250 copies – very few left!!!

15 songs!

Ennio Morrricone, Bruno Nicolai, Stelvio Cipriani, Fabio Frizzi, Goblin, Piero Umiliani, Piero Piccioni, Mikis Theodorakis, François de Roubaix, Goblin, Walter Rizzati, Michael Holm

Following Revisiting Obscure Film Music volume 1 released in 2011 a tribute to some of the most respected composers of the 60s and 70s. Selection from all kind of cult movies : Western, Giallo, Horror, Erotica, Post-Apocalyptic, etc…all music perfomed by Orgasmo Sonore including one original composition! Recording and arrangements faithful to the originals & produced by Frank Rideau in Studio Le Bruxelles in Montréal. Mastered in Chicago by Jason Ward with special care for vinyl pressing. Original Artwork by american Mondo poster artist Jay Shaw. Liner Notes by Fabio Capuzzo (author of “Goblin – Sette Note in Rosso”).

A little message by Mr. Orgasmo Frank Rideau!

There was a time when music for film wasn’t just a generic background for the visuals on screen. Sadly, that is what I think of most modern film scores. Very few original soundtracks have moved me in the last couple of years. One exception being Jonny Greenwood’s compositions for Paul Thomas Andersons film “There Will Be Blood”. I often return to the work of the 1960’s and 1970’s era film composers. Without a doubt, the output from that period is far more than just background for film. It was a real golden age of music. It’s not a surprise Quentin Tarentino always picks from that era to add a sense of larger than life to his films. To me, the Italians were in a league of their own. They were amazingly prolific and boldly original. It’s hard to believe that the bass line opening of Ennio Morricone’s “Mystic and Severe” is from 1967. It sounds eternally hip and fresh, timeless. I also admire that composers like Stelvio Cipriani have always approached their work with all the professionalism of a classic composer. Even for the weakest of Joe D’Amato exploitation flicks. A further influence of mine would be the omnipresence of Alain Goraguers score in the philosophical sci-fi French cartoon “Fantastic Planet”. This score blurs the line between music for film or film for music. It is definitively one of the best unknown soundtracks out there. I also pay great respect to John Carpenter and Alejandro Jodorowsky. Who often composed the scores in their films as well as directing them. Which was, and still is not, a common practice. They approached this process as merely an extension of the film makers creative process. This was a time when even the lowest grade productions were calling a professional composer to score their film. It was not uncommon for very obscure films to often give birth to the best film music. This just goes to show how much respect these filmmakers had for the art.  Unfortunately, all too often many of the original movies have been forgotten. Although, a great number of their soundtracks still survive and stand the test of time today. As a musician, I couldn’t resist the temptation of re-interpreting some of these film scores. I hope you’ll enjoy this second volume of Revisiting Obscure Film Music.


some Reviews in German & English!


George Pacheko /

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.

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.


Marcus Stiglegger/Deadline

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.


Dusty Groove Chicago

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