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Bruno Nicolai
Tutti I Colori Del Buio

FINDERS KEEPERS

From January 1972, Morricone’s Ortophonic studio in Rome: nutty free jazz, aggressive bass-driven beats, Eastern exotica — Alessandro Alessandroni on sitar — and childlike lullabies, Rosemary's Baby style.



Death III
Songs from 1975, 1976 and 1980 — and two from the brothers' 1992 reunion.
Heavy, racked rock from Detroit, with Funkadelic and punk in its heart.






Golden Retriever Seer
Luminous, emotionally charged, free but focussed duets by Matt Carlson (modular synthesizer) and Jonathan Sielaff (bass clarinet), weaving together German strands from Edgar Froese through Manuel Gottsching, and th...





Wo-Land
Warmly recommended, wildly diverse showcase by this collective based in north-west Italy. Mass Prod from Werk is here, and faces from the Marmo contingent, alongside a flush of new names. Fresh and provocative.






Anxious Color
Loco, lo-fi garage and psych, 1966-7, put together by the people behind the excellent Six Feet Under compilation.




Charles Cohen A Retrospective
The three Morphine LPs — Middle Distance, Group Motion and Music For Dance And Theater — plus two previously unreleased tracks. A stunning retrospective, 1976-89 — playful, mysterious, beautiful, captivating.



Bruno Nicolai Processo
From vampire horrotica: the Morricone cohort's tense harpsichord for Il Conte Dracula (with Christopher Lee and Klaus Kinski), and Roger Roger's swooping dreamscape theme crossing Theremin and bowed saw.