320 Ost

Amy is an original motion picture soundtrack to the 2015 film of the same name. It was released by Island Records on 30 October 2015. The soundtrack features music by composer Antonio Pinto that was used in the documentary as well as tracks by singer-songwriter Amy Winehouse, the subject of the film. The soundtrack peaked at number 19 on the UK Album Chart on the week of 2 November.
The twenty-three track album features alternative versions of Winehouse's well-known tracks "Tears Dry On Their Own", "Back To Black" and "Love Is A Losing Game"; recordings of "Stronger Than Me", "What Is It About Men", "We're Still Friends" and "Rehab" from rare live sessions; demos tracks "Some Unholy War" and "Like Smoke"…

Lakeshore Records presents Mr. Robot - USA Network's Golden Globe, Emmy Award-Winning Series.
"Elliot uses programming and social engineering techniques to seek and exploit weakness in computer networks, and I use programming and sonic engineering techniques to help enhance the emotional content of each scene," said Mac Quayle. "Armed with our computers and an arsenal of software tools, we both attempt to create and discover the right combination of notes (code) and sounds (keystrokes) that help tell the story (access the network)."
"For this soundtrack, the idea was to include as much music as possible from Season 1 and organize it chronologically by episode," Quayle described. He used an almost all electronic palette for the show, adding only one organic instrument - a piano…

The Falcon and the Snowman is an album of original music for the soundtrack of the Orion Pictures film of the same title, composed and co-produced by Pat Metheny and Lyle Mays. The music is performed by the Pat Metheny Group with occasional orchestrations for strings. The exceptions are a male chorus featuring a young alto which bookends the album and "This Is Not America," a collaboration with David Bowie, credited as producer and co-composer, who performs lyrics for an arrangement of the theme heard in the track "Chris."

David Bowie and Trevor Jones - Labyrinth (1986) {EMI America OST}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 266 Mb | MP3 @320 -> 102 Mb
Full Artwork @ 300 dpi (jpg) -> 26 Mb | 5% repair rar
© 1986 Jones Music / EMI America | CDP 7 46312 2
Soft Rock / Pop / Soundtrack / Electronic

This is an electrical and fantastic soundtrack of the wonderful fantasy movie of 1986, starring Jennifer Connoly and DAvid Bowie, Labyrinth. From start to finish it is electrical and rich in fantasty rock and some electronic instrumental music too. This album includes the beautiful song of loneliness and hope, Underground, the catchy and super Magic Dance, the fun and cheeky Chilly Down, the gentle As The Wall Falls Down and the romantic Within You. This album was proof that Bowie was still one of the greatest talents of the musical world by 1986, and had lost none of his ability to create beautiful and enchanting music.

Angelo Badalamenti's score for The City of Lost Children (La Cité des Enfants Perdus) finds him utilising his orchestration skills to their full extent. His use of the string section in particular is extremely accomplished, with his lyrical writing helping to emphasise the often-melancholic tone of the film. Highlights of the soundtrack include the song "Who Will Take My Dreams Away?" (written with Marianne Faithful), and Badalamenti's sinister organ grinder music composed for the scenes featuring the trained fleas. Overall a very evocative and moving score, and a must for any serious fan of Badalamenti's film music.

This original soundtrack (from the cult movie) was released in late 1970 by French Motors label. The fabulous music was created by then unknown French-Canadian-British rock band Clinic (which was chosen after the Pink Floyd weren't available), pop singer Christophe (present on just two tracks) and Bernard Gerard Orchestra (responsible for two classical interludes). All the songs were sung in English, although most of an album was filled with instrumental and truly amazing, early Pink Floyd-like psychedelic sounds (with Hammond organ, mellotron, flute, hypnotic bass notes, whispering voices) combined with late 60’s French/British pop tunes. With the exception of 'More' it's really hard to imagine a better movie soundtrack from late 60's/early 70's rock era!

Even high-budget Hollywood movies generally get by with one A-list composer, but the renewed Batman series that kicked off with Batman Begins under the direction of Christopher Nolan in 2005 used two, Hans Zimmer and James Newton Howard, both of whom return for the second installment, The Dark Knight. Although Zimmer and Howard are co-credited with each of the cues (with Lorne Balfe given a credit for unspecified "additional music"), their styles are sufficiently distinct that their individual contributions don't seem hard to delineate. The highly percussive synthesized music, much of it seemingly already mixed in with sound effects, sounds like Zimmer; the more conventional orchestral passages, sometimes giving way to solo piano, sound like Howard (who is, in fact, credited with playing piano on the soundtrack)…

Chappie was bound to be something a little special since it is composer Hans Zimmer’s first all-electronic score in 25 years. He also had a little help with this, with additional music by Steve Mazzaro and Andrew Kawczynski. But how did it turn out? Chappie, being a film about a robot that can feel and think like a child can, is quite an interesting movie for anyone to score. It has to have somewhat of a child element, while still remaining robotic and ready for action and intensity.
The first track, “It’s a Dangerous City”, seems like it would fit perfectly, given the OST’s nature, into an action sequence of a new Tron film…

Jon Hopkins is the creator and curator of sonic witchcraft. A musician skilled enough to create melodies that evoke images in the mind’s eye is a rare thing indeed, but to fully transport a listener’s consciousness into a dark, mystical dimension of other is nothing short of genius; borderline black magic. The audio warlock who conjures up these tangible fabrics of parallel lands brings forth his Midas touch in the score for independent low budget feature length horror Monsters. And if the film, for some, smacks somewhat of cheese, Hopkins’ soundtrack does not. Instead it draws listeners (and viewers) in as it does into an enhanced and lucid existence, opening portals into alternate worlds, stirring hearts and very souls…