Back catalogue: Library/Archive

Review: A release that honours the centenary of Alessandro Alessandroni's birth with a collection of previously unreleased tracks from the iconic composer and multi-instrumentalist. This album uncovers a hidden chapter of Italian film scores and library music, featuring Alessandroni's lesser-known work between 1969 and 1978 for war documentaries and films. Paesaggio Bellico isn't just a military march through battlefields but a deeply nuanced exploration of war's human and existential facets. Alessandroni expertly balances sweeping, cinematic themes with moments of tension and unease. His compositions juxtapose stark, unsettling imagery with softer, more hopeful tones that has a poignant counterbalance to the brutality of conflict. The maestro's signature whistle floats over gentle 12-string guitar melodies, while his fuzz-laden Fender Stratocaster electrifies more intense passages. The Cantori Moderni, Alessandroni's trusted vocal ensemble, contribute haunting vocals that delve into the psychology of warfare. An elegant string section adds layers of drama and sentiment, enhancing the album's orchestral weight. With 18 tracks in total, the release is visually enriched by Eric Adrien Lee's cover art, which reimagines the bold design of 1970s Italian war-themed records. With a tip-on hard cover and a unique inner sleeve, the vinyl is a fitting tribute to Alessandroni's enduring legacy, blending sonic and visual storytelling into a truly special release.

Review: A narrative. An odyssey. The journey of a lifetime. As the world locked itself away and the Covid-19 pandemic took hold, Battaglia stepped into the record studio and evidently fired up the ignition rockets. Travel in the literal sense may have been off the cards, but Season One certainly transports the listener through a deep and complex sonic tapestry, telling a tale of struggle from fear into hope and onto something altogether unique and new and enlightened. Plenty here has been inspired by the aural work of John Carpenter and Tangerine Dream, to name but two influences, but ultimately where Battaglia is taking us feels resolutely new. More so, tangibly unchartered. Out to the farthest reaches of the known galaxy and back again in a stunning collection of strange and beguiling electronic business.

Review: One of Giuliano Sorgini's finest and most sought-after titles, Scappo Per Cantare, is finally available as an official LP reissue, and the first ever to be remastered from the original tapes. Originally released in 1971 on the small library music imprint FAMA - which operated as a sub-label of RCA Italy - the record contains the original music written for Scappo Per Cantare, a small, pseudo-psychedelic 'musicarello' (musical comedy film) broadcast on RAI television. Despite this seemingly innocuous commission, the music - though he's uncredited, it was made in collaboration close confidant Alessandro Alessandroni - is incredibly surreal, and a psychedelic treat for anyone seeking crisp, chordophonal-compositional mastery distilled on record.

Review: The fact Paesaggi is being released on Four Flies, an Italian label that has tasked itself with unearthing, or rather catching obscure soundtracks from the country's golden age before they fall into complete obscurity and off the face of the Earth, should tell you everything there is to know about this one. One of the all-time masters of film scores, Umiliani delivered the album in 1971, and it's a wonderful example of his work.

It's probably important to point out that his output leant towards the less high brow genres, including Spaghetti Westerns, and soft core sex movies. This version of the album itself, which is number three after the original in 1971 and re-release (with different sleeve) in 1980, features performances by legendary session supergroup I Marc 4, and is as wistful and beguiling as it is lounging and made to make background moods. Flutes, guitars, strings and all.

Review: The latest record to waft from the Four Flies feeding ground focuses on Paolo Zavallone, an elusive musician and patron of the DIY music label Paloma Records, which only saw five records released. After venturing into the world of music publishing in 1983, Zavallone would either produce licensed-for-film music himself, or consign the task to his peers, chiefly his friend Mauro Malavasi. This record, made up of a quint of nameless, coverless records, captures the highlights of the sottofondi style, i.e. incidental music made largely for early 80s Italian comedy series on TV. Easy listening fusion blends with pots-and-pans avant-gardism ('Cronaca Nera' particularly), proving the remarkably prescient range of an obscure musician.