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.
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.
Betty Benson’s unforgettable lament (ventriloquising a five-year-old) from the Charles Laughton film. If you haven’t seen it, you really must. And Norbert Glanzberg’s Witch’s theme for organ and guitar.
Part of the Can milieu, Spoerri made concrete music-for-industry using primitive sampling and experimental psych-rock and funk musicians. ‘I love this record’ — Carl Craig.
Heavy psych rock soundtrack to Andrzej Zulawski’s 1971 film.
Zany, Alaskan, harmonica-led electro-pop, with a case of Krautrock-and-the-Moroders, originally released in 1980.
Two Jean Rollin, French Horrotica soundtracks: Philippe D’Aram’s vintage synth experimentalism and free-rock, for Fascination; dynamic drums-and-keys-based chamber music by Pierre Raph, for Requiem.
Raw Lollywood soundtracks — legends like the Ashraf-Akhtar team, and Noor Jehan: ‘fuzzy, scuzzy, twang-happy, spaced-out and funked up Urdu-grooves’, with melodic harmoniums and finger-numbing percussion.
Hysterical horror-film themes, with India’s finest composers — Bappi Lahiri, R.D Burman, Sonik Omi, Sapan Jogmohan, Laxmikant Pyarelal — revelling in the remit.
Child-Killer Of Flies — nuts, concrete, orchestral psych funk from the genius behind Melody Nelson. ‘You really need it in your life’, says Jarvis Cocker; ‘fucking genius’, David Holmes.
Spanish freak funk and symphonic jazz-rock — crossing Goblin, Egg, Soft Machine and co — aimed originally at Ibiza’s 1970 psychedelic club scene.
Mostly pre-1974 kosmiche prog and artschule psych from Eckart Rahn’s Kuckuck label.
Synth japes from the Krautrock milieu, with an eye on commerce. Spence was born in San Francisco in 1927. He studied under Poulenc in Paris. By the late sixties he was in Germany with one of its first Moogs.
The Dracula’s Music Cabinet team gone space-age and groovy.