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Antoni Maiovvi

Housewife OST

    Burning Witches Records are proud to release Antoni Maiovvi’s killer score for Can Evrenol’s 2017 horror film Housewife.

    Housewife centers on a woman who, as a kid, saw her mother kill her father and sister. As she grows up, she’s haunted by dreams of the event. Then she meets a celebrity psychic and all hell breaks loose in her psyche.

    Among the things for which Maiovvi is known, is his synth-infused scores — whether for actual films, such as Abdullah or Yellow, or ones not yet made. But for Housewife, Evrenol’s English-language debut after the phantasmagoric Baskin, Maiovvi overall went a more organic, orchestrated route, aside from the final disco cut track.


    2xColoured LP Info: Double album on blue and purple discs.

    2xColoured LP includes MP3 Download Code.



      After a busy 2018, which saw worriedaboutsatan release a steady stream of new material, the Yorkshire based duo start the new year with the release of their fourth full length album, ‘Revenant’.

      The record marks a slight departure from their previous critically acclaimed album Blank Tape, by venturing into more synthesiser heavy pieces, based around dark brooding atmospheres, and switching from the bouncing arpeggios and slow hypnotic rhythms like the 10 minute album opener ‘Skylon’, to the jittering, cinematic rush of ‘Making Your Masks’.

      Six tracks recorded over three weeks in Tom’s rural Yorkshire studio. The band channelled their signature post-rock guitars and skyscraping atmospherics into something more synthetic, but without losing what makes them the band that garnered attention for soundtracking Adam Curtis’ Hypernormalisation documentary back in 2016.

      **Silver and black vinyl may or may not have audio distortion intermittently during playback, depending on your system. This was discovered after the press had been completed and packed, so we have included a red repress without audio issues. All purchases will ship with both silver and red copies.


      2xLP Info: (Silver and red vinyl both included)



        The electronic project of Austin, Texas musician Alex Cuervo, Espectrostatic has been grabbing the ears of horror fans since the first self-titled full-length in 2013. While there’d been a digital-only EP, Skeletactical, in 2012, it was that debut LP on Chicago’s Trouble in Mind which put Cuervo and Espectrostatic at the forefront of soundtrack-inspired musicians.

        Since then, there have been two digital EPs and another full-length, Escape from Witchtropolis, in 2014, also on Trouble in Mind. Silhouette was released digitally nearly a year and a half ago, and while a self-released cassette version of the music came out earlier this year, many wondered if it would get a proper vinyl pressing.

        Happy day of happy days, then, when the UK’s Burning Witches announced they’d be releasing a limited vinyl edition of 500 copies on translucent blue wax. Even better, not only did artist HauntLove remix and remaster the artwork for the release, but Burning Witches co-founder BurningTapes remastered Silhouette especially for the format.

        Granted, this is something that needs to be done for most releases, but I’ve been listening to these songs for well over a year now. They’ve been played through multiple stereos, several different pairs of headphones and earbuds, and Silhouette has never sounded as good as it did the moment opening cut, “The Corridor,” did when I dropped the needle on it.

        The music of Espectrostatic has been evolving and changing all along the course of Cuervo’s six years with the project, and it’s always for the better. That’s not to say the older material is bad, of course: it’s just that the rather more obvious aping of his influences has given way to a synthesis of said influences into something more cohesively unique. Whereas earlier albums were sort of a hodgepodge — wherein there were individual tracks influenced by Fabio Frizzi, John Carpenter, and assorted other composers — Silhouette is a collection of Espectrostatic pieces.

        “Dead End City” sounds like nobody else. It’s so astonishingly catchy, while still sounding like doom and gloom, that its all-too-brief running time seems like a tease. It could play for hours and I don’t think I’d ever tire of it. Few Espectrostatic tracks over the years have ever featured guitar or live drums in such a way, yet it still comes before the pure synth of “This Modern Curse,” and this is without the transition between the two sounding at all awkward.
        - Modern Vinyl


        LP Info: Transparent blue vinyl, with insert and download card. Artwork re-imagined by Hauntlove. Limited to 500 copies worldwide.

        Growing up in the 1980s Dallas suburbs, Cory Kilduff was all about pushing the boundaries. Specifically, the boundaries of which videos his parents would let him rent each weekend. Escaping into equal parts sci-fi (Tron, Alien), outcast teen classics (Gleaming the Cube, The Breakfast Club), and cult classics (Beat Street, Rad), his range was eclectic and loaded with soundtracks that transitioned him easily into an interest in music.

        Now signed to Burning Witches Records, Cory has been creatively supported in composing and completing a new passion project paying homage to John Hughes’ flame-haired muse, Molly Ringwald. When It All Gets To Be Too Much is inspired by Ringwald’s roles in Hughes’ movies, specifically the moments when she can’t hold back the tears. With a few other references blended in for depth and breadth, the tears of Sam, Claire and Andie remain at the forefront for perfectly synthesized nostalgia, anchored in 1980s drama—think the train scene in Risky Business or the death in Less Than Zero—and tempered by the pure and true teen angst of Ringwald’s iconic characters. 


        Barry says: Remember that time that I went insane because Burning Witches released D.A.L.I's 'When Haro Met Sally' and they basically designed the entire album around my exact tastes? Well, they've done it again. This really is absolutely stunning, saturated 80's synths, pulsing hazy atmospherics and flickering, siney arpeggios. profoundly brilliant and stupidly limited. Get on it.


        LP Info: Coloured LP, Very limited!

        Alone In The Woods

        Alone In The Woods

          Jon Dobyns and Lonn Bologna make up Alone in the Woods. Their instrumental debut features downtempo beats, ambient production and takes cues from orchestral music as well as hip hop. Alone in the Woods capture a unique sound that only a multitude of influences blended can produce. Warm 80’s synth tones are melded with modern day techniques and experimentation that Depeche Mode and Bjork would be proud of.

          Instant classics like “Digging Holes” and “Ripples” push the listener into the stratosphere and then you are pulled back by the intimacy of tracks such as “woods funeral” and “New roots, old growth” which will fully absorb you into the woods...


          Barry says: This couldn't be any more up my street if it was designed specifically around the concept of fitting my street. Shimmering synths, weirdo drum machines, modern classical flourishes and on my favourite label of the moment. Properly beautiful stuff. This will sell out in a heartbeat.


          Coloured LP Info: Limited Edition Forest-burst Green Vinyl.

          Xander Harris

          Villains Of Romance

            Musician/composer Justin Sweatt, aka Xander Harris, was in the process of working on an ambitious double LP when he was struck by a car riding his bike in New Orleans. The accident could have been much worse, but Justin has still been de-commissioned for several weeks/months while he heals from an injured shoulder and a concussion. A 9 to 5er with benefits and vacation time might be inconvenienced by this but would recover and life would begin as it had before. For an independent musician who works part-time and relies on his or her hands to work and create art, something like this can be life-altering.

            Villains of Romance is leaner than first envisioned, but that gives the record a vital nature. At 9 tracks just under 50 minutes it’s another exploration of life through the eyes, heart, and mind of Xander Harris. The tracks follow the dystopian vibes of Termination Dust, but with touches of dark pop strewn throughout. From hazier fare like “Bleeding Meridians” to techno banger like “First Taste of Hate” to the gothic beauty of “Individual Outs”, Sweatt outdoes himself. There is even a collaboration with singer Nicolas Nadeau on the lilting and gorgeous “Wither Lace”.

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