The Shining Complete Motion Picture Score was the name of an album released by composed Wendy Carlos. Released in 2005 by a company called Overlook Productions, the CD was released in honor of the film's 25th anniversary. The 2-disc album contains a total of 55-songs from the film, most of which were never released on the official soundtrack.

The latest suite by composer (and Stars Of The Lid co-founder) Adam Wiltzie took shape following a move north from Brussels into the Flemish countryside, although it was initially inspired by a recurring dream wherein “if someone listened to the music I created, then they would die.” The album uniquely evokes and evades the allure of oblivion, keening between beauty and ruin, forever unresolved.
Recorded at Wilzie’s home studio, with strings added in Budapest at the old Hungarian National radio facility (Magyar Radio), the tracks feel simultaneously intimate and infinite, unfolding vistas glimpsed in an inner space. Robert Hampson of English drone rock icons Loop mixed the album, further lending the music a sense of cinematic expanse and oblique hypnosis…

Of the 14 tracks on Aquarello, 12 are live recordings. Hans-Joachim Roedelius, Nicola Alesini, and Fabio Capanni performed together at the VI Musica Visual in Lanzarote. The liner notes are in German, so listeners are left with no "graphic interference" as they interpret these atmospheres, textures, and timbres. Roedelius is a sound design genius and has crafted some very different music on this CD. It is definitely e-music, but there are extras. Alesini's saxophones offset the atmospheres. The atmospheres approach listeners from two or three different levels. It is almost like harmonic overtones. The deep electronics have minimalist qualities. There are mechanical repetitions with organic overtones. This is a relatively unique effort. It will appeal to fans of Brian Eno, Robert Rich, Matt Harris, and Cyber Zen Sound Engine.

Alexis Ffrench isn’t afraid of fusing his music with weighty issues. For years, the pioneering pianist has used his music to highlight mental health, discuss diversity and challenge the classical world to be more inclusive. Truth, his latest album, is his most powerful and political to date, and also his most optimistic. “I imagined what the world would look like if everybody had the opportunity to ask themselves the questions ‘who am I?’ and ‘what is my purpose in the world?’ and what we, as a human race, could create and change together.” Featuring Alexis’ signature piano and orchestra sound, alongside rare collaborations including the searingly soulful One Look with his friend Leona Lewis, Truth captures Alexis’ hopes for the future and his belief that change is already upon us.

Where the Ocean Meets the Sky is a relaxing and heartfelt solo piano release which includes original compositions from award-winning artist Julie Hanney. Music brings many people deep solace, and Julie hopes that these songs will bring peace, rest and healing to the listener.

New York-based composer and producer Kelly Moran’s intricate, experimental pieces transcend the piano’s more traditional and classically-imposed school of thought. On her forthcoming new album for Warp, Moran augments her pianistic abilities to superhuman levels in order to create a new strain of her singular experimental piano compositions. Hypnotic and emotive, the coming project solidifies Moran’s role as one of the leading contemporary composers for the piano, constantly pushing the instrument’s creative and sonic boundaries in the realms of classical and electronic music.

In Ki moun ou ye Nathalie Joachim asks, “Who are you?” This is a question Nathalie has been answering since her previous album Fanm d'Ayiti, a love letter to Haitian women, the foremothers of Haitian music, and the matriarchs in her personal life.

Nonesuch releases composer/pianist Timo Andres’ new album, The Blind Banister, on March 22, 2024. The album comprises three works by Andres: the composer’s third piano concerto, The Blind Banister, with Andres as soloist, and Upstate Obscura for chamber orchestra and cello, with soloist Inbal Segev—both of which feature Metropolis Ensemble and conductor Andrew Cyr—and the solo piano piece Colorful History, also performed by the composer.

On 1 0 0 1, Dustin O‘Halloran (Marie Antoinette, Lion, Transparent) contemplates ideas of technology & humanity entering the age of artificial intelligence - one of the most fundamental transformations in the history of mankind. What will distinguish humanity and technology in the future? How will this affect concepts like ‘love’ and the ‘soul’? Will language survive as the primary tool for our species’ communication? What role will consciousness have in a world whose rapid evolution continues to accelerate? 1 0 0 1 is based on a ballet, first premiered in 2019 (collaborating with dancer Fukiko Takase), that was developed further into the album during the pandemic.

It doesn't take much rhetorical muscle to argue that science fiction was one of the dominant genre artforms of the 20th century, from the Lumiere brothers to Spielberg, from Wells and Conan Doyle to Asimov, Bradbury, and Clarke. This nearly exhaustive, lavishly packaged collection documents the genre's musical legacy across virtually every major genre on its five discs and 113 tracks. Each volume is divided by sub-genre–Movie Themes, TV Themes, Pop, Incidental/Lounge, Novelty–with each containing both the obvious contenders and some delightful surprises. The film disc alone contains a wealth of rarities, including music from Them!, The Beast from 20,000 Fathoms, The Andromeda Strain, Fantastic Voyage, and other notables. The packaging is brilliant kitsch: a 6.5-inch square, metal-lidded cube emblazoned on three sides with suitably tacky 3-D images of–you guessed it!–a floating brain. But the profusely illustrated, hard-bound, 200-page book (designed to emulate the Big Little Books of the 1940s and '50s) that's included gives the subject its serious due, with an introduction by Ray Bradbury and contributions from an array of other notables, including Forrest J. Ackerman, Billy Mumy, Joe Dante, Dr. Demento, and Matt Groening. Perhaps the best half-cubic-foot of sci-fi brain food every assembled. –Jerry McCulley

Filmworks 1986–1990 features the first released film scores of John Zorn. The album was originally released on the Japanese labels Wave and Eva in 1990, on the Nonesuch Records label in 1992, and subsequently re-released on Zorn's own label, Tzadik Records, in 1997 after being out of print for several years. "For Zorn, filmscores have always been a place to experiment, and the FilmWorks Series is in many ways a microcosm of his prodigious output. This original installment of the FilmWorks Series presents three scores ranging from punk-rockabilly (featuring the nasty guitars of Bob Quine, Bill Frisell and Arto Lindsay); a jazzy Bernard Herrmann fantasy; to a quirky classical/improv/world music amalgam for Raul Ruiz's bizarre film The Golden Boat. Zorn's infamous one-minute arrangement of Morricone's classic The Good, The Bad and The Ugly, is included as a bonus track. This is the place where it all began."

"Basically, it's about transience," Eno says of the new recording, whose moments of silence are of great importance in allowing the music to breathe while the listener explores what they feel and what comes to mind.

Deus ex Machina”, the fantastic solo debut from 1998, will be released for the first time as a double DigiPak CD with unreleased bonus tracks!

Music from "A Fistful of Dollars", "The Missio", "Ship Hunters", "To Forget Palermo", "City of Joy", "Once Upon a Time in America", "My Name is Nobody", "Casualtes of War", "Gott Mitt Uns", "Maddallena").
Ennio Morricone is probably the most famous film composer of the 20th century. He is also one of the most prolific composers working in any medium. No exact figure is available, but he's scored over 500 films over several decades, plus many dozens of classical works. While his film scores have been in almost every imaginable musical style (and for almost every imaginable kind of movie), he is most identified with the "spaghetti Western" style of soundtracks, which he pioneered when providing the musical backdrop for the films of director Sergio Leone…

Day may come as a surprise to those who, over the last decade, have watched Frahm shift slowly away from the piano compositions with which he first made his name in favour of a nonetheless still-distinctive approach that’s considerably more instrumentally complex and intricately arranged. In addition, in 2021, having spent the early part of the pandemic arranging his archives, he released the 80 minute, 23-track Old Friends New Friends, a compilation of previously unreleased piano music intended to enable him to ”start over” with a clean slate. Judging from the extended, ambient nature of Music For Animals, it proved a successful gambit, but Frahm has never been able to resist returning to his first love, and those who enjoyed earlier acclaimed albums like The Bells, Felt and Screws will once again revel in Day’s familiar, personal style.