Originally released on Hlava Temple (vinyl) and Paradigms Recordings (CD) in 2011.
Ashcan Copy is an album of interpretations of soundtrack cues from films that were, for one reason or another, never released. The films, hailing from Italy, Japan and the USA – among others – date from the 1950s to the 1970s, and were exactingly sourced from film archives across Europe. These eight tracks expand on the source material to include elements of noise, folk, psychedelia, prog and jazz noir, while still remaining faithful to their origins. Unavailable in any other format and largely unknown until now, this music can at last be heard.
Each of the eight pieces deals with a film, of which I am sad to say I didn't see any (not even heard of any of these). Apparently none of these films were actually finished. Odd. Rashomon takes the listener on a bizarre musical journey. References made by the label include Ennio Morricone, Goblin, Popol Vuh and Bohren und der Club of Gore to which I like to add again, Nurse With Wound. Krautrock like, montage styled collages of sound, banging rock structures, swirling organs, jazzy, minimal music and maximal music. Trip music that works well, even without any filmic reference. An absolute fine record. - Frans de Waard, Vital Weekly
Being the solo brainurchin of Matt Thompson, founding bass of Guapo. As alluded to by the title, this third instalment of his ongoing soundtrack series comprises versions of archival scores from unreleased films. Thompson gives the unheard originals a luscious and dynamic retro-prog overhaul. A restless Univers Zero/Popol Vuh vibe pervades, at times delicate and sensuous, but often heavy, oppressive and dark as a grave fitted with blackout blinds. Great stuff – and highly pleasing clear vinyl too. - Matt Evans, Rock-a-Rolla
The album starts with "Double Kill", a whirlwind of spaghetti western surf and spacey organ jazz, which goes through several movements and sounds like a trailer featuring bits of every scene of the movie. "Jigora" uses that one breakbeat from the first Black Sabbath album, along with fuzzy guitars and synths. "Rendezvous With Hell" is a Morricone-inspired theme for organ, drums and jaw harp. "The Nightwatchman" is a sinister accordion waltz, and "The Door Has Two Sides" is organ-driven rock with a bit of a repetitive blues groove and some subliminal voices.
On side B, "Hob Hurst’s House" is a minimalist work of organ, shaker and acoustic guitar, and is actually one of the most upbeat selections on the album. The acoustic guitar part in particular sounds like sunny ’70s folk-rock. "Blue Mirror" sounds like the most dark, depressing surf music ever made. "Pacemaker" ends the album with 10 minutes of doomy, gloomy synth jazz. This is a fascinating album providing a look into an alternate world of unknown, lost film music. (8/10) - Foxy Digitalis
The spirits of Goblin, Fabio Frizzi and Angelo Badalamenti loom large over these eight tracks. Those influences seep out from each cut like a carmine miasma, but most brilliantly never give the game away - this could just have easily been imagined and fashioned in the late '70s or today. His execution is scarily close to the original aesthetic, from frantically spiralling organ outings and acid-fuelled tension to authentic psyche-funk breaks, harrowed Moog jams and doomy chamber jazz, all played with an incredible instinctive touch. - Boomkat
released April 1, 2011
Music by Matt Thompson
Mix by Jaime Gomez Arellano
Photography by Gerasimos Platanas