Halloween 34 Items

The night is restless, the streets eerily silent... only distant echoes and haunting rhythms fill the air. Halloween 2025 drags you deep into the atmosphere of a world forever changed. As shadows lengthen and whispers grow louder, the familiar coziness of Lofi Girl’s room takes a darker turn. This 20-track compilation gathers artists from across the globe to conjure chilling melodies and spectral beats, the perfect soundtrack for the spooky season. Press play, and lose yourself in a soundtrack where the undead roam and even the walls seem to listen.

Bla Fleck & The Flecktones bring their signature genre-defying sound to reimagined, jazz-infused holiday classics on their GRAMMY-winning album, Jingle All the Way, in this remastered limited-edition reissue. Hitting #1 on the Top Contemporary Jazz chart and earning the 2009 Grammy for Best Pop Instrumental Album, Jingle All the Way is a playful and innovative take on often clich holiday tunes - whether it's "The Twelve Days of Christmas" performed in 12 different keys and 12 different time signatures over the course of the tune, or a medley of five Christmas tunes being played together, simultaneously. "Christmas music is inside everyone's DNA," says Fleck. "Jingle All the Way is an open doorway for listeners to understand the Flecktones' music." - "Growling Tuvan throat singing takes over "Jingle Bells." "Silent Night" becomes modal jazz with abstruse harmonies. "The 12 Days of Christmas" zigzags through a maze of meter shifts and key changes (perhaps "The 12 Tones of Christmas"?). And Tchaikovsky's "Dance of the Sugar Plum Fairies" pings it's melody in harmonics from Bla Fleck's banjo. Those are just four of the virtuosic transformations Mr. Fleck and his band came up with on an album that applies all sorts of musicianly gamesmanship to Christmas songs (and one Hanukkah tune) that can sometimes take an aural squint to recognize. Bluegrass and jazz are the Flecktones' foundations, as can be heard in their nimble version of "Sleigh Ride." But the song choices are eclectic - Bach, klezmer, Joni Mitchell, "Linus and Lucy" from "A Charlie Brown Christmas" - and the arrangements even more so. Give these musicians a musical parameter and they'll toy with it."

The tracks found on this record come from various tapes discovered in the basement archives of the Late Dr. Hark Mawley, a controversial alt-psychiatrist and amateur stage actor who passed away in 2009. These tapes appear to date back to the late 60s, when Dr. Mawley was involved in the short-lived Graceful Home for Non-Asomatous Friends & Spirits (HoNAFS) that once thrived along the banks of the Magpie River about 40 minutes south of Summerland, British Columbia. Very little is known about HoNAFS, but, based on literature in Dr. Mawley’s archive, it appears to have been some sort of quasi-voluntary Insane Asylum/New Age Spa. Residents referred to themselves as “Frembers” (Friends + Members). According to documentation found with these tapes, Dr. Mawley (who may, himself, have been a Frember) had individuals record these tracks for both therapeutic and research reasons. The true identities of the individuals on these recordings cannot be verified. What became of HoNAFS is unknown, though a large fire consumed over 10,000 hectares in the vicinity of HoNAFS in September of 1969.

The ultimate Halloween-themed novelty rock 'n' roll soundtrack featuring witches, ghouls, teenage monsters, graveyards, haunted houses, devils, ghosts, and zombies. Most of the 21 selections are vintage sides from the 1960s, rounded out by a witch's fistful of rare '50s cuts. Plus bonus tracks of rare audio of three classic horror movie trailers.

The haunting sounds you hear on this record come from an old tape found beneath the floorboards of a long abandoned barn, just outside the town of Underwood in rural, Western Ohio. The tape would seem to be from 1965, but the recordings may predate that.

Limited orange and black splatter colored vinyl LP pressing. Looking for a somewhat-camp-but-always-fun novelty rock'n'roll soundtrack for your next Halloween party? Look no further: Return of Halloween Nuggets, our latest collection of crate- (and grave-) digging favorites, collects 18 graveyard smashes (plus two spooky film trailers) on one ghoulish, orange/black splatter colored vinyl album. For fans of deep 1960s vintage Halloween themed tunes: witches, werewolves, graveyards, monsters, devils, space aliens, and zombies set the stage for a camp and entertaining holiday bash. Features the super-rare 1962 Bettye LaVette track, Witchcraft in the Air, and the trailer to the 1959 Vincent Price spooktacular, House on Haunted Hill.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

After 45 years, the most acclaimed, revered horror franchise in film history reaches its epic, terrifying conclusion as Laurie Strode faces off for the last time against the embodiment of evil, Michael Myers, in a final confrontation unlike any captured on-screen before, one where only one of them will survive. As Halloween Ends marks the last chapter of the David Gordon Green trilogy, so it ushers the essential return of original director and composer John Carpenter to score the iconically hair-raising soundtrack alongside Cody Carpenter and Daniel Davies. Recorded in its entirety at Carpenter's home studio and Davies' studio, the unmistakable mix of software synths, vintage analogue equipment, and live instrumentation once again provides the signature sound of Halloween, one of the most distinctive aspects of the movie franchise to date. The soundtrack was tracked scene by scene but the album itself plays like a standalone piece of music. The general atmosphere is one of dread yet the record includes some groove laden moments reminiscent of Escape From New York or some of Carpenter's other more dance-able scores. Exquisite and delicate ambient pieces weave their way between some of the score's more arresting moments and yet maintain a subtle pop sensibility. The overall achievement showcases three master musicians, one of whom invented the entire horror-synth genre, crafting an evocative, playful and deeply listenable score that honors a legacy and expands on the decades of work that have been leading to this triumphant climax. Halloween Ends is the soundtrack of the final battle against evil. Watch your back this Halloween, Michael may be near you.

Record Store Day 2022 Drop 1 Release.

Special Colors for this 2 disc set! The Evil One Orange & Bloody Hammer Red colored vinyl. "Every Night Is Halloween". Upon completion of the Stu Cook produced Roky Erickson & The Aliens LP in summer of 1979, Roky decided to return home to Austin from San Francisco. He needed a band and The Explosives came highly recommended to Roky's manager, Craig Luckin. Introductions were made and rehearsals began. Roky & The Explosives immediately hit it off, musically and personally. They played together in Texas and California from 1979-1981 logging in around 50 shows. 13th Floor Elevators drummer John Ike Walton remarked to Explosives drummer Freddie Steady Krc "You guys played more shows with Roky than the Elevators did!" The guys got in the van and barnstormed all over the Lone Star State. Bootleg recordings began to emerge that were sub-quality live performance recordings that everyone was making money off except Roky and The Explosives. Craig and Freddie agreed Freddie would review all the recordings they could find from 1979-81. Almost all were in Craig's possession. Upon final review, Freddie would select the best performance of each song they were playing live from that time period. Some, like "Heroin" and "I've Just Seen a Face" were called on the spot by Roky at a show, performed once and never played again. After the music was selected, Craig and Freddie went through their personal collection of photos, poster images and added a complete show itinerary from 1979-81. Halloween is a loving collection of performances documenting a time of Roky's reemergence into the rock music world. It was something most thought they would never see after his final days with 13th Floor Elevators, following drug busts and his plunge into mental illness eventually ending in his stay at Rusk State Mental Hospital. This record is a testimony of Roky's personal strength and will to return to performing and songwriting. Long live his music!

Seasons Greetings From Jad and David Fair! The Fair brothers have written more songs than The Rolling Stones and Beatles combined. Their subject matter once limited only to love and monster songs has expanded to a depth and range equal to that of the majestic Rocky Mountains. This year they're back with 21 brand new Halloween songs. Rip up your movie tickets and park your car, Daddy. There are 21 new reasons to stay home. If Boris Karloff and Bela Lugosi wrote songs they would've sounded like this. 21 new songs about cackling witches, blood thirsty vampires and the walking dead. 21 songs to chill your flesh and blast shivers down your spine. You can shut your eyes and wish but it won't go away. 21 reasons to squirm. 21 reasons to leave the lights on. Play it if you dare and change your life forever. Whistle these in the graveyard, Tough Guy.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

In 2018, David Gordon Green's Halloween, starring icon Jamie Lee Curtis, slaughtered the box office, earning more than $250 million worldwide, becoming the highest-grossing chapter in the four-decade franchise and setting a new record for the biggest opening weekend in history for a horror film starring a woman. The film had the distinction of being the first film in the series with creator John Carpenter's direct involvement since 1982's Halloween III: Season of the Witch. Carpenter served as an executive producer, a creative consultant, and, thrillingly, as a soundtrack composer, alongside his collaborators from his recent solo albums, Cody Carpenter and Daniel Davies. Now the scream team is back for the highly anticipated follow up, Halloween Kills and Carpenter has returned to the studio with son Cody Carpenter and godson Daniel Davies to further expand on the iconic score that forever changed the course of horror cinema and synthesizer music. The 2018 Halloween movie soundtrack received unanimous praise and brought a rich and ominous depth to the original theme music that was famously recorded on a shoestring budget in 1978. The trio utilized an array of software synths, vintage analogue equipment, and live instrumentation including a Dave Smith Ob-6, bowed guitar, Roland Juno, Moog, Roland System 1, Roland System 8, different guitar pedals, mellotron, and piano. Now with the Halloween Kills score director Green has pushed the musicians to be more experimental and take their modern sound to a chilling new level.

For over two decades, Atmosphere has maintained a course of rigorous output, releasing over two dozen studio albums, EP's and collaborative side projects in as many years. In that time, the venerated duo have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that shaped him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop’s pioneering producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks.



At its essence, Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life. Much like everything else in 2020 though, Atmosphere's new album, The Day Before Halloween, is something of a detour from the anticipated path. Cutting loose and eschewing their established norms, Slug and Ant have delivered the anti-pop answer to the content and compositions of previous albums. Over razor-sharp drums and distorted synths, The Day Before Halloween explores the life of a visual artist living in an antiquated surveillance state. It's menacing. It's murky. It's George Orwell meets Keith Haring at a video arcade, on New Year's Day, 1985. If you've entertained any theories that we've slipped into an alternate reality, you may find further evidence in this dark and brooding release of future's past.

For over two decades, Atmosphere has maintained a course of rigorous output, releasing over two dozen studio albums, EP's and collaborative side projects in as many years. In that time, the venerated duo have built a legacy out of bringing honesty, humility and vulnerability to the forefront of their music, continually challenging themselves to evolve without straying too far from their roots. Slug has proven masterful at storytelling and writing compelling narratives, leaving a trail of his own influence while paying homage to the rappers and songwriters that shaped him. Ant has skillfully molded the soundtracks with inspiration from soul, funk, rock, reggae, and the wizardry of hip-hop's pioneering producers, creating his own trademark sounds while providing the pulse for songs about life, love, stress and setbacks. At its essence, Atmosphere has been a musical shepherd, and with each new album comes a new journey as they guide generations of listeners through this thing called life. Much like everything else in 2020 though, Atmosphere's new album, The Day Before Halloween, is something of a detour from the anticipated path. Cutting loose and eschewing their established norms, Slug and Ant have delivered the anti-pop answer to the content and compositions of previous albums. Over razor-sharp drums and distorted synths, The Day Before Halloween explores the life of a visual artist living in an antiquated surveillance state. It's menacing. It's murky. It's George Orwell meets Keith Haring at a video arcade, on New Year's Day, 1985. If you've entertained any theories that we've slipped into an alternate reality, you may find further evidence in this dark and brooding release of future's past.

The punk rock treat that tricked its way into the heart of punk rock fans everywhere in 2017 returns with a brand new volume of Halloween-themed songs recorded by modern and legacy bands! Features brand new studio recordings by legendary punk bands such as The Vandals, Down By Law, The Casualties, Reagan Youth, The Members, The Vibrators, MDC, Tsunami Bomb, The Queers and lots more! Get the FUN SIZE version on Halloween ORANGE colored vinyl!

Dusty beats for your trick-or-treats! - available on 3LP Box Set or 3CD Box Set

Halloween '78 by Frank Zappa, released 24 October 2025. This version of Halloween '78 comes as a 1xLP. The vinyl is pressed as a splatter, blood red disc.

Here it is! Fendermaster and THE FKN' METEORS mastermind P. PAUL FENECH is back with “Happy Halloween X” – the tenth edition of the legendary series on Mutant Rock Records! This release brings together all A- and B-sides from series No. 6 to 9, enhanced by two brand-new tracks. A must-have for collectors and fans eager to secure the next haunting milestone of this cult series. Available as limited Digipak CD and double LP on coloured 180g vinyl, including MP3 download card – each strictly limited to 500 copies.

Imagine if the demons from the netherworld ripped a hole in the ground and escaped… this is what it would sound like. This album is both a throwback “scary sounds” record, as well as something new, original and unique.

Shake those chains, rattle those bones and let the ghoul times roll for this new orchid color vinyl edition of Andrew Gold's Halloween Howls: Fun & Scary Music. The album includes "Spooky, Scary Skeletons" - a cult favorite, thanks to it's popularity on YouTube and TikTok - along with 12 other sweetly scary songs with guest appearances by Linda Ronstadt and David Cassidy. As a special bonus, the catchy "Undead Tombstone Remix" of the popular song is included in this edition of the album.

The year is 1989. The American wing of a major Japanese Music Instrument company runs an ad, inviting users of their products to submit homemade recordings of original Halloween songs for a “Yama-Halloween” album. Hundreds of hopeful musicians, songwriters, and home recording enthusiasts send in tapes. But the album is never released. It is not known why, exactly, the project is killed but it is widely suspected that the American marketing executive at the time, Reggie Hirayama, simply didn’t think the songs were good enough, and that releasing such low-fi material in an age obsessed with sonic clarity and fidelity will reflect negatively on the brand. 31 years later, a box is discovered in the basement archives of this major corporation.

Limited twelve inch vinyl single pressing.

Pressed on Black Eco Vinyl
Artwork by Paul Mann
Music to the 1981 film directed by Rick Rosenthal
DESCRIPTION

Death Waltz Recording Company is proud to present the return of one of horror’s scariest boogeymen, as well as one of the genre’s most iconic theme tunes with John Carpenter and Alan Howarth’s score to HALLOWEEN II. Set directly after the events of the first film, Rick Rosenthal’s sequel sets itself up as the slasher equivalent of THE EMPIRE STRIKES BACK, making a family connection between Laurie Strode and Michael Myers while getting some good kills in at the same time. Carpenter and Howarth’s score is beefier and more intense than before, using layers of electronics to drive the audience to madness.

As before, Myers aka “The Shape” is propelled by that theme, souped up with a new and more powerful arrangement from Carpenter and Howarth. HALLOWEEN II is more overtly synth and is perhaps less focused than the original score, although that certainly means it’s nastier and more schizophrenic. The score also brings back the evocative ’Laurie’s Theme’, incorporating into a score full of harrowing musical effect, its synthesised howls and wails piercing your ears so that by the time ‘Mr. Sandman’ comes around, you’ll feel just like the final girl, delirious at having survived the aural ordeal. And that’s just when The Shape wakes up.

Baby Blue & Halloween Orange Vinyl.In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four mem...

Often pinned as a band that has a lot going on,' Teenage Halloween has crafted a sound rooted in abundance. Luke Henderik's rare and universal lyrics, and the precise ear of engineer Evan Bernard, this newest collection of songs is full of surprises that humbly aims to redefine the modern DIY punk scene. Predominantly a queer identifying band, the songs reflect this experience holistically with lyrics that grapple with vulnerability, community, extreme existentialism, mental illness, and gender euphoria. Accompanied by the band's explosive energy, each song functions as a politically charged anthem. The album maintains constant energy, and that energy also celebrates the bravery of being a queer band. Further, the songs speak in narratives, making sure people are held accountable for their actions and in the same vein, given the opportunity to communicate that self-reflection.

MAGNOLIA PARK, the Florida based genre-bending alternative rock band who play more than 200 shows a year, are releasing their third album, entitled HALLOWEEN MIXTAPE II. The band"s following has grown substantially in the past year (with over 710k TikTok followers/63M views, 187k Instagram followers), as they move from opening slots on tours with everyone from Sum 41 to Simple Plan, to sold out headline tours and top slots at festivals including When We Were Young (LV /Oct 23), Reading / Leeds Festival 2023 (UK). It"s no secret that Epitaph Records has been the breeding ground for some of the most legendary bands in existence and MAGNOLIA PARK carry on in that tradition. Since forming in Orlando, Florida, in 2019, the five-piece act-vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and keyboardist Vincent Ernst-have released two albums, three EPs, and a handful of singles, bringing their upbeat brand of alt-rock to the masses. While MAGNOLIA PARK"s music is at times lighthearted, the ethnically diverse band are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression. "Our goal when we"re together is to make sure the next generation doesn"t have to face as much racial backlash for being a rock band," Torres explains. "In the industry, people look at us a certain way and try to impose things on us-and we want to make sure the next generation of rock bands don"t have to go through what we"ve been through."