Repress coming beginning of April!

At long last, Q Lazzarus says hello to Dark Entries. Q Lazzarus is the moniker of Diane Luckey, born in New Jersey in 1960. While living in the East Village in New York City in the 1980s, Diane met songwriter Bill Garvey at a party and they recorded “Goodbye Horses” in his home studio. As the story goes, Luckey met Hollywood director Jonathan Demme when she picked him up in her taxi during a snowstorm in 1986. Demme was wowed by her demo tape, which was playing in the cab, and they ended up hanging out at a restaurant for hours talking about life and music. “He liked it so much, I gave him the tape I was listening to, he said he would call me for one of his movies, but I didn’t really take it seriously.” said Luckey. Demme would have the song “Goodbye Horses” first appear in his offbeat comedy Married to the Mob, and then again more memorably in Silence of the Lambs when Buffalo Bill changes into women’s clothing while drowning out his intended victim’s pleas with loud music. Despite the exposure, both Luckey and Garvey languished in relative obscurity. “Goodbye Horses” is the definition of a cult classic, an ethereal tearjerker driven by Garvey’s lush synth work and Luckey’s unmistakably powerful voice. Garvey says, “the song is about transcendence over those who see the world as only earthly and finite.”

Over 15 years of effort have gone into the making of this release. All five songs on this record were previously unreleased and are sourced from original master tapes. The extended version of “Goodbye Horses” was newly mixed from the original stems by Alberto Hernandez at Fantasy Studios. Instrumental and acapella versions of the song are included, which are also available for the first time. Side B opens with “Hellfire,” a brooding number about the New York BDSM nightclub of the same name, showcasing the range and force of Luckey’s voice. “Summertime” follows, with a sauntering synth-reggae spin on the 1937 George Gershwin number. Both B-side tracks are also new mixdowns and edits from the original stems. This record is released alongside Eva Aridjis Fuentes’s documentary on Q Lazzarus, Goodbye Horses: The Many Lives of Q Lazzarus, a work chronicling the life of the enigmatic Luckey. It is an opportune moment to reflect on the underrecognized artists we have lost and the undeniable brilliance of both Diane Luckey and William Garvey.

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Preview: https://www.youtube.com/watch?v=4e7iff227D0

In June 2023, Lust For Youth and Croatian Amor shared the stage at the iconic Sydney Opera House during the Vivid Live Festival. This encounter reignited their creative partnership, laying the foundation for their collaborative new album All Worlds.

Drawing inspiration from the Golden Record sent into space as humanity's message to the unknown, All Worlds mirrors this longing for connection and understanding. Each track captures a fragment of emotion, culture, or memory, offering a kaleidoscopic view of the human experience.

The album’s title reflects the idea of collecting fragments from disparate places, feelings, and stories. Each song unveils a unique “world,” contributing to overarching themes of exploration and introspection. These “worlds” represent the inner landscapes we carry, shaping our identities. The title also gestures toward connection—as if these worlds float through space, waiting to be discovered and understood. Ultimately, All Worlds embodies the quest for belonging and meaning.

Through a sonic journey of isolation, resilience, and wonder, introspective lyrics intertwine with lush, evocative soundscapes. Retaining the dreamy atmospheres characteristic of both Lust For Youth and Croatian Amor, the album’s reverb-drenched production lends it an ethereal, nostalgic quality. While themes of melancholy and longing are central, energetic beats and uplifting arrangements introduce a bittersweet harmony that oscillates between vulnerability and euphoria.

The album marks a shift in tone, moving away from Lust For Youth’s synth-driven post-punk roots. Instead, All Worlds embraces a dance-oriented aesthetic, weaving pulsating rhythms and techno-inspired motifs with layered vocal samples. The result is a textured soundscape—an exploration of emotional fragility through shimmering production and introspective melodies.

Celebrating twelve years since their 2013 ambient-industrial album Pomegranate, All Worlds reflects the evolution of Lust For Youth and Croatian Amor. This album serves as both a response to their earlier work and a progression informed by a decade of growth and change. It deepens their exploration of sound and meaning, speaking directly to the present moment.

Like the Golden Record adrift in space, All Worlds is a collection of moments waiting to connect with those who choose to listen.

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Robin Carolan’s latest soundtrack for Robert Eggers’ highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself.

With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic.

Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack’s eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity.

Carolan’s inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score’s otherworldly tone.  

Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan’s artistry and the enduring power of collaboration.

Tracklist:
1.1ONCE UPON A TIME
1.2COME TO ME
1.3PREMONITION
1.4HERR KNOCK
1.5ELLEN'S DREAM
1.6INCANTATION
1.7GOODBYE
1.8THE INN / MOROI
1.9SHRINE
1.10A CARRIAGE AWAITS
1.11COME BY THE FIRE
1.12DESTINY
1.13THE CASTLE
1.14COVENANT
1.15THE CRYPT
1.16LOST
1.17HYSTERICAL SPELL
1.18DEVOURANCE
1.19THE MONASTERY
1.20SOLOMONAR
1.21INCREASE THY THUNDERS
1.22THE PROFESSOR
1.23DREAMS GROW DARKER
1.24POSSESSION
1.25AN ARRIVAL
1.26A RETURN
1.27GRÜNEWALD
1.28DESPAIR IN MY COMING
1.29A CURIOUS MARK
1.30ORLOK'S SHADOW
1.31THE VAMPYR
1.32THE FIRST NIGHT
1.33DEATH, ALL AROUND US
1.34I KNOW HIM
1.35THE SECOND NIGHT
1.36THESE NIGHTMARES EXIST
1.37A PRIESTESS OF ISIS
1.38LAST GOODBYE
1.39NEVER SLEEP AGAIN
1.40THE THIRD NIGHT
1.41THE PRINCE OF RATS
1.42DAYBREAK
1.43LILIACS

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Oxblood Coloured Vinyl!

Robin Carolan’s latest soundtrack for Robert Eggers’ highly anticipated Nosferatu is a haunting, gothic-infused and meticulously crafted work that draws from a vast palette of sounds, instruments, and inspirations. Following their successful collaboration on The Northman, Carolan reunites with Eggers to bring the legendary tale of Nosferatu to life, infusing the film with a score that is as complex and nuanced as the story itself.

With Daniel Pioro, one of Britain's most exciting young classical musicians, at the helm as the orchestra leader and first chair for a vast majority of the recording, the soundtrack features a vast orchestration, including 60 string players, a full choir, various horns and woodwinds, a harpist, and two percussionists. Despite the grandeur of the orchestration, one of the most challenging pieces was the music box used at the film's beginning. Carolan and Eggers struggled to perfect its sound, a process marked by their meticulous attention to detail, which Carolan describes as almost telepathic.

Set in the 1800s, Nosferatu allowed Carolan to incorporate contemporary instrumentation, though he made a deliberate effort to ensure the score didn't sound overly modern. Letty Stott, who also worked on The Northman, contributed ancient horns and pipes, enhancing the soundtrack’s eerie atmosphere. Additionally, percussionist Paul Clarvis custom-built a toaca-like instrument for added authenticity.

Carolan’s inspirations for the soundtrack were as eclectic as they were profound. He frequently drew upon the works of Bartok and Coil, while films like The Innocents, Angels and Insects, and Eyes Wide Shut provided cinematic inspiration. Additionally, he explored the more obscure side of Hammer Horror soundtracks and found a deep connection to the music of the Ukrainian film The Eve of Ivan Kupalo, which helped shape the score’s otherworldly tone.  

Carolan intentionally moved beyond the typical horror score, focusing on capturing the tale's melancholy and tragic elements while weaving in a sense of warped romanticism. The result is a soundtrack that not only complements the film but also stands on its own as a testament to Carolan’s artistry and the enduring power of collaboration.

Tracklist:
1.1ONCE UPON A TIME
1.2COME TO ME
1.3PREMONITION
1.4HERR KNOCK
1.5ELLEN'S DREAM
1.6INCANTATION
1.7GOODBYE
1.8THE INN / MOROI
1.9SHRINE
1.10A CARRIAGE AWAITS
1.11COME BY THE FIRE
1.12DESTINY
1.13THE CASTLE
1.14COVENANT
1.15THE CRYPT
1.16LOST
1.17HYSTERICAL SPELL
1.18DEVOURANCE
1.19THE MONASTERY
1.20SOLOMONAR
1.21INCREASE THY THUNDERS
1.22THE PROFESSOR
1.23DREAMS GROW DARKER
1.24POSSESSION
1.25AN ARRIVAL
1.26A RETURN
1.27GRÜNEWALD
1.28DESPAIR IN MY COMING
1.29A CURIOUS MARK
1.30ORLOK'S SHADOW
1.31THE VAMPYR
1.32THE FIRST NIGHT
1.33DEATH, ALL AROUND US
1.34I KNOW HIM
1.35THE SECOND NIGHT
1.36THESE NIGHTMARES EXIST
1.37A PRIESTESS OF ISIS
1.38LAST GOODBYE
1.39NEVER SLEEP AGAIN
1.40THE THIRD NIGHT
1.41THE PRINCE OF RATS
1.42DAYBREAK
1.43LILIACS

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Tip!

The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.

For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.

Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.

As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love.

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Limited Clear Vinyl!

The origin of Chrystabell and David Lynch’s album Cellophane Memories comes from a vision that David experienced during a nighttime walk through a forest of tall trees, over the tops of which he saw a bright light. As he recalls it, the light became the lilt of Chrystabell’s voice and revealed a secret to him. It is from these mysterious convergences of light and sound, day and night, starry sky and black forest that Chrystabell and David’s collaboration has continued to blossom.

For Cellophane Memories, the two have traveled through different portals. Fittingly, many of the songs are set in fairytale forests, mountain peaks, swimming holes, crepus-cular highways and darkened bedrooms. These are the abodes of both loneliness and romance, the sorts of sublime landscapes where people often travel alone in search of a wayward lover. But they are also shapeless atmospheres—of color, weather and breath: blue and white skies, red roses, darkening thunderheads, swirling winds and summer perfumes, which quickly immerse the traveler in the supernatural sensations of other worlds.

Time is a mercurial creature in Chrystabell and David’s songs. The characters are little more than oblique sketches of time’s quotidian melodramas: people arrive and depart as strangers, strangers fall into despair and love, lovers part at the crossroads and re-unite in a dream. In this quantum matinee of everyday life, each character is both a star and a background extra. Elisions in time reappear over and over within Chrystabell’s vocals, which emerge and dissolve and loop back in layers of harmony and history. They are mantled by David’s, and late composer Angelo Badalamenti’s, orchestra of waldeinsamkeit-inspired strings, oneiric guitar glissandi and clouds of reverb, whose melodies are like the sensation of time pausing for a first kiss.

As with much of Chrystabell and David’s work from the past, Cellophane Memories returns us to a central question: what is a mystery? Alas, the riddle remains unanswered. But all mystery contains slivers of those conceits and feelings described above: the departing and the coming-back, the landscape, atmosphere and breath, the topsy turvy mechanisms of time, memories of the bygone, a distant light radiating from darkness, music within silence, love.

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DE - 22113 Hamburg
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Preview: https://www.youtube.com/watch?v=TDBnBdNyYiM

It’s been a decade since John Carpenter recorded the material that would become Lost Themes, his debut album of non-film music and the opening salvo in one of Hollywood’s great second acts. Those vibrant, synth-driven songs, made in collaboration with his son Cody Carpenter and godson Daniel Davies, kickstarted a musical renaissance for the pioneering composer and director. In the years since, Carpenter, Carpenter, and Davies have released close to a dozen musical projects, including a growing library of studio albums and the scores for David Gordon Green’s trilogy of Halloween reboots. With Lost Themes IV: Noir, they’ve struck gold again, this time mining the rich history of the film noir genre for inspiration.

Since the first Lost Themes, John has referred to these compositions as “soundtracks for the movies in your mind.” On the fourth installment in the series, those movies are noirs. Like the film genre they were influenced by, what makes these songs “noirish” is sometimes slippery and hard to define, and not merely reducible to a collection of tropes. The scores for the great American noir pictures were largely orchestral, while the Carpenters and Davies work off a sturdy synth-and-guitar backbone. The noir quality, then, is something you understand instinctively when you hear it. “Some of the music is heavy guitar riffs, which is not in old noir films,” Davies notes. “But somehow, it’s connected in an emotional way.”

The trio’s free-flowing chemistry means Lost Themes IV: Noir runs like a well-oiled machine—the 1951 Jaguar XK120 Roadster from Kiss Me Deadly, perhaps, or the 1958 Plymouth Fury from John’s own Christine. It’s a chemistry that’s helped power one of the most productive stretches of John’s creative life, and Noir proves that it’s nowhere near done yielding brilliant results.

“This is who we are, I think,” John summarizes. “Daniel’s the adventurer. He pushes for new sounds, new directions. He tries things that I haven’t thought of. He’s a lot more daring than I am, and he enriches the whole thing. Cody’s the musician. He’s a savant at music. He understands music. We depend on him to rescue us.”

And what about John’s contribution? With characteristic understatement, he concludes: “I’m the experience. I’ve done music for movies before.”

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After Xmal Deutschland’s success with four albums on cult labels such as 4AD, Huwe abandoned music to pursue her visual art career. But leaving her legacy in the past was not so easy.

Invited by her long-time friend Mona Mur, Huwe reconsidered her decades-long hiatus from music and decided to join Mur in her studio in Berlin. Together, they worked for a year and a half, composing, performing and producing the tracks from scratch, which would eventually become the album ‘Codes’. Integral to the overall sound experience was the input of Manuela Rickers who added her famed signature guitar style.

Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. "The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains. These thematic extremities cause an erraticism to Codes- a passing thunderstorm, a cyclonic burst of nature’s force - but one that exudes anticipation amidst the chill.
With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesized drones of sound even feel claustrophobic at times.
Xmal Deutschland, now marked as forerunners of the post-punk movement, were never complacent but consistently ravenous in their attack throughout the 1980s. Huwe’s return is no different. Unexpected but long overdue, Codes is that missing page from post-punk’s history books, the freshly splayed paint across the decades-old canvas - it is the product of the tireless will to survive on her own terms.

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Oxblood Red Vinyl!

After Xmal Deutschland’s success with four albums on cult labels such as 4AD, Huwe abandoned music to pursue her visual art career. But leaving her legacy in the past was not so easy.

Invited by her long-time friend Mona Mur, Huwe reconsidered her decades-long hiatus from music and decided to join Mur in her studio in Berlin. Together, they worked for a year and a half, composing, performing and producing the tracks from scratch, which would eventually become the album ‘Codes’. Integral to the overall sound experience was the input of Manuela Rickers who added her famed signature guitar style.

Initially inspired by the diary entries of Moshe Shnitzki, who, at the age of 17, left his home in 1942 to live in the cavernous White Russian forests as a partisan, Codes is about the human experience and what extremes can do to an individual. "The result is a poetic, musical cosmos that encompasses the following themes: forest, fear, pain, loss, violence, and loneliness but also beauty, longing, hope and the will to survive,” Huwe explains. These thematic extremities cause an erraticism to Codes- a passing thunderstorm, a cyclonic burst of nature’s force - but one that exudes anticipation amidst the chill.
With elegant production by Mur and Huwe and mixing and mastering by Jon Caffery (Joy Division, Gary Numan, Einstürzende Neubauten) epic builds crash and disseminate, the sleek synthesized drones of sound even feel claustrophobic at times.
Xmal Deutschland, now marked as forerunners of the post-punk movement, were never complacent but consistently ravenous in their attack throughout the 1980s. Huwe’s return is no different. Unexpected but long overdue, Codes is that missing page from post-punk’s history books, the freshly splayed paint across the decades-old canvas - it is the product of the tireless will to survive on her own terms.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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"Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.

The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.

Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.

That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.

The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk.

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Purple Vinyl!

"Gothics” - a time before the word goth had even taken shape - believed in the do-it-yourself punk ethos that anyone could pick up an instrument. Gray clouds were starting to form and in the unlikely city of Hamburg, a brazen and haunting gang of five women formed Xmal Deutschland. As any true punk would, Xmal Deutschland’s members Caro May, Rita Simon, Manuela Rickers, Fiona Sangster and Anja Huwe, started the band despite any previous musical experience.

The “Schwarze Welt” seven-inch was released on the local punk label, ZickZack, in 1981 and introduced the band as an unsettling swarm of intensity. There’s an urgency in its repetitive dirge, a swirling mania that persists on the b-side with “Die Wolken” and “Großstadtindianer” whose crude synthesizer noises escalate intention. Most of all, Huwe’s uniquely venomous German vocals quickly became embedded in the unbridled and burgeoning scene of glamorous gloom.

Punk’s independence from the stiff grip of tradition allowed the band to find solace in anti-establishment art and music, far from the conventions of the past.With their peacocked hair and thick kohl-lined eyes, Xmal Deutschland’s music retained both a restlessness and delicacy, transcending any confines of the “Neue Deutsche Welle” movement (much like their colleagues and friends DAF and Einstürzende Neubauten) with the release of the “Incubus Succubus”single in 1982. It instantly became a post-punk classic. The guitar’s buzz ransacks through the melody as the ghoulish primitiveness of Huwe’s voice teases that maybe, just maybe, she is the nightmarish creature of which to be aware. The b-sides, “Zu Jung Zu Alt” and “Blut Ist Liebe,” keep strict militaristic dance beats as they teem in agitation.

That same year, the band performed in London as support for the Cocteau Twins; it was the platform they needed to ricochet into the arms of the ripped fishnet masses. Early Singles (1981-1982), is a map of the foundational movements of Xmal Deutschland, just seconds before takeoff. Bonus tracks on the compilation, “Kaelbermarsch” and a gritty live version of “Allein,” further accentuate their fusion of toughness with the quixotic decadence of atmospheric synthesizers.

The band’s pursuit of something greater is palpable with this release, a reflection of a time that introduced accessibility to new means of making music following the onset of punk.

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Tracklist:
1.Intro Descent
2.Live Eternal
3.Bigger, Stronger, Faster
4.Capture
5.Main Titles
6.The Brothers
7.Drone Interrogation
8.A Symbol of Life
9.Heavy Weight
10.Reflective Dreams
11.Infinity Techno
12.Escaping Suite
13.Aftermath
14.Rip Fights
15.Final Fight
16.Ascend Finale
17.Divinity 2 Infinity: The Odyssey (DJ Muggs featuring Kool Keith) - https://www.youtube.com/watch?v=mfSAHFtG3FE

Legendary hip hop pioneer DJ Muggs and frequent David Lynch collaborator Dean Hurley join forces for the original score to the 2023 Sundance premiering feature film Divinity. Equal parts sonically punishing and ethereal, the soundtrack delivers a unique punch that further intensifies the mind-bending, acid-trip experience of the film.

Divinity Is a sci-fi dystopian odyssey produced by Steven Soderbergh and helmed by visionary director Eddie Alcazar. Set in the distant future, scientist Sterling Pierce dedicated his life to the quest for immortality, slowly making progress developing a serum named Divinity. Jaxxon Pierce, his son, now controls and profits from his father’s once benevolent dream. Society on their barren planet has been entirely perverted by the supremacy and pervasiveness of the drug. Two mysterious brothers arrive with a plan to abduct the mogul, and with the help of a woman named Nikita, they set on a trajectory hurtling toward true immortality.

Amidst the film’s extraordinary tapestry of stark aesthetics and themes, the score is a ten tonbarbell of sonic weight. Crafted with 8-bit samplers, Wavestation synths, extended choir and string techniques, the soundtrack manages to swing wildly between the arenas of both music and sound design. Like all rich soundtracks, listening to the score on its own reconjures the imagery of the film in the screen of the listener’s mind, an aural experience that manages to encapsulate and pulse a matched intensity of the film.

Tracks like ‘The Brothers’ and ‘Reflective Dreams’ cascade Vangelis-esque tones, painting with broad strokes of cinematic grandeur and ethereal wonder. ‘Main Titles’ and ‘Infinity Techno’ conversely swing hard into relentless, punishing sonics; with brutal, pulsing energy representative of the twisted, relentless pursuit of immortality. A standout of the album is undoubtedly “Divinity 2 Infinity: The Odyssey,” featuring cult hip-hop hero and lyrical-savant Kool Keith. Written for the film’s end credits, the track is a satisfying throwback to the 90’s original soundtrack cut bespoke-tailored to the film’s narrative themes.

DJ Muggs and Dean Hurley’s synergy yields a soundtrack that takes Divinity beyond the screen and into a multi-dimensional experience, inviting its listener along uncharted auralterrain for an unforgettable odyssey in sound.

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Tracklist:

1.Chariots of Pumpkins (Halloween III)
2.69th St. Bridge (Escape from New York)
3.The Alley (War) (Big Trouble in Little China)
4.Wake Up (They Live)
5.Julie’s Dead (Assault on Precinct 13)
6.The Shape Enters Laurie’s Room (Halloween II)
7.Season of the Witch (Halloween III)
8.Love at a Distance (Prince of Darkness)
9.The Shape Stalks Again (Halloween II)
10.Burn it (The Thing)
11.Fuchs (The Thing)
12.To Mac’s Shack (The Thing)
13.Walk to the Lighthouse (The Fog)
14.Laurie’s Theme (Halloween)

By now everyone should know, John Carpenter is not only a celebrated filmmaker but also a musical maestro whose soundtracks have become synonymous with the genres of horror, suspense, and science fiction.

Anthology II (Movie Themes 1976-1988) continues the celebration of his compositional genius via an excellently sequenced collection of some of his most iconic pieces of music from his extensive filmography, all newly recorded with his musical collaborators Daniel Davies and Cody Carpenter.

The compilation includes selections from Escape From New York, Big Trouble in Little China, The Thing, They Live, Assault on Precinct 13, Prince of Darkness, The Fog, Halloween (and its sequels), and beyond. Among its highlights are the three lost cues from The Thing, previously unreleased and now re-recorded. The Thing marks one of the rare occasions that John Carpenter stepped away from scoring duties and entrusted the task to another composer, the legendary Ennio Morricone. Upon receiving Morricone’s score Carpenter felt that the film would benefit from the inclusion of additional music and took the initiative to record and insert multiple synth driven cues.

Anthology II (Movie Themes 1976-1988) represents just a fraction of John Carpenter's impressive musical repertoire. His ability to capture the essence of his films through evocative melodies, atmospheric soundscapes, and innovative use of synths has solidified his status as one of the most influential composers in the history of cinema. With each haunting note and pulsating beat, his soundtracks continue to resonate with audiences, forever etching his name in the annals of film music history.

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Caribbean-Belgian composer, producer and musician Nala Sinephro announces her debut album Space 1.8 with lead track “Space 3”. Space 1.8 will be released on 3rd September via Warp Records.

The instrumental “Space 3” is a short clip from a 3 hour improvised session with drummer Eddie Hick (Sons of Kemet) and producer/multi-instrumentalist Dwayne Kilvington on synths bass (Wonky Logic, Steam Down) culminating in a synth driven, particle-splitting, rapture. Speaking about the track, Sinephro explains: “We recorded it in the start of spring, it was a magical day. The day after recording I collaged the drums, added fifteen synths, produced and mixed it at home and it was all done.”

Sinephro’s music fuses meditative sounds, jazz sensibilities, folk and field recordings. Her musical practice is rooted in the study of frequency and geometry and guided by the premise that sound moves matter. Her debut album Space 1.8 takes shape as a metaphysical structure, where each curative space is a womb-like cocoon created by Sinephro in service of relief and affirmative, ecstatic freedom. Space 1.8 was composed, produced, performed, engineered, recorded, mixed by Sinephro at age 22. On the album, she plays modular synths and pedal harp alongside her friends James Mollison, Shirley Tetteh, Nubya Garcia, Eddie Hick, Dwayne Kilvington, Jake Long, Lyle Barton, Rudi Creswick and more.

Following electrifying live performances across the London scene, word of Nala Sinephro’s playing quickly spread throughout the UK jazz scene, consequently landing her performances as part of the celebrated jazz night Steam Down, alongside playing with and supporting the likes of Demae, Eun, Coby Sey, Rosie Turton, Robert Ames, London Contemporary Orchestra, Touching Bass, Spitfire Audio, Nadeem Din-Gabisi. She was touted as one of The Guardian’s artists to watch in 2020, has garnered support from the likes of Gilles Peterson; and is a resident DJ on NTS sharing monthly selections of celestial sounds. In 2021, she joined the innovative Warp Records roster where she continues to weave her unique sound world.

- Specs Black vinyl 12" in printed inner in printed 3mm spine outer with download card insert

TRACKLIST:
A1. Space 1
A2. Space 2
A3. Space 3
A4. Space 4
A5. Space 5
B1. Space 6
B2. Space 7
B3. Space 8

QUOTES:
“A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements” - 8.3 - Pitchfork (Best New Music)
“Space 1.8 is a healing sound bath full of rigorous psychoacoustic knowledge and elegant playing” - The Observer (One to watch)
“Very few records have this capacity to make you temporarily fearless, but on Space 1.8, Sinephro harnesses the power of sound to move and heal the listener in ways that are real, and expansive.” - 9/10 - Loud & Quiet
"What sticks with Space 1.8 is the focus of its vision: precise like mathematics but imbued with a rich cosmic breadth." - 9/10 - UNCUT
'Her debut album sits at a slight angle to anything else you may have heard coming out of the UK in recent years” - Stereogum
"A calming, restorative and mind-expanding blend of jazz and ambient" - Resident Advisor (RA Recommends)

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Out Friday 7th March, 'Layers' is the sophomore album by Brussels-based producer, multi-instrumentalist and DJ Kuna Maze, aka Edouard Gilbert. The live-driven, 11-track LP features previously released singles "Blast", "Stab", and "Bristol Changes". Following the success of Kuna Maze's debut album 'Night Shift'—a concept record exploring the journey into the night and praised by Groove, Four Heads and Mo Ayoub (BBC Radio 1) — 'Layers' offers a dynamic fusion of textures and tones, creating a listening experience that reveals new depths with each spin. 'Layers' is a project deeply influenced by Kuna Maze's experience of touring with his live band. "My aim was to capture the energy and improvisational spirit of live performances, while diving deeper into the jazz influences of my music, all while maintaining the electronic vibe that has always defined my sound". Kuna Maze worked directly with the band in the studio to record his compositions, channelling the energy, emotion and spontaneity that are present in his live shows. The title 'Layers' reflects Kuna Maze's approach to music and art as a whole. "I love the idea of multiple levels of listening, where each time you hear a song, you notice something new. My composition process often involves layering instruments and tracks, gradually building a rich, textured sound."

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Repress!

A mashup masterpiece from AMERIGO GAZAWAY, the man behind the BIZARRE TRIBE, YASIIN GAYE, and FELA SOUL mashup albums. Here he imagines a studio session between the high priestess of soul NINA SIMONE and hip hop legend LAURYN HILL. 17 track two LP set in pic sleeve.

Side 1
1. "Feeling Good" (4:59)
2. "Ready Or Not" (feat The Fugees) (5:27)
3. "Doo Wop (That Thing)" (4:30)
4. "To Zion" (feat Carlos Santana) (5:49)
Side 2
1. "Fu-Gee-La" (feat The Fugees) (4:56)
2. "The Sweetest Thing" (feat John Forte) (4:45)
3. "Take It Easy" (4:32)
4. "Peace Of Mind" (4:59)
Side 3
1. "Lost Ones" (4:45)
2. "Killing Me Softly" (6:06)
3. "If I Ruled The World" (feat Nas) (3:51)
4. "How Many Mics" (feat The Fugees) (5:43)
Side 4
1. "So High" (feat John Legend) (3:55)
2. "Care For What" (2:54)
3. "Angel Of The Morning" (3:42)
4. "The Miseducation Of Eunice Waymon" (5:00)
5. "Fu-Gee-La" (bonus track - Refugee Camp remix) (5:33)

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4 in the chamber as X-Kalay first-timer Boss Priester steps up to the plate. A quartet of the toughest joints you’re likely to hear, maximising that dancefloor impact with minimal fuss.

Flexing like a new-skool combination of golden era Todd Edwards and Nathan Coles right from the off. Groove-forward gear accelerated to new levels through the sheer pressure of that drum programming. Proper dancefloor wreckers.

Stripped back with only the most necessary components required, there’s a dreamlike warmth and sensuality to the funked-out chords and flourishes of hallucinatory detail. Heat-seeking tech house rollers and speed garage revisionism serving pure dancefloor propulsion from beginning to end.

Itchy 2-step into piquant, puckered sidewinders, if the Boss is making baseline and groove his hallmark, then this is a case in point.

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Repress!

Welcome to Gary’s Dreamland, the ultimate getaway for lovers and dreamers alike.. This ain't just music, it's a whole damn experience! This premium package is all inclusive and guaranteed to add a touch of magic to the next funktion. Forget time and dance ‘til dawn, baby! Though the dream eventually fades, the memories remain. things change, but the message is still the same; Global purpose, essential swing.

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RAWAX proudly presents the 3rd release by Gerald Mitchell
on his own RAWAX MOTOR CITY - series.
This time we have the honor to present him under his Los Hermanos alias! "Remember Detroit" is a beautiful piece of Music which makes you feel the pulse of this City.

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Larry Levan's name is synonymous with contemporary dance music culture, his contributions are widely noted in many books and documentaries and in the memories of the lucky people who got to experience his phenomenal DJ sets at the now legendary Paradise Garage in NYC throughout the late 70's until the late 80's. His name is still mentioned with reverence today and he is listed as an influence by countless DJs and artists across the world. Not only did Larry hold down a residency at one of the finest clubs on the planet with his impeccable selecting and DJ-ing skills for a decade, he also lent his expert ear to many remixing jobs and production sessions, adding his touch to a slew of classic dance records that encapsulated the era; Tanaa Gardner "Heartbeat", NYC Peech Boys "Don't Make Me Wait", Esther Williams "I'll Be Your Pleasure", Gwen Guthrie "Seventh Heaven" and Loose Joints "Is It All Over My Face?" to name a select few. It is Larry's peerless tastes that form the basis of this 2003 Japanese only Salsoul records compilation. Compiled by Hisa Ishioka of King Street Sounds / Nite Grooves and consisting of some all time classics dug deep from within Salsoul's vast archives. The tracks included here got regular airings on the dance-floor of the Paradise Garage and helped to form the basis of and inspire the subsequent House and Techno movements in the years following the closure of the club and Larrys' tragic passing. Pressed onto vinyl for the very first time "Paradise Garage - The Legend Of Dance Music Vol.1" contains some stone cold Garage anthems, re-mastered and presented here in triple LP format to remind us all of the power of these timeless records, and the power of the mighty Larry Levan!

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The A Side is one of the most adventurous synthed out peak hour spiritual- level boogie rager. Flip Side is another psychedelic disco freak out stomper. Hasn't sold on Discogs in almost 15 years. Test presses co-signed by fellow Chicago disco Kingpins MARK GRUSANE and DARRYN JONES.

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