Label:Sacred Bones
Cat-No:SBALPC310
Release-Date:07.03.2025
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBALPC310
Release-Date:07.03.2025
Genre:Alternative/Electronic
Configuration:LP
1
Lust For Youth & Croatian Amor - Friendzone
2
Lust For Youth & Croatian Amor - Passerine
3
Lust For Youth & Croatian Amor - Dummy Ft. Purient
4
Lust For Youth & Croatian Amor - Akkadian
5
Lust For Youth & Croatian Amor - Lights In The Center
6
Lust For Youth & Croatian Amor - Kokiri
7
Lust For Youth & Croatian Amor - Nowhere
8
Lust For Youth & Croatian Amor - Fleece
9
Lust For Youth & Croatian Amor - Velella Velella Wind Sailors
10
Lust For Youth & Croatian Amor - Still Here
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
More records from Sacred Bones
Label:Sacred Bones
Cat-No:SBRLPC2369
Release-Date:09.05.2025
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC2369
Release-Date:09.05.2025
Genre:Alternative/Electronic
Configuration:LP
To celebrate the 10th anniversary of Lost Themes, Sacred Bones are thrilled to present an expanded art edition of the album with art by Greg Ruth. This special release includes an additional 7-inch featuring two previously unreleased tracks from the original recording session _ "Cruisin' With Mr. Scratch" and "Dominator." Upon its initial release, Lost Themes was praised for its evocative soundscapes ranging from horror to science fiction, each track conjuring a distinct atmosphere without the need for accompanying visuals. The expanded edition of Lost Themes not only celebrates a decade of John Carpenter's standalone musical journey but also enriches the album's legacy with new material that captures the spirit of its original sessions. Whether revisiting this masterpiece or experiencing it for the first time, listeners will find themselves immersed in Carpenter's hauntingly beautiful worlds once again.
Tracklist:
1.1VORTEX
1.2OBSIDIAN
1.3FALLEN
1.4DOMAIN
1.5MYSTERY
1.6ABYSS
1.7WRAITH
1.8PURGATORY
1.9NIGHT
1.10VORTEX
1.11OBSIDIAN
1.12FALLEN
1.13DOMAIN
1.14MYSTERY
1.15ABYSS
1.16WRAITH
1.17PURGATORY
1.18NIGHT
1.19CRUISIN' WITH MR. SCRATCH
1.20DOMINATOR
2.1CRUISIN' WITH MR. SCRATCH
2.2DOMINATOR
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist:
1.1VORTEX
1.2OBSIDIAN
1.3FALLEN
1.4DOMAIN
1.5MYSTERY
1.6ABYSS
1.7WRAITH
1.8PURGATORY
1.9NIGHT
1.10VORTEX
1.11OBSIDIAN
1.12FALLEN
1.13DOMAIN
1.14MYSTERY
1.15ABYSS
1.16WRAITH
1.17PURGATORY
1.18NIGHT
1.19CRUISIN' WITH MR. SCRATCH
1.20DOMINATOR
2.1CRUISIN' WITH MR. SCRATCH
2.2DOMINATOR
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Some bands find their groove and stick to it; others reinvent themselves constantly. Sextile belongs to the latter camp, embracing the thrill of an ever-changing road map. The LA duo of Melissa Scaduto and Brady Keehn craft music with a lust for life, drawing inspiration from no wave to hardstyle. Their latest album, yes, please, pushes their sound into bold new territory, fusing anarchic electro fire with raw personal recollections — and enough beefed-up bass to bust a speaker or two.
yes, please. is an album of contrasts: a vulnerable record that bares its soul as much as it revels in excess, showing just how far you can push your sound when you shake off your inhibitions. Together, the pair betray a confidence that never wavers, making a bold splash on the speedy intro with a rave siren cut from a ‘00s New York house party or sweaty Brooklyn warehouse. By the same token, the spirit of electroclash stalks the building, flashing its ID on the cowbell-peppered thunder-bolts of “Freak Eyes” and “Rearrange”, and turning in a scuzzy dancefloor bomb with “Women Respond to Bass”. High on endorphins, “Push Ups”— which features vocals from Jehnny Beth —is pure muscle music, fortified by hoover bass and fleshed out by synths that hammer as hard as lumps of hail on a glass roof.
But behind the slogans, sass, and monster dance energy lies an intimacy that can only be found from opening up about painful, life-altering events. “Hospital” and “Soggy Newports” reflect Scaduto’s harrowing experience in a New York state-run facility after a near-fatal accident. “Resist” tackles abortion rights, while “Penny Rose” explores US education, AI, and future generations. Scaduto’s elastic vocals shine throughout, from the razor-sharp synths of “S is For” to the trance-pop heights of “Kids,” featuring Izzy Glaudini from Automatic.
yes, please. is an action-packed dance record stuffed with wild, heady roof-raisers but is in the same breath a testament to living, and never looking back. In opening themselves up to a new “freeing” way of making music, Sextile have whipped up their most creative offering to date. Then again, you just know they still have so much more to give.
Tracklist:
1.Intro
2.Women Respond to Bass
3.Freak Eyes
4.Penny Rose
5.Push Ups
6.Kids
7.Bongos
8.S is For
9.Rearrange
10.Resist
11.Kiss
12.Hospital
13.Soggy Newports
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
yes, please. is an album of contrasts: a vulnerable record that bares its soul as much as it revels in excess, showing just how far you can push your sound when you shake off your inhibitions. Together, the pair betray a confidence that never wavers, making a bold splash on the speedy intro with a rave siren cut from a ‘00s New York house party or sweaty Brooklyn warehouse. By the same token, the spirit of electroclash stalks the building, flashing its ID on the cowbell-peppered thunder-bolts of “Freak Eyes” and “Rearrange”, and turning in a scuzzy dancefloor bomb with “Women Respond to Bass”. High on endorphins, “Push Ups”— which features vocals from Jehnny Beth —is pure muscle music, fortified by hoover bass and fleshed out by synths that hammer as hard as lumps of hail on a glass roof.
But behind the slogans, sass, and monster dance energy lies an intimacy that can only be found from opening up about painful, life-altering events. “Hospital” and “Soggy Newports” reflect Scaduto’s harrowing experience in a New York state-run facility after a near-fatal accident. “Resist” tackles abortion rights, while “Penny Rose” explores US education, AI, and future generations. Scaduto’s elastic vocals shine throughout, from the razor-sharp synths of “S is For” to the trance-pop heights of “Kids,” featuring Izzy Glaudini from Automatic.
yes, please. is an action-packed dance record stuffed with wild, heady roof-raisers but is in the same breath a testament to living, and never looking back. In opening themselves up to a new “freeing” way of making music, Sextile have whipped up their most creative offering to date. Then again, you just know they still have so much more to give.
Tracklist:
1.Intro
2.Women Respond to Bass
3.Freak Eyes
4.Penny Rose
5.Push Ups
6.Kids
7.Bongos
8.S is For
9.Rearrange
10.Resist
11.Kiss
12.Hospital
13.Soggy Newports
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLPC2368
Release-Date:25.04.2025
Genre:Indie Rock/Alternative
Configuration:12"
Label:Sacred Bones
Cat-No:SBRLPC2368
Release-Date:25.04.2025
Genre:Indie Rock/Alternative
Configuration:12"
1
Molchat Doma - Toska
2
Molchat Doma - Chernye Cvety
3
Molchat Doma - Sudno (boris Ryzhy)
Listen: https://www.youtube.com/watch?v=FoGAh8jFz3A
Molchat Doma are releasing their first official live album, performed and recorded at the iconic Hotel Panorama, the striking architectural monument featured on the cover of their breakthrough album Etazhi. Celebrated for channeling a distinct Soviet-era darkwave aesthetic, Molchat Doma bring their haunting sound to life with three fan-favorite tracks: "Toska" and "Sudno" from the viral phenomenon Etazhi, and "Chernye Cvety" from their critically acclaimed 2024 album Belaya Polosa. Lauded for their ability to blend melancholy synths with infectious rhythms, this release captures the raw energy of their live performances_showcasing Egor's chillingly emotive vocals alongside subtle, live reinterpretations of their signature synth and guitar arrangements.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Molchat Doma are releasing their first official live album, performed and recorded at the iconic Hotel Panorama, the striking architectural monument featured on the cover of their breakthrough album Etazhi. Celebrated for channeling a distinct Soviet-era darkwave aesthetic, Molchat Doma bring their haunting sound to life with three fan-favorite tracks: "Toska" and "Sudno" from the viral phenomenon Etazhi, and "Chernye Cvety" from their critically acclaimed 2024 album Belaya Polosa. Lauded for their ability to blend melancholy synths with infectious rhythms, this release captures the raw energy of their live performances_showcasing Egor's chillingly emotive vocals alongside subtle, live reinterpretations of their signature synth and guitar arrangements.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLP365
Release-Date:04.04.2025
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP365
Release-Date:04.04.2025
Genre:Alternative/Electronic
Configuration:LP
1
Anika - Hearsay
2
Anika - Honey
3
Anika - Abyss
4
Anika - Oxygen
5
Anika - Walk Away
6
Anika - Into The Fire
7
Anika - Out Of The Shadows
8
Anika - One Way Ticket
9
Anika - Last Song
10
Anika - Buttercups
Anika channels her frustration, anger, and confusion with the world into her third album, Abyss.
Recorded live to tape at Berlin's legendary Hansa Studios, the album captures raw energy with minimal overdubs, resulting in a visceral and urgent 10-track journey fueled by intense emotions. The recording process, done in just a few days with a live band, emphasizes immediacy, offering a sound that’s both physical and direct.
Abyss reflects Anika’s desire to create a space where people can unite and feel free to express themselves amidst the chaos of the world. With influences ranging from 90s grunge and Courtney Love to Patti Smith and Genesis P-Orridge, the album is driven by a rebellious spirit. Tracks like “One Way Ticket” critique the rise of fascism, while “Hearsay” takes on the divisiveness of fake news, revealing Anika’s determination to confront the complexities of our current moment.
The album's raw, emotional power is matched by its physicality. Anika’s goal is to take listeners out of their heads and back into their bodies, offering a release through the music and live performances. This is a space to reclaim the connection between mind and body—something she feels is increasingly lost in today’s world. Her desire to create that energy on stage is reflected in Abyss's dense, pounding rhythms, which build on the energy of 90s alt-rock.
Abyss also delves into the intense tensions between the left and right in contemporary society, exploring the complexities of human imperfection and healthy debate. From the thrashing intensity of “Oxygen” to the melancholic “Buttercups,” the album refuses to shy away from uncomfortable truths. Anika boldly confronts her own raw emotions, as exemplified in the candid lyrics of “Walk Away,” where she reflects on discontent with herself and the world.
With Abyss, Anika invites listeners into a space for release, rebellion, and honesty, creating an album that speaks to the turmoil of our times while offering an emotional outlet. As she puts it, “This is a space for you.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Recorded live to tape at Berlin's legendary Hansa Studios, the album captures raw energy with minimal overdubs, resulting in a visceral and urgent 10-track journey fueled by intense emotions. The recording process, done in just a few days with a live band, emphasizes immediacy, offering a sound that’s both physical and direct.
Abyss reflects Anika’s desire to create a space where people can unite and feel free to express themselves amidst the chaos of the world. With influences ranging from 90s grunge and Courtney Love to Patti Smith and Genesis P-Orridge, the album is driven by a rebellious spirit. Tracks like “One Way Ticket” critique the rise of fascism, while “Hearsay” takes on the divisiveness of fake news, revealing Anika’s determination to confront the complexities of our current moment.
The album's raw, emotional power is matched by its physicality. Anika’s goal is to take listeners out of their heads and back into their bodies, offering a release through the music and live performances. This is a space to reclaim the connection between mind and body—something she feels is increasingly lost in today’s world. Her desire to create that energy on stage is reflected in Abyss's dense, pounding rhythms, which build on the energy of 90s alt-rock.
Abyss also delves into the intense tensions between the left and right in contemporary society, exploring the complexities of human imperfection and healthy debate. From the thrashing intensity of “Oxygen” to the melancholic “Buttercups,” the album refuses to shy away from uncomfortable truths. Anika boldly confronts her own raw emotions, as exemplified in the candid lyrics of “Walk Away,” where she reflects on discontent with herself and the world.
With Abyss, Anika invites listeners into a space for release, rebellion, and honesty, creating an album that speaks to the turmoil of our times while offering an emotional outlet. As she puts it, “This is a space for you.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
SPELLLING - Portrait Of My Heart
2
SPELLLING - Keep It Alive
3
SPELLLING - Alibi
4
SPELLLING - Waterfall
5
SPELLLING - Destiny Arrives
6
SPELLLING - Ammunition
7
SPELLLING - Mount Analogue
8
SPELLLING - Drain
9
SPELLLING - Satisfaction
10
SPELLLING - Love Ray Eyes
11
SPELLLING - Sometimes
Preview: https://www.youtube.com/watch?v=VlUpWPRgaOI
On Chrystia Cabral’s fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral’s lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album’s thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021’s The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be.
The title track, with its propulsive drum groove and anthemic chorus of “I don’t belong here,” is the most potent embodiment of the album’s turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album’s broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers—The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun.
Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING’s first duet on “Mount Analogue,” Turnstile guitarist Pat McCrory turns Cabral’s original piano demo for “Alibi” into the crunchy, riff-y version that appears on the record, while Zulu’s Braxton Marcellous gives “Drain” its sludgy heft. These parts aren’t just incorporated seamlessly into the album; they feel like an integral part of its universe.
Ultimately, though, Portrait of My Heart is nobody’s record but Cabral’s. She fearlessly draws the curtain back on parts of herself that she’s never included in SPELLLING before—her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. “It’s very much an open diary of all those sensations,” she says.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
On Chrystia Cabral’s fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral’s lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album’s thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021’s The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be.
The title track, with its propulsive drum groove and anthemic chorus of “I don’t belong here,” is the most potent embodiment of the album’s turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album’s broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers—The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun.
Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING’s first duet on “Mount Analogue,” Turnstile guitarist Pat McCrory turns Cabral’s original piano demo for “Alibi” into the crunchy, riff-y version that appears on the record, while Zulu’s Braxton Marcellous gives “Drain” its sludgy heft. These parts aren’t just incorporated seamlessly into the album; they feel like an integral part of its universe.
Ultimately, though, Portrait of My Heart is nobody’s record but Cabral’s. She fearlessly draws the curtain back on parts of herself that she’s never included in SPELLLING before—her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. “It’s very much an open diary of all those sensations,” she says.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLPC3356
Release-Date:21.02.2025
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC3356
Release-Date:21.02.2025
Genre:Alternative/Electronic
Configuration:LP
1
Q Lazzarus - Goodbye Horses (Single Edit)
2
Q Lazzarus - Heaven
3
Q Lazzarus - I See Your Eyes
4
Q Lazzarus - A Fools Life
5
Q Lazzarus - Summertime
6
Q Lazzarus - My Mistake
7
Q Lazzarus - Hellfire
8
Q Lazzarus - Don't Let Go
9
Q Lazzarus - Bang Bang
10
Q Lazzarus - Goodbye Horses (New Wave Version)
Summertime Green Vinyl!
For almost everyone, the entry point for discovering the music of Q Lazzarus came via “Goodbye Horses.” The song first appeared in 1988, via Jonathan Demme’s Married to the Mob, but it would not become fully lodged into popular consciousness until it infamously materialized again in Demme’s The Silence of the Lambs in 1991. “Goodbye Horses” felt like a self-contained universe – dreamlike and wholly unusual, an instant classic that left listeners captivated and curious about the mysterious voice behind it. That voice belonged to Diane Luckey, a uniquely talented artist whose music was ahead of its time and who would ultimately remain largely unrecognized in her lifetime.
In conjunction with the release of Aridjis Fuentes’ documentary film Goodbye Horses: The Many Lives of Q Lazzarus, Sacred Bones is releasing a collection of songs that span the entirety of Q’s career, showcasing the different eras of her work and the full breadth of her personality. Released in collaboration with the family of Q, it has the distinction of being her first and only full-length release.
Recorded between 1985 and 1995, this trove of previously unreleased music reflects some of the most interesting facets of pop music from the past four decades in a way that feels both savvy and wildly eclectic. The titular “Goodbye Horses” remains a singular piece of spooky new wave perfection and one might imagine an entire Q Lazzarus album coiled around this aesthetic, but much like singers such as Alison Moyet, Annie Lennox, or Lisa Gerrard, Q’s chameleonic voice could lend itself perfectly to a variety of styles and settings. Her cover of Talking Heads’ “Heaven” transforms the song into a full-throated power ballad complete with tinkly piano flourishes, while her take on Gershwin’s “Summertime” sounds like the kind of dubby club redux that could have been a perfect companion to anything from Nightclubbing-era Grace Jones. Tracks like “My Mistake” and “Hellfire” flirt with house music and showcase just how brassy and belty Q’s voice could be when she really let loose, while “Don’t Let Go” sounds like the kind of bombastic radio single Cher might have released several decades ago. Elsewhere, songs like “Bang Bang” and “I See Your Eyes” espouse the kind of guitar-driven alt-rock sensibilities that, in a parallel universe, could have made them staples on 120 Minutes.
Goodbye Horses represents the potential for so many different kinds of careers that, for whatever reason, never fully materialized. That we now have these songs in the world, and a clearer picture of the person behind them, is nothing short of a blessing.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
For almost everyone, the entry point for discovering the music of Q Lazzarus came via “Goodbye Horses.” The song first appeared in 1988, via Jonathan Demme’s Married to the Mob, but it would not become fully lodged into popular consciousness until it infamously materialized again in Demme’s The Silence of the Lambs in 1991. “Goodbye Horses” felt like a self-contained universe – dreamlike and wholly unusual, an instant classic that left listeners captivated and curious about the mysterious voice behind it. That voice belonged to Diane Luckey, a uniquely talented artist whose music was ahead of its time and who would ultimately remain largely unrecognized in her lifetime.
In conjunction with the release of Aridjis Fuentes’ documentary film Goodbye Horses: The Many Lives of Q Lazzarus, Sacred Bones is releasing a collection of songs that span the entirety of Q’s career, showcasing the different eras of her work and the full breadth of her personality. Released in collaboration with the family of Q, it has the distinction of being her first and only full-length release.
Recorded between 1985 and 1995, this trove of previously unreleased music reflects some of the most interesting facets of pop music from the past four decades in a way that feels both savvy and wildly eclectic. The titular “Goodbye Horses” remains a singular piece of spooky new wave perfection and one might imagine an entire Q Lazzarus album coiled around this aesthetic, but much like singers such as Alison Moyet, Annie Lennox, or Lisa Gerrard, Q’s chameleonic voice could lend itself perfectly to a variety of styles and settings. Her cover of Talking Heads’ “Heaven” transforms the song into a full-throated power ballad complete with tinkly piano flourishes, while her take on Gershwin’s “Summertime” sounds like the kind of dubby club redux that could have been a perfect companion to anything from Nightclubbing-era Grace Jones. Tracks like “My Mistake” and “Hellfire” flirt with house music and showcase just how brassy and belty Q’s voice could be when she really let loose, while “Don’t Let Go” sounds like the kind of bombastic radio single Cher might have released several decades ago. Elsewhere, songs like “Bang Bang” and “I See Your Eyes” espouse the kind of guitar-driven alt-rock sensibilities that, in a parallel universe, could have made them staples on 120 Minutes.
Goodbye Horses represents the potential for so many different kinds of careers that, for whatever reason, never fully materialized. That we now have these songs in the world, and a clearer picture of the person behind them, is nothing short of a blessing.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Chrystabell & David Lnych - She Knew
2
Chrystabell & David Lnych - The Sky Falls
3
Chrystabell & David Lnych - You Know The Rest
4
Chrystabell & David Lnych - So Much Love
5
Chrystabell & David Lnych - Two Lovers Kiss
6
Chrystabell & David Lnych - The Answers To The Questions
7
Chrystabell & David Lnych - With Small Animals
8
Chrystabell & David Lnych - Reflections In A Blade
9
Chrystabell & David Lnych - Dance Of Light
10
Chrystabell & David Lnych - Sublime Eternal Love
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Chrystabell & David Lnych - She Knew
2
Chrystabell & David Lnych - The Sky Falls
3
Chrystabell & David Lnych - You Know The Rest
4
Chrystabell & David Lnych - So Much Love
5
Chrystabell & David Lnych - Two Lovers Kiss
6
Chrystabell & David Lnych - The Answers To The Questions
7
Chrystabell & David Lnych - With Small Animals
8
Chrystabell & David Lnych - Reflections In A Blade
9
Chrystabell & David Lnych - Dance Of Light
10
Chrystabell & David Lnych - Sublime Eternal Love
Tip!
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLP336
Release-Date:03.05.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP336
Release-Date:03.05.2024
Genre:Alternative/Electronic
Configuration:LP
1
John Carpenter - My Name Is Death
2
John Carpenter - Machine Fear
3
John Carpenter - Last Rites
4
John Carpenter - The Burning Door
5
John Carpenter - He Walks By Night
6
John Carpenter - Beyond The Gallows
7
John Carpenter - Kiss The Blood Off My Fingers
8
John Carpenter - Guillotine
9
John Carpenter - The Domn's Shadow
10
John Carpenter - Shadows Have A Thousand Eyes
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.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.”
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLP331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Anja Huwe - Skuggornas
2
Anja Huwe - Rabenschwarz
3
Anja Huwe - Pariah
4
Anja Huwe - Exit
5
Anja Huwe - O Wald
6
Anja Huwe - Zwischenwelt
7
Anja Huwe - Sleep With One Eye Open
8
Anja Huwe - Living In The Forest
9
Anja Huwe - Hideaway
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)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLPC331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC331
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Anja Huwe - Skuggornas
2
Anja Huwe - Rabenschwarz
3
Anja Huwe - Pariah
4
Anja Huwe - Exit
5
Anja Huwe - O Wald
6
Anja Huwe - Zwischenwelt
7
Anja Huwe - Sleep With One Eye Open
8
Anja Huwe - Living In The Forest
9
Anja Huwe - Hideaway
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)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLP3050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP3050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Xmal Deutschland - Schwarze Welt
2
Xmal Deutschland - Die Wolken
3
Xmal Deutschland - Großstadtindianer
4
Xmal Deutschland - Kälbermarsch (From The Compilation "Lieber Zuviel Als Zuwenig")
5
Xmal Deutschland - Incubus Succubus
6
Xmal Deutschland - Zu Jung Zu Alt
7
Xmal Deutschland - Blut Ist Liebe
8
Xmal Deutschland - Allein (From The Compilation "Nosferatu Festival")
"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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Label:Sacred Bones
Cat-No:SBRLPC33050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC33050
Release-Date:08.03.2024
Genre:Alternative/Electronic
Configuration:LP
1
Xmal Deutschland - Schwarze Welt
2
Xmal Deutschland - Die Wolken
3
Xmal Deutschland - Großstadtindianer
4
Xmal Deutschland - Kälbermarsch (From The Compilation "Lieber Zuviel Als Zuwenig")
5
Xmal Deutschland - Incubus Succubus
6
Xmal Deutschland - Zu Jung Zu Alt
7
Xmal Deutschland - Blut Is Liebe
8
Xmal Deutschland - Allein (From The Compilation "Nosferatu Festival")
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
"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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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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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DE - 22113 Hamburg
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Linea Aspera - Eviction
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Linea Aspera - Preservation
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Linea Aspera - Fer-De-Lance
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Clear vinyl repress of Linea Aspera's debut record. Genius!
Dark Entries is proud to present the debut album of contemporary British band Linea Aspera. Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings.
For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a specially designed jacket by Dovile Shurpo and includes a full sized insert of all lyrics.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Dark Entries is proud to present the debut album of contemporary British band Linea Aspera. Linea Aspera is the London duo of Ryan Ambridge (Synths/Programming) and Alison Lewis (Vocals/Synths). They began the project in November 2011, technically drawing inspiration from electronic music from the early 1980s. Within the duo, Alison writes and performs all vocal elements, while Ryan is responsible for the writing and performing of the electronics, as well as recording and mixing of the final recordings.
For their debut album they utilized small, simple analog synthesizer set up: Roland SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue Solutions Semblance. Linea Aspera's sound includes clear influences from early electronic body music, classic synth-pop and, in some instances, industrial and noise. Lyrically the band incorporates the sciences of osteology, neuroscience, and anthropology weaving a new medical language around themes of desire, despair and renewal. Linea Aspera serve up an icebox of dark doom riding on Alison's powerful vocals with a soft but sharp touch. All songs have been mastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a specially designed jacket by Dovile Shurpo and includes a full sized insert of all lyrics.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Territories : WW -FR -BENELUX
Format: CD
Tracklist
A1. Hold Me
A2. Party People
A3. Cent Fois
A4. Denied
A5. Mes souvenirs (feat Rebeka Warrior)
B1. Queendom
B2. Créatures (feat. RAUMM)
B3. I Don't Give A Damn
B4. Shifting
B5. Underworld
QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.
The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.
"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.
Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.
"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.
"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.
Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.
QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.
Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format: CD
Tracklist
A1. Hold Me
A2. Party People
A3. Cent Fois
A4. Denied
A5. Mes souvenirs (feat Rebeka Warrior)
B1. Queendom
B2. Créatures (feat. RAUMM)
B3. I Don't Give A Damn
B4. Shifting
B5. Underworld
QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.
The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.
"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.
Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.
"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.
"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.
Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.
QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.
Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Front Line Assembly - Lurid Sensation
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Front Line Assembly - Right Hand Of Heaven
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Front Line Assembly - Concussion
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Front Line Assembly - On The Cross
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Front Line Assembly - Conflict
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Front Line Assembly - Controversy
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Front Line Assembly - Dark Dreams
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Front Line Assembly - The Wrack
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Front Line Assembly - Body Count
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Front Line Assembly - Obsession
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Front Line Assembly - Aggression
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Front Line Assembly - Die-Sect
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Front Line Assembly - The Wrack Part III - Wisdom
14
Front Line Assembly - Solitude Of Confinement
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Front Line Assembly - Headcase Fargone
16
Front Line Assembly - Collision
17
Front Line Assembly - Teardown
This album compiles some of the earliest hits of Front Line Assembly including the classic “Body Count” for which the band prepared their first official video-clip. “Corroded Disorder” was originally released in 1995 as a hybrid of the EP’s “Corrosion” and “Disorder” from 1988, along with some extra tracks taken from the compilation “Convergence” and a couple of new bonus songs.
Deluxe re-release one a limited edition of 500 copies with double vinyl record, deluxe gatefold sleeve and new vintage artwork.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Deluxe re-release one a limited edition of 500 copies with double vinyl record, deluxe gatefold sleeve and new vintage artwork.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Hackney Electronica - H.E. Nuestro Circuito
2
Hackney Electronica - Efecto Perfecto
3
Hackney Electronica - The One
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Hackney Electronica - Whispers from the Depths
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Hackney Electronica - Nueva Ola
Hackney Electronica come to Dark Entries with the Synaptic Shadows EP, featuring 5 cuts of acidic rave-inflected wave. Quinn Whalley (Paranoid London), Unai Trotti (Cartulis Music), and Margo Broom (Hermitage Working Studios) formed Hackney Electronica during COVID era. Trotti and Whalley were spending countless hours digging through records and making music during lockdown. As their sound took shape - heavy and hypnotic - they invited Broom to join, cementing the motley trio. The five pieces on Synaptic Shadows explore themes of altered states, late-night cityscapes, and the fine line between pleasure and paranoia. Each track pulses like a memory from the backstreets of Hackney, where the night transforms the city into an electrified maze of fleeting highs and inevitable crashes. The anxious grooves on “H.E. Nuestro Circuito” and “Whispers from the Depths” channel 1980s DIY electronics onto the contemporary dancefloor, while “Efecto Perfecto,” “The One”, and “Nueva Ola” offer breakbeat-laced electro that will keep you dancing until dawn. Housed in a sleeve designed by German Bardo, Synaptic Shadows is more than just a debut release, it’s a journey through the flickering alleys of the mind, where tension and transcendence intertwine.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Figure Study - Answers
2
Figure Study - Wait
3
Figure Study - Bad Side
4
Figure Study - Paralyzed
5
Figure Study - Maze
6
Figure Study - Interaction
7
Figure Study - Station
8
Figure Study - Invisible
9
Figure Study - Divide
10
Figure Study - Window
11
Figure Study - Rain
Dark Entries is proud to present the debut album by Figure Study, a contemporary band from New York. Figure Study is the Manhattan-based duo of Nathan Antolik and April Chalpara. They formed in 2009, after meeting through the Wierd Records weekly party, where they would play their first concert soon after. For their debut self-titled album, Figure Study utilizes a carefully tailored set up of vintage analog synthesizers and drum machines. Figure Study creates a lush sound where haunting vocals echo over dark melodies that reflect an isolated and disintegrating world. Songs flux between dissonant dance numbers and more sparse, somber compositions, each carrying a sense of urgency and modernism. Figure Study's sound includes influences from such early underground artists as Kirlian Camera, Nine Circles, and The Actor. The album was recorded in their small Chinatown studio using a sparse set-up of analog synthesizers, drum machines and sequencers. Each LP is packaged in a specially designed jacket and includes an insert with lyrics. Figure Study draw their own model using shapes and forms from the synthetic landscape.
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DE - 22113 Hamburg
Germany
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Label:Sacred Bones
Cat-No:SBRLPC2368
Release-Date:25.04.2025
Genre:Indie Rock/Alternative
Configuration:12"
Label:Sacred Bones
Cat-No:SBRLPC2368
Release-Date:25.04.2025
Genre:Indie Rock/Alternative
Configuration:12"
1
Molchat Doma - Toska
2
Molchat Doma - Chernye Cvety
3
Molchat Doma - Sudno (boris Ryzhy)
Listen: https://www.youtube.com/watch?v=FoGAh8jFz3A
Molchat Doma are releasing their first official live album, performed and recorded at the iconic Hotel Panorama, the striking architectural monument featured on the cover of their breakthrough album Etazhi. Celebrated for channeling a distinct Soviet-era darkwave aesthetic, Molchat Doma bring their haunting sound to life with three fan-favorite tracks: "Toska" and "Sudno" from the viral phenomenon Etazhi, and "Chernye Cvety" from their critically acclaimed 2024 album Belaya Polosa. Lauded for their ability to blend melancholy synths with infectious rhythms, this release captures the raw energy of their live performances_showcasing Egor's chillingly emotive vocals alongside subtle, live reinterpretations of their signature synth and guitar arrangements.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Molchat Doma are releasing their first official live album, performed and recorded at the iconic Hotel Panorama, the striking architectural monument featured on the cover of their breakthrough album Etazhi. Celebrated for channeling a distinct Soviet-era darkwave aesthetic, Molchat Doma bring their haunting sound to life with three fan-favorite tracks: "Toska" and "Sudno" from the viral phenomenon Etazhi, and "Chernye Cvety" from their critically acclaimed 2024 album Belaya Polosa. Lauded for their ability to blend melancholy synths with infectious rhythms, this release captures the raw energy of their live performances_showcasing Egor's chillingly emotive vocals alongside subtle, live reinterpretations of their signature synth and guitar arrangements.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Territories : WW -FR -BENELUX
Format: LP limited, Blue Opaque
Tracklist
A1. Hold Me
A2. Party People
A3. Cent Fois
A4. Denied
A5. Mes souvenirs (feat Rebeka Warrior)
B1. Queendom
B2. Créatures (feat. RAUMM)
B3. I Don't Give A Damn
B4. Shifting
B5. Underworld
QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.
The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.
"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.
Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.
"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.
"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.
Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.
QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.
Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Format: LP limited, Blue Opaque
Tracklist
A1. Hold Me
A2. Party People
A3. Cent Fois
A4. Denied
A5. Mes souvenirs (feat Rebeka Warrior)
B1. Queendom
B2. Créatures (feat. RAUMM)
B3. I Don't Give A Damn
B4. Shifting
B5. Underworld
QUEENDOM is an album that marks a new era for the project while staying true to the essence of Minuit Machine. Produced under the SYNTH RELIGION label, this opus immerses us in Amandine's introspective realm, oscillating between darkness and light, between doubt and self-conquest. While retaining the emotional DNA of previous productions, QUEENDOM stands out with a more pop-oriented touch, featuring tracks where Amandine sings in French for the first time.
The first single, "HOLD ME," is a powerful pop anthem addressed to the queer community, celebrating the freedom to be oneself and breaking free from societal and patriarchal norms. This track is a true empowerment statement, with striking electro beats supporting a strong message of emancipation and pride.
"Créatures," a collaboration between RAUMM and Minuit Machine, is a modern fairy tale—a timeless love story that could take place in any era. This salvific love, rarely seen today, embodies a poignant depth and beauty.
Continuing the journey, "Cent Fois"—a French-written track—takes us into a techno-pop universe with nostalgic yet hopeful undertones. This song perfectly reflects Minuit Machine's evolution toward a more radiant approach while staying faithful to its dark heritage.
"Party People," on the other hand, is a return to roots with dark wave/italo sounds. This hypnotic and haunting track questions identity in an increasingly robotic society, where individuals are forced to conform to imposed norms. This exploration of the individual versus the collective lies at the core of Minuit Machine's DNA.
"Mes Souvenirs," created in collaboration with Rebeka Warrior, dives intimately into the memories of Amandine and Rebeka. Together, they reveal fragments of their past—precious and vibrant memories that resonate through powerful and melancholic electro sounds.
Finally, the eponymous track "Queendom" invites us to plunge into the depths of Amandine's world—a universe that is both tormented and icy, yet resilient. Supported by a slow and captivating rhythm, this track is designed to grip and haunt the listener, like an incantation.
QUEENDOM is a bold and hybrid work where each track reflects a pursuit of sincerity and artistic reinvention while maintaining the ability to express emotions through rhythms that are both danceable and introspective. The album showcases Minuit Machine's artistic maturity, establishing itself as a must-listen in the darkwave and electronic pop scene.
Amandine entrusted the artistic direction of this album to Manon Dupeyrat, a brilliant young artist who crafted a bespoke universe perfectly aligned with the produced tracks. The album cover, both intimate and anachronistic, invites listeners into Amandine's private world through her bedroom, revealing what she wishes to share.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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CD Jewel Case With 8 pages Booklet, Pictures , Notes
In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART.
Carefully overseen by the Master himself
Total Time: 59:34
Tracks:
Ruhige Nervosität 13:00, Gemäßigter Aufbruch 10:00, ... und Mittelspiel 07:00, Ansatz 06:00, Damen-Eleganza 05:00, Ehrenvoller Kampf 03:00, Hoheit weicht (nicht ohne Schwung...) 09:00, ... und Souveränität 03:00, Remis 03:00
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DE - 22113 Hamburg
Germany
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Cassette
recorded Live at Baudelaires December 1981
Side A
Off Coast
Acting Out
Progeny
Quiet Mind
Side B
Television
Once December Day
Social House
The Condos
credits
released August 6, 2020
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recorded Live at Baudelaires December 1981
Side A
Off Coast
Acting Out
Progeny
Quiet Mind
Side B
Television
Once December Day
Social House
The Condos
credits
released August 6, 2020
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WAS - Word and Sound Medien GmbH
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1
Alexander Robotnick - PROBLÈMES D'AMOUR
2
Alexander Robotnick - COMPUTER SOURIRE
3
Alexander Robotnick - DANCE BOY DANCE
4
Alexander Robotnick - HOLA MACCI KOLA
5
Alexander Robotnick - CE N'EST Q'UN DÉBUT
6
Alexander Robotnick - AFRICAN KOLA
Repress!
Medical Records presents the 4th pressing of their second release (MR-002)! This Mini-LP was originally released on Materiali Sonori in 1984 in Italy and is long out of print. The 1st pressing on Medical was released in 2010 and is also now long out of print. Alexander Robotnick (aka Maurizio Dami) is an Italian electronic musician. He made his debut on the Italian music scene as the founding member of Avida, a dance-cabaret band featuring Daniele Trambusti and Stefano Fuoch. in 1983 he attained international popularity with his track "Probl?mes d'amour", published first by the Italian label Materiali Sonori and then by Sire-Wea. "Probl?mes d'amour" went on to become a "cult track" of the disco scene. It became quite an import hit in America's underground club scene, and sparked the mini-LP "Ce N'est Qu'un D?but" that same year (originally released on Materiali Sonori in 1984 (Italy). It consists of 6 captivating tracks including the hit "Probl?mes d'amour" as well as the track "Dance boy dance" which has appeared on other cult disco compilations. "Ce N'est Qu'un D?but" will appeal to lovers of Italo disco, early new wave, and minimal pop. Presented on high-quality black vinyl. Minor upgrades to the artwork also present. Limited Edition.
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DE - 22113 Hamburg
Germany
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Medical Records presents the 4th pressing of their second release (MR-002)! This Mini-LP was originally released on Materiali Sonori in 1984 in Italy and is long out of print. The 1st pressing on Medical was released in 2010 and is also now long out of print. Alexander Robotnick (aka Maurizio Dami) is an Italian electronic musician. He made his debut on the Italian music scene as the founding member of Avida, a dance-cabaret band featuring Daniele Trambusti and Stefano Fuoch. in 1983 he attained international popularity with his track "Probl?mes d'amour", published first by the Italian label Materiali Sonori and then by Sire-Wea. "Probl?mes d'amour" went on to become a "cult track" of the disco scene. It became quite an import hit in America's underground club scene, and sparked the mini-LP "Ce N'est Qu'un D?but" that same year (originally released on Materiali Sonori in 1984 (Italy). It consists of 6 captivating tracks including the hit "Probl?mes d'amour" as well as the track "Dance boy dance" which has appeared on other cult disco compilations. "Ce N'est Qu'un D?but" will appeal to lovers of Italo disco, early new wave, and minimal pop. Presented on high-quality black vinyl. Minor upgrades to the artwork also present. Limited Edition.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
Tracklist 2LP:
A
1. Dreaming
2. Self-Initiate
B
3. Will You Be Safe?
4. Restless
C
5. Least Travelled
6. Citrinitas Acid
D
7. Hidden
8. The Silent Servant
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
A
1. Dreaming
2. Self-Initiate
B
3. Will You Be Safe?
4. Restless
C
5. Least Travelled
6. Citrinitas Acid
D
7. Hidden
8. The Silent Servant
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
1
Bézier - Resurrection
2
Bézier - Past The Marshes
3
Bézier - Valencia
4
Bézier - Reservoir (Feat. Len.Leo)
5
Bézier - Scrupulous
6
Bézier - Ravel
Bézier returns to Dark Entries with Valencia, a six track rumination on memory, geography, and transmutation. Multi-instrumentalist Robert Yang’s Bézier project has appeared on Dark Entries many times over the last decade, most recently with the 2018 LP Parler Musique. Says Yang, “What started as a project to investigate the love of the sound and scenery while living in San Francisco quickly developed into a passionate search for interlocking melodies and driving rhythms.”
On Valencia, Bézier invokes twinned places. The Valencia Street of San Francisco is channeled, which was the center of the city’s vibrant new wave scene in the 1980s.
But also echoed is Valencia, Spain, and La Ruta del Bakalao aka La Ruta Destroy, the Spanish clubbing scene throughout the 80s and 90s famed for its aggressive and synthetic sounds. Valencia is a darker record for Yang, exploring themes of submission and catharsis with nods to SF’s gay leather bars of the 70s and 80s. The high BPM salvos of “Valencia” and “Scrupulous” capture the frantic energy of Bakalao and Valencian wave acts like Última Emoción. Elsewhere Yang mines the dreamy space disco and Hi-NRG sounds they’re known for, like on the brooding “Past the Marshes” or the anthemic “Reservoir”, which features their partner Len.Leo on vocals. Bézier deftly navigates past and present, light and dark, pain and pleasure, the stasis of memory and the flux of time.
Valencia was mastered by Alex Michalski, with EQ for vinyl done by George Horn. Gwenaël Rattke designed the sleeve, which features an 80’s punk zine-esque geometric grid pattern mirroring San Francisco street maps. Also included is a 5x7 postcard with notes.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore
On Valencia, Bézier invokes twinned places. The Valencia Street of San Francisco is channeled, which was the center of the city’s vibrant new wave scene in the 1980s.
But also echoed is Valencia, Spain, and La Ruta del Bakalao aka La Ruta Destroy, the Spanish clubbing scene throughout the 80s and 90s famed for its aggressive and synthetic sounds. Valencia is a darker record for Yang, exploring themes of submission and catharsis with nods to SF’s gay leather bars of the 70s and 80s. The high BPM salvos of “Valencia” and “Scrupulous” capture the frantic energy of Bakalao and Valencian wave acts like Última Emoción. Elsewhere Yang mines the dreamy space disco and Hi-NRG sounds they’re known for, like on the brooding “Past the Marshes” or the anthemic “Reservoir”, which features their partner Len.Leo on vocals. Bézier deftly navigates past and present, light and dark, pain and pleasure, the stasis of memory and the flux of time.
Valencia was mastered by Alex Michalski, with EQ for vinyl done by George Horn. Gwenaël Rattke designed the sleeve, which features an 80’s punk zine-esque geometric grid pattern mirroring San Francisco street maps. Also included is a 5x7 postcard with notes.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore