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: [email protected]More
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: [email protected]More
More records from Sacred Bones
Label:Sacred Bones
Cat-No:SBRLP373
Release-Date:06.02.2026
Genre:Alternative/Electronic
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLP373
Release-Date:06.02.2026
Genre:Alternative/Electronic
Configuration:LP
Tracklist:
1.1SEVASTOPOL
1.2MAGAZINE
1.3TRY SAYING
1.4DODECAHEDRON
1.5A BRIGHTER TOMORROW
1.6LIFE HEX
1.7IST HALT SO
1.8SICKO! FT. BILLY WOODS
1.9CURSIVE
1.10I'LL ASK HER
For Mandy, Indiana, the truth is the only way through. On their Sacred Bones debut URGH, the four-piece - vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall - are a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Across the ten tracks, the band interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.
Much of the album was written during a residency at an eerie studio house in the outskirts of Leeds, then recorded across Berlin and Greater Manchester. It was an intense environment partially due to the health issues faced by Caulfield and Macdougall during the writing and recording process.
Yet Mandy, Indiana remain uncompromising. Caulfield uses her voice as a distorted instrument and a weapon, oscillating between playful and eviscerating. The throbbing siren-sound of “Magazine” stands alongside the cut-up vocal fry of “try saying” and the shapeshifting ferocity of “ist halt so,” which channels the urgency of protest movements, referencing resistance to the genocide in Gaza while speaking to struggles more broadly, while final track “I'll Ask Her” is a deliberate directness calling out toxic boy’s club culture and a tenacious reckoning that hangs over the album at large.
Although there are still undeniable “bangers” (like the frazzled rap of “Sicko!” featuring billy woods), URGH often feels hewn with precise cinema. From the bristling techno of “Cursive” to the deconstructed feedback loops of “Life Hex,” the album moves between industrial catharsis and cinematic unease, threading a tension that Fair describes as “a remix of itself.” This contrasting palette is both a necessary aspect of the record as well as the underlying connective tissue.
Though deeply personal, URGH reflects the violent, fractured state of the wider world. Caulfield’s lyrics grapple with assault, systemic indifference, and the omnipresence of pain, while also insisting on moments of beauty and solidarity. URGH belongs in the physical world, and the artwork by Carnovsky, featuring an anatomical illustration of Andreas Vesalius, underscores the record’s visceral confrontation with the body and its limits.
URGH is both otherworldly, and physical and cathartic, both a first step toward healing and a refusal to let the conversation die.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1.1SEVASTOPOL
1.2MAGAZINE
1.3TRY SAYING
1.4DODECAHEDRON
1.5A BRIGHTER TOMORROW
1.6LIFE HEX
1.7IST HALT SO
1.8SICKO! FT. BILLY WOODS
1.9CURSIVE
1.10I'LL ASK HER
For Mandy, Indiana, the truth is the only way through. On their Sacred Bones debut URGH, the four-piece - vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall - are a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Across the ten tracks, the band interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.
Much of the album was written during a residency at an eerie studio house in the outskirts of Leeds, then recorded across Berlin and Greater Manchester. It was an intense environment partially due to the health issues faced by Caulfield and Macdougall during the writing and recording process.
Yet Mandy, Indiana remain uncompromising. Caulfield uses her voice as a distorted instrument and a weapon, oscillating between playful and eviscerating. The throbbing siren-sound of “Magazine” stands alongside the cut-up vocal fry of “try saying” and the shapeshifting ferocity of “ist halt so,” which channels the urgency of protest movements, referencing resistance to the genocide in Gaza while speaking to struggles more broadly, while final track “I'll Ask Her” is a deliberate directness calling out toxic boy’s club culture and a tenacious reckoning that hangs over the album at large.
Although there are still undeniable “bangers” (like the frazzled rap of “Sicko!” featuring billy woods), URGH often feels hewn with precise cinema. From the bristling techno of “Cursive” to the deconstructed feedback loops of “Life Hex,” the album moves between industrial catharsis and cinematic unease, threading a tension that Fair describes as “a remix of itself.” This contrasting palette is both a necessary aspect of the record as well as the underlying connective tissue.
Though deeply personal, URGH reflects the violent, fractured state of the wider world. Caulfield’s lyrics grapple with assault, systemic indifference, and the omnipresence of pain, while also insisting on moments of beauty and solidarity. URGH belongs in the physical world, and the artwork by Carnovsky, featuring an anatomical illustration of Andreas Vesalius, underscores the record’s visceral confrontation with the body and its limits.
URGH is both otherworldly, and physical and cathartic, both a first step toward healing and a refusal to let the conversation die.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Jim Jarmusch & Anika - Spooky
2
Jim Jarmusch & Anika - Disorder
3
Jim Jarmusch & Anika - Skaters (Short Version)
4
Jim Jarmusch & Anika - The Lake 1
5
Jim Jarmusch & Anika - The Lake 2
6
Jim Jarmusch & Anika - The World In Reverse
7
Jim Jarmusch & Anika - Afterwards
8
Jim Jarmusch & Anika - Order
9
Jim Jarmusch & Anika - Twins
10
Jim Jarmusch & Anika - Skaters
11
Jim Jarmusch & Anika - Return
12
Jim Jarmusch & Anika - Emptiness
13
Jim Jarmusch & Anika - These Days
14
Jim Jarmusch & Anika - Jetlag
15
Jim Jarmusch & Anika - Paris Bleu
16
Jim Jarmusch & Anika - These Days (Berlin Version)
Winner of the Golden Lion Best Film prize at the 2025 Venice Film Festival, Father Mother Sister Brother is the eagerly-awaited new film from Jim Jarmusch, featuring the collaborative soundtrack by Anika and Jim Jarmusch. Funny, tender and astutely observed, this is an intimate exploration of the universal intricacies of family dynamics. Starring Tom Waits, Adam Driver, Mayim Bialik, Charlotte Rampling, Cate Blanchett, Vicky Krieps, Indya Moore and Luka Sabbat.
Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance, while Anika admired Jim as a mentor who had stayed true to his unique vision throughout his career. This mutual respect led to a creative collaboration, which culminated in the haunting soundtrack for Jarmusch’s film Father Mother Sister Brother.
Jim first invited Anika to record a cover of Jackson Browne’s "These Days," inspired by Nico’s iconic version. This fully arranged track, prepared by Anika and featuring the Kaleidoskop string quartet, was recorded in Berlin and appears as a bonus track on the album as “These Days (Berlin Version)”. Jim later mixed a more minimal version of the song, adding several electric guitar tracks. While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s “Spooky.” Anika, who had performed a live version, suggested they cover it. The stripped-back version they created—featuring just vocals, upright bass, finger snaps, and a distorted organ riff—was chosen to open the film’s credits.
Beyond these covers, much of the film’s score was born out of improvisation. Jim and Anika spent hours improvising together, leading to a second round of recordings in Berlin, where Anika played Wurlitzer and electric guitar and Jim contributed affected electric guitars. Upon returning to New York, Jim shaped these recordings into the short, evocative instrumental pieces that became the film’s score. The very final touches were completed during a residency Jim and Anika spent together in Paris via the Pompidou Center.
The music for Father Mother Sister Brother is an experimental, collaborative soundscape, not meant to center around or define a single character. Instead, it’s atmospheric, like the air invisibly surrounding the characters
The movie lands in US theaters December 24. Coming soon to the UK, Latin America, Turkey, Canada, Benelux, Ireland, India, and more via MUBI.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Jim Jarmusch and Anika first crossed paths at the Sacred Bones 15th Anniversary celebration in 2022, where both Anika and SQÜRL performed. Jim was immediately struck by Anika’s performance, while Anika admired Jim as a mentor who had stayed true to his unique vision throughout his career. This mutual respect led to a creative collaboration, which culminated in the haunting soundtrack for Jarmusch’s film Father Mother Sister Brother.
Jim first invited Anika to record a cover of Jackson Browne’s "These Days," inspired by Nico’s iconic version. This fully arranged track, prepared by Anika and featuring the Kaleidoskop string quartet, was recorded in Berlin and appears as a bonus track on the album as “These Days (Berlin Version)”. Jim later mixed a more minimal version of the song, adding several electric guitar tracks. While in Berlin, Jim revealed to Anika that the only preexisting track in the film would be Dusty Springfield’s “Spooky.” Anika, who had performed a live version, suggested they cover it. The stripped-back version they created—featuring just vocals, upright bass, finger snaps, and a distorted organ riff—was chosen to open the film’s credits.
Beyond these covers, much of the film’s score was born out of improvisation. Jim and Anika spent hours improvising together, leading to a second round of recordings in Berlin, where Anika played Wurlitzer and electric guitar and Jim contributed affected electric guitars. Upon returning to New York, Jim shaped these recordings into the short, evocative instrumental pieces that became the film’s score. The very final touches were completed during a residency Jim and Anika spent together in Paris via the Pompidou Center.
The music for Father Mother Sister Brother is an experimental, collaborative soundscape, not meant to center around or define a single character. Instead, it’s atmospheric, like the air invisibly surrounding the characters
The movie lands in US theaters December 24. Coming soon to the UK, Latin America, Turkey, Canada, Benelux, Ireland, India, and more via MUBI.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
John Carpenter’s soundtracks for the most recent Halloween trilogy, made alongside his frequent collaborators Cody Carpenter and Daniel Davies, marked the legendary director and composer’s return to film scoring after nearly two decades away. 2018’s Halloween, 2021’s Halloween Kills, and 2022’s Halloween Ends were all directed by David Gordon Green, who engaged Carpenter early in the pre-production process, ultimately enlisting him as both an executive producer and soundtrack composer for the trilogy.
In listening to the recent Halloween scores, the collaborative spirit among the composing trio is one of the first things that jumps out. The now-famous bowed guitar part on Halloween’s “The Shape Hunts Allyson,” like all the guitar parts strewn across the trilogy, is played by Daniel Davies. John calls Daniel “the adventurer” of the group, and credits him with introducing sounds he’d never have considered. Cody, who his father refers to as a “musical savant,” is an equally essential presence. It’s his steady, methodical hand that helps give shape to the ideas that fly around when these three get in a room together. The scores for the new films may be centered on familiar themes, but they’re also a lot more sonically diverse and musically audacious than anything John could have pulled off in 1978, when he made the original Halloween.
In addition to the individual expanded releases, the Halloween Expanded Trilogy will be available as part of a deluxe limited box set, offered in 6xLP and 3xCD formats. These editions feature exclusive new packaging and artwork by Chris Bilheimer, along with expansive liner notes by music critic Brad Sanders, which include exclusive interviews with John Carpenter and director David Gordon Green. Also included on both box sets are three collectible posters designed by Creepy Duck, a box set-exclusive poster design by Chris Bilheimer, and a deluxe lenticular cover that brings the artwork to life.
An essential release for Carpenter collectors & film score fans.
- Includes all 3 Expanded Editions of the Halloween Trilogy
- All with new artwork & packaging by Chris Bilheimer
- 121 tracks out of which 35 unreleased tracks across 6xLPs
- Exclusive liner notes & interviews with John Carpenter & David Gordon Green
- Each expanded edition comes with a poster designed by Creepy Duck
- Plus a boxset-exclusive poster design by Chris Bilheimer
- Features deluxe lenticular cover art
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
In listening to the recent Halloween scores, the collaborative spirit among the composing trio is one of the first things that jumps out. The now-famous bowed guitar part on Halloween’s “The Shape Hunts Allyson,” like all the guitar parts strewn across the trilogy, is played by Daniel Davies. John calls Daniel “the adventurer” of the group, and credits him with introducing sounds he’d never have considered. Cody, who his father refers to as a “musical savant,” is an equally essential presence. It’s his steady, methodical hand that helps give shape to the ideas that fly around when these three get in a room together. The scores for the new films may be centered on familiar themes, but they’re also a lot more sonically diverse and musically audacious than anything John could have pulled off in 1978, when he made the original Halloween.
In addition to the individual expanded releases, the Halloween Expanded Trilogy will be available as part of a deluxe limited box set, offered in 6xLP and 3xCD formats. These editions feature exclusive new packaging and artwork by Chris Bilheimer, along with expansive liner notes by music critic Brad Sanders, which include exclusive interviews with John Carpenter and director David Gordon Green. Also included on both box sets are three collectible posters designed by Creepy Duck, a box set-exclusive poster design by Chris Bilheimer, and a deluxe lenticular cover that brings the artwork to life.
An essential release for Carpenter collectors & film score fans.
- Includes all 3 Expanded Editions of the Halloween Trilogy
- All with new artwork & packaging by Chris Bilheimer
- 121 tracks out of which 35 unreleased tracks across 6xLPs
- Exclusive liner notes & interviews with John Carpenter & David Gordon Green
- Each expanded edition comes with a poster designed by Creepy Duck
- Plus a boxset-exclusive poster design by Chris Bilheimer
- Features deluxe lenticular cover art
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Label:Sacred Bones
Cat-No:SBRLPC3372
Release-Date:29.08.2025
Genre:Indie Rock/Alternative
Configuration:LP
Label:Sacred Bones
Cat-No:SBRLPC3372
Release-Date:29.08.2025
Genre:Indie Rock/Alternative
Configuration:LP
1
Lathe Of Heaven - Exodus
2
Lathe Of Heaven - Aurora
3
Lathe Of Heaven - Portrait Of A Schorched-Earth
4
Lathe Of Heaven - Just Beyond The Reach Of Light
5
Lathe Of Heaven - Oblivion
6
Lathe Of Heaven - Kaleidoscope
7
Lathe Of Heaven - Matrix Of Control
8
Lathe Of Heaven - Catatonia
9
Lathe Of Heaven - Infinity's Kiss
10
Lathe Of Heaven - Automation Bias
11
Lathe Of Heaven - Rorschach
Lathe of Heaven return with their second full-length album Aurora, a bold expansion of their sonic and thematic palette that unfolds like a series of vivid, emotional vignettes.
Rather than following a singular tone or mood, Aurora unfolds like a collection of short stories, each track offering a different lens into the band’s evolving sound and deeply reflective lyricism. Incorporating influences from mid 80s British and Finnish post-punk, combined with subtle nuances from 90s and contemporary underground pop, Aurora is an iteration of Lathe of Heaven’s sound previously unexplored, one that offers a delicate balance of their punk roots with captivating new-wave and 80s post-punk aesthetics. Recorded with Ben Greenberg at Circular Ruin and mastered by Brad Boatright, the album sonically is inspired by The Cure’s melodic rock, Musta Paraati’s gothic post-punk synth and intense drumming, and A Flock of Seagulls’ art pop vocals and guitar riffs.
Lyrically, Aurora doesn’t shy away from heavy themes. Envisioned as a collection of sci-fi short stories, it is deeply influenced and lyrically driven by themes of anti-colonialism, diversity, and equality. These stories are inspired by Ursula K. le Guin, Octavia Butler, Greg Egan, and Peter Watts’ novels, leading listeners to mythical, bold, and somewhat unnerving realities. The title track, “Aurora,” is set in a dystopian future where Earth is long abandoned due to nuclear fallout - it explores themes of loss, love, and devotion. “Oblivion” delves into the phenomenon of semantic satiation - say a word enough times and it begins to lose its meaning. “Exodus” reimagines Theseus’ Ship Paradox, narrating the experience of transferring consciousness into a new, perfect body. Elsewhere, "Portrait of a Scorched-Earth" stands as a direct act of resistance. One of the most emotionally raw songs on the album, it breaks from the band's usual lyrical abstraction as an unflinching reckoning with the horrors of modern warfare and displacement, rooted in the lived tragedy of Gaza.
Lathe of Heaven hope Aurora elicits a vast spectrum of emotions and inspires deeper reflection on the state of our reality and humanity. It is literary without being pretentious, political without preaching, and emotional without flinching. Every song holds a piece of a shattered mirror and what emerges is a prismatic, wounded beauty, staring back with a thousand faces. Set to be released August 29th, 2025, Aurora stakes its claim; "tremble without fear into dreamless oblivion." You are invited.
Preview: https://www.youtube.com/watch?v=JcRCTdQrZWA
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Rather than following a singular tone or mood, Aurora unfolds like a collection of short stories, each track offering a different lens into the band’s evolving sound and deeply reflective lyricism. Incorporating influences from mid 80s British and Finnish post-punk, combined with subtle nuances from 90s and contemporary underground pop, Aurora is an iteration of Lathe of Heaven’s sound previously unexplored, one that offers a delicate balance of their punk roots with captivating new-wave and 80s post-punk aesthetics. Recorded with Ben Greenberg at Circular Ruin and mastered by Brad Boatright, the album sonically is inspired by The Cure’s melodic rock, Musta Paraati’s gothic post-punk synth and intense drumming, and A Flock of Seagulls’ art pop vocals and guitar riffs.
Lyrically, Aurora doesn’t shy away from heavy themes. Envisioned as a collection of sci-fi short stories, it is deeply influenced and lyrically driven by themes of anti-colonialism, diversity, and equality. These stories are inspired by Ursula K. le Guin, Octavia Butler, Greg Egan, and Peter Watts’ novels, leading listeners to mythical, bold, and somewhat unnerving realities. The title track, “Aurora,” is set in a dystopian future where Earth is long abandoned due to nuclear fallout - it explores themes of loss, love, and devotion. “Oblivion” delves into the phenomenon of semantic satiation - say a word enough times and it begins to lose its meaning. “Exodus” reimagines Theseus’ Ship Paradox, narrating the experience of transferring consciousness into a new, perfect body. Elsewhere, "Portrait of a Scorched-Earth" stands as a direct act of resistance. One of the most emotionally raw songs on the album, it breaks from the band's usual lyrical abstraction as an unflinching reckoning with the horrors of modern warfare and displacement, rooted in the lived tragedy of Gaza.
Lathe of Heaven hope Aurora elicits a vast spectrum of emotions and inspires deeper reflection on the state of our reality and humanity. It is literary without being pretentious, political without preaching, and emotional without flinching. Every song holds a piece of a shattered mirror and what emerges is a prismatic, wounded beauty, staring back with a thousand faces. Set to be released August 29th, 2025, Aurora stakes its claim; "tremble without fear into dreamless oblivion." You are invited.
Preview: https://www.youtube.com/watch?v=JcRCTdQrZWA
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
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: [email protected]More
"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: [email protected]More
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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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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: [email protected]More
Label:Synth Religion
Cat-No:SR0026CD
Release-Date:11.04.2025
Genre:Electronic, Electronica
Configuration:CD Excl
Label:Synth Religion
Cat-No:SR0026CD
Release-Date:11.04.2025
Genre:Electronic, Electronica
Configuration:CD Excl
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: [email protected]More
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: [email protected]More
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
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Preview: https://www.youtube.com/watch?v=4e7iff227D0
In June 2023, Lust For Youth and Croatian Amor shared the stage at the iconic Sydney Opera House during the Vivid Live Festival. This encounter reignited their creative partnership, laying the foundation for their collaborative new album All Worlds.
Drawing inspiration from the Golden Record sent into space as humanity's message to the unknown, All Worlds mirrors this longing for connection and understanding. Each track captures a fragment of emotion, culture, or memory, offering a kaleidoscopic view of the human experience.
The album’s title reflects the idea of collecting fragments from disparate places, feelings, and stories. Each song unveils a unique “world,” contributing to overarching themes of exploration and introspection. These “worlds” represent the inner landscapes we carry, shaping our identities. The title also gestures toward connection—as if these worlds float through space, waiting to be discovered and understood. Ultimately, All Worlds embodies the quest for belonging and meaning.
Through a sonic journey of isolation, resilience, and wonder, introspective lyrics intertwine with lush, evocative soundscapes. Retaining the dreamy atmospheres characteristic of both Lust For Youth and Croatian Amor, the album’s reverb-drenched production lends it an ethereal, nostalgic quality. While themes of melancholy and longing are central, energetic beats and uplifting arrangements introduce a bittersweet harmony that oscillates between vulnerability and euphoria.
The album marks a shift in tone, moving away from Lust For Youth’s synth-driven post-punk roots. Instead, All Worlds embraces a dance-oriented aesthetic, weaving pulsating rhythms and techno-inspired motifs with layered vocal samples. The result is a textured soundscape—an exploration of emotional fragility through shimmering production and introspective melodies.
Celebrating twelve years since their 2013 ambient-industrial album Pomegranate, All Worlds reflects the evolution of Lust For Youth and Croatian Amor. This album serves as both a response to their earlier work and a progression informed by a decade of growth and change. It deepens their exploration of sound and meaning, speaking directly to the present moment.
Like the Golden Record adrift in space, All Worlds is a collection of moments waiting to connect with those who choose to listen.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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: [email protected]More
Label:Synth Religion
Cat-No:SR0026LPCLR
Release-Date:04.04.2025
Genre:Electronic, Electronica
Configuration:LP Excl
Label:Synth Religion
Cat-No:SR0026LPCLR
Release-Date:04.04.2025
Genre:Electronic, Electronica
Configuration:LP Excl
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: [email protected]More
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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Label:Dark Entries
Cat-No:DE-338
Release-Date:06.06.2025
Genre:Electronic, Electronica
Configuration:12"
Label:Dark Entries
Cat-No:DE-338
Release-Date:06.06.2025
Genre:Electronic, Electronica
Configuration:12"
1
Hackney Electronica - H.E. Nuestro Circuito
2
Hackney Electronica - Efecto Perfecto
3
Hackney Electronica - The One
4
Hackney Electronica - Whispers from the Depths
5
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.
ps. all customers who got a copy of the misspress will receive a new copy, wihtout cover, automatically.
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
ps. all customers who got a copy of the misspress will receive a new copy, wihtout cover, automatically.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Cassette
Side A
First Punk Wars
Black Gloves
Quiet Mind
Condos
Side B
Television
One December Day
Acting Out
Social House
credits
released August 6, 2020
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Side A
First Punk Wars
Black Gloves
Quiet Mind
Condos
Side B
Television
One December Day
Acting Out
Social House
credits
released August 6, 2020
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Michel Moulinié - A1. Le Ballet Des Mouches
2
Michel Moulinié - A2. Les Cordes De La Mer
3
Michel Moulinié - A3. Lente Course
4
Michel Moulinié - B1. Le Philtre D'Echordus
5
Michel Moulinié - B2. L'Echo De L'Acier
6
Michel Moulinié - B3. Bonus
LP, Heavy 350gsm Sleeve, Sticker
- First ever official reissue of rare cosmic gem Chrysalide by enigmatic genius Michel Moulinié.
Genre: Ambient, Prog Rock, Krautrock, Experimental, Minimalism
Tracklisting LP
A1. Le Ballet Des Mouches
A2. Les Cordes De La Mer
A3. Lente Course
B1. Le Philtre D'Echordus
B2. L'Echo De L'Acier
B3. Bonus
Info
Info
WRWTFWW Records is wonderfully proud to announce the long anticipated official reissue of Chrysalide (1978), the sole album from French multi-instrumentalist and enigmatic genius Michel Moulinié. The krautrock/ambient/minimalism paragon is available as a limited edition LP with one never-heard bonus track. It is sourced from the original reels and housed in a heavy 350gsm sleeve.
Originally released in 1978 on Ange and Jean-Claude Pognant's mythical prog rock label Crypto,
Chrysalide is a fusion of minimalist meditations, cosmic soundscapes, and ambient with a human warmth, carried by a profoundly beautiful and unique use of twelve-string guitar, bass, and violin.
Ideal for an introspective listening experience, the hypnotic Kosmische Musik of Michel Moulinié belongs to the same psychedelic family as Manuel Göttsching’s Inventions For Electric Guitar, Mike Oldfield’s Tubular Bells, early Tangerine Dream, and Steve Hillage’s innovative guitar mastery. WRWTFWW listeners might also be reminded of the label’s seminal French release, Dominique Guiot's L'Univers de la Mer, which makes a great spiritual pairing with Chrysalide.
Escape into the vast universe inside yourself :
On entre à pas feutrés
Dans une musique rayonnante
Aux variétés chatoyantes
Embrasement consécutif
D'un univers cristallin
Perlé de notes transparentes
Un écho céleste emplit la vastitude
De fines gouttelettes de sons fluides
Se transforment en cascades multiples
Baignant le microcosme
Révélant la grande paix divine
For fans of prog rock, krautrock, ambient, minimalism, experimental, introspective hypno-acoustic mystical meditative music, L’Universe de la Mer by Dominique Guiot, Steve Hillage, Manuel Göttsching, Terry Riley, the cosmos and its soundtrack, the cosmos that exists in one’s self.
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
- First ever official reissue of rare cosmic gem Chrysalide by enigmatic genius Michel Moulinié.
Genre: Ambient, Prog Rock, Krautrock, Experimental, Minimalism
Tracklisting LP
A1. Le Ballet Des Mouches
A2. Les Cordes De La Mer
A3. Lente Course
B1. Le Philtre D'Echordus
B2. L'Echo De L'Acier
B3. Bonus
Info
Info
WRWTFWW Records is wonderfully proud to announce the long anticipated official reissue of Chrysalide (1978), the sole album from French multi-instrumentalist and enigmatic genius Michel Moulinié. The krautrock/ambient/minimalism paragon is available as a limited edition LP with one never-heard bonus track. It is sourced from the original reels and housed in a heavy 350gsm sleeve.
Originally released in 1978 on Ange and Jean-Claude Pognant's mythical prog rock label Crypto,
Chrysalide is a fusion of minimalist meditations, cosmic soundscapes, and ambient with a human warmth, carried by a profoundly beautiful and unique use of twelve-string guitar, bass, and violin.
Ideal for an introspective listening experience, the hypnotic Kosmische Musik of Michel Moulinié belongs to the same psychedelic family as Manuel Göttsching’s Inventions For Electric Guitar, Mike Oldfield’s Tubular Bells, early Tangerine Dream, and Steve Hillage’s innovative guitar mastery. WRWTFWW listeners might also be reminded of the label’s seminal French release, Dominique Guiot's L'Univers de la Mer, which makes a great spiritual pairing with Chrysalide.
Escape into the vast universe inside yourself :
On entre à pas feutrés
Dans une musique rayonnante
Aux variétés chatoyantes
Embrasement consécutif
D'un univers cristallin
Perlé de notes transparentes
Un écho céleste emplit la vastitude
De fines gouttelettes de sons fluides
Se transforment en cascades multiples
Baignant le microcosme
Révélant la grande paix divine
For fans of prog rock, krautrock, ambient, minimalism, experimental, introspective hypno-acoustic mystical meditative music, L’Universe de la Mer by Dominique Guiot, Steve Hillage, Manuel Göttsching, Terry Riley, the cosmos and its soundtrack, the cosmos that exists in one’s self.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.
Tracklist
1.1MOON'S MILK OR UNDER AN UNQUIET SKULL (PART 1)
1.2MOON'S MILK OR UNDER AN UNQUIET SKULL (PART 2)
1.3BEE STINGS
1.4GLOWWORMS / WAVEFORMS
1.5SUMMER SUBSTRUCTURES
1.6A WARNING FROM THE SUN (FOR FRITZ)
2.1REGEL
2.2ROSA DECIDUA
2.3SWITCHES
2.4THE AUTO-ASPHYXIATING HIEROPHANT
2.5AMETHYST DECEIVERS
2.6A WHITE RAINBOW
2.7NORTH
2.8MAGNETIC NORTH
2.9CHRISTMAS IS NOW DRAWING NEAR
3.1COPAL
3.2BANKSIDE
3.3THE COPPICE MEAT
3.4Ü PEL (INCENSE OFFERING)
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist
1.1MOON'S MILK OR UNDER AN UNQUIET SKULL (PART 1)
1.2MOON'S MILK OR UNDER AN UNQUIET SKULL (PART 2)
1.3BEE STINGS
1.4GLOWWORMS / WAVEFORMS
1.5SUMMER SUBSTRUCTURES
1.6A WARNING FROM THE SUN (FOR FRITZ)
2.1REGEL
2.2ROSA DECIDUA
2.3SWITCHES
2.4THE AUTO-ASPHYXIATING HIEROPHANT
2.5AMETHYST DECEIVERS
2.6A WHITE RAINBOW
2.7NORTH
2.8MAGNETIC NORTH
2.9CHRISTMAS IS NOW DRAWING NEAR
3.1COPAL
3.2BANKSIDE
3.3THE COPPICE MEAT
3.4Ü PEL (INCENSE OFFERING)
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1
Jinx - A. Jinx - Rêve Inconscient
2
Jinx - B. Madame Bovary - I'm a Runner
Territory World Ex FR
Genre : Synth-pop / Cold-wave
A. Jinx - Rêve Inconscient
B. Madame Bovary - I'm a Runner
French Post-Punk is full of diversity and never ends to surprise the amateurs.
This 7" showcases two different approaches by reissuing hard to find tracks by Jinx and Madame Bovary.
Jinx made the elusive track "Rêve inconscient" in 1987. Guided by an unreachable and mysterious female voice you're able to walktrough an enigmatic path. A dream that you probably wouldn't want to wake up.
Madame Bovary had a more upfront attitude. Jangly guitars, rowdy lyrics and leading synth lines defined their sound. I'm a Runner summarize their vision.
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Genre : Synth-pop / Cold-wave
A. Jinx - Rêve Inconscient
B. Madame Bovary - I'm a Runner
French Post-Punk is full of diversity and never ends to surprise the amateurs.
This 7" showcases two different approaches by reissuing hard to find tracks by Jinx and Madame Bovary.
Jinx made the elusive track "Rêve inconscient" in 1987. Guided by an unreachable and mysterious female voice you're able to walktrough an enigmatic path. A dream that you probably wouldn't want to wake up.
Madame Bovary had a more upfront attitude. Jangly guitars, rowdy lyrics and leading synth lines defined their sound. I'm a Runner summarize their vision.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Molly Nilsson - The Lonely Planet
2
Molly Nilsson - 1995
3
Molly Nilsson - H.O.P.E.
4
Molly Nilsson - Mountain Time
5
Molly Nilsson - Bunny Club
6
Molly Nilsson - Intermezzo: Palimpsest Galore
7
Molly Nilsson - Happyness
8
Molly Nilsson - Lovers Are Losers
9
Molly Nilsson - Clearblue
10
Molly Nilsson - My Body
11
Molly Nilsson - Titanic
12
Molly Nilsson - Bus 194 (All There Is)
13
Molly Nilsson - Tomorrow
Territories:WW-US,CA,UK, BENELUX
LP 10th Anniversary - Red Gold Vinyl edition
Tracklist
1.The Lonely Planet
2.1995
3.H.O.P.E.
4.Mountain Time
5.Bunny Club
6.Intermezzo: Palimpsest Galore
7.Happyness
8.Lovers Are Losers
9.Clearblue
10.My Body
11.Titanic
12.Bus 194 (All There Is)
13.Tomorrow
To celebrate Molly Nilsson’s most enduring fan-favourite album to date, Night School and Dark Skies
Association are releasing a limited 10th anniversary pressing on Red-Gold vinyl, limited to 500 copies.
Since its release in late summer of 2015, Zenith has come to be considered Nilsson’s greatest album to date. Now
on its 6th pressing, in 2025 Zenith represents the mid-point in the songwriter’s career to date and contains firm fan
favourites in Mountain Time, Happyness and her most popular song, 1995. Zenith sits square between Nilsson’s
original flurry of DIY creativity and her later, outward-looking political material.
Original sales notes…
“A sweeping, cinematic, emotional change is in the air. Molly Nilsson’s sixth studio album Zenith begins with clear,
wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring
and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson’s big statement and
consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings,
bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and
puzzlement.
That Molly Nilsson is a DIY cult figure is beyond question; she has always written directly and with wit straight down
the line between the universal and the personal. The difference with Zenith, and you can hear it in the opening
chords of opener The Only Planet, is that her scope is now much wider and her heart heavier than ever before:
over a post-ecstatic dusk, Nilsson serenades the globe in a loving embrace. Following on, 1995 is, arguably, one of
Nilsson’s finest songs to date. It’s one of those songs to learn the lyrics to, to listen to on repeat, a reason to wear
the grooves down to the bone, it’s why pop music can be one of the greatest art forms we have. It’s an example of
how, on this album, Molly draws the listener closer to her heart than ever before. There’s simply no escape from the
line “The plans that you made / when you still had the time / I’ve saved all the things that you left behind but by now
I guess I’d consider them all mine /Windows 95, is only a metaphor for what I feel inside / Although I’m older now /
there’s still an emptiness that’s never letting go somehow.” Show-stopper Mountain Time is the soundtrack to being
on the run, from societal conventions, from normative ideas of happiness, from your surroundings. It’s the
intoxicating call of the renegade. That’s not to say that Nilsson’s light touch has been forsaken for grandiose
statements. Bunny Club begins as a demo-sketch before breaking into a fast-paced tale of doomed romance with
big rave synths and Bus 194 (All There Is) sees Molly joyride through a city on a happy hardcore bus. But it’s
tracks like Tomorrow and another contender for best-ever-Molly moment, Happyness that the true scale of what
she’s accomplished reveals itself. We’re locked in a spiraling orbit, strings and bass whirling, gazing at the spinning
planet below us as we contemplate both the ultimate freedom in loneliness and the glimmer of hope in the Other.
Can we ever be truly with someone? Are we ever truly alone?
Over the 13 tracks here we get the impression that Nilsson may always be restless; like anyone else she has
conflicting feelings of love and hate. It’s just not many other people can tell you exactly how you feel before you
know it yourself.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
LP 10th Anniversary - Red Gold Vinyl edition
Tracklist
1.The Lonely Planet
2.1995
3.H.O.P.E.
4.Mountain Time
5.Bunny Club
6.Intermezzo: Palimpsest Galore
7.Happyness
8.Lovers Are Losers
9.Clearblue
10.My Body
11.Titanic
12.Bus 194 (All There Is)
13.Tomorrow
To celebrate Molly Nilsson’s most enduring fan-favourite album to date, Night School and Dark Skies
Association are releasing a limited 10th anniversary pressing on Red-Gold vinyl, limited to 500 copies.
Since its release in late summer of 2015, Zenith has come to be considered Nilsson’s greatest album to date. Now
on its 6th pressing, in 2025 Zenith represents the mid-point in the songwriter’s career to date and contains firm fan
favourites in Mountain Time, Happyness and her most popular song, 1995. Zenith sits square between Nilsson’s
original flurry of DIY creativity and her later, outward-looking political material.
Original sales notes…
“A sweeping, cinematic, emotional change is in the air. Molly Nilsson’s sixth studio album Zenith begins with clear,
wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring
and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson’s big statement and
consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings,
bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and
puzzlement.
That Molly Nilsson is a DIY cult figure is beyond question; she has always written directly and with wit straight down
the line between the universal and the personal. The difference with Zenith, and you can hear it in the opening
chords of opener The Only Planet, is that her scope is now much wider and her heart heavier than ever before:
over a post-ecstatic dusk, Nilsson serenades the globe in a loving embrace. Following on, 1995 is, arguably, one of
Nilsson’s finest songs to date. It’s one of those songs to learn the lyrics to, to listen to on repeat, a reason to wear
the grooves down to the bone, it’s why pop music can be one of the greatest art forms we have. It’s an example of
how, on this album, Molly draws the listener closer to her heart than ever before. There’s simply no escape from the
line “The plans that you made / when you still had the time / I’ve saved all the things that you left behind but by now
I guess I’d consider them all mine /Windows 95, is only a metaphor for what I feel inside / Although I’m older now /
there’s still an emptiness that’s never letting go somehow.” Show-stopper Mountain Time is the soundtrack to being
on the run, from societal conventions, from normative ideas of happiness, from your surroundings. It’s the
intoxicating call of the renegade. That’s not to say that Nilsson’s light touch has been forsaken for grandiose
statements. Bunny Club begins as a demo-sketch before breaking into a fast-paced tale of doomed romance with
big rave synths and Bus 194 (All There Is) sees Molly joyride through a city on a happy hardcore bus. But it’s
tracks like Tomorrow and another contender for best-ever-Molly moment, Happyness that the true scale of what
she’s accomplished reveals itself. We’re locked in a spiraling orbit, strings and bass whirling, gazing at the spinning
planet below us as we contemplate both the ultimate freedom in loneliness and the glimmer of hope in the Other.
Can we ever be truly with someone? Are we ever truly alone?
Over the 13 tracks here we get the impression that Nilsson may always be restless; like anyone else she has
conflicting feelings of love and hate. It’s just not many other people can tell you exactly how you feel before you
know it yourself.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Strawberry Switchblade - SIDE A: Spanish Song
2
Strawberry Switchblade - SIDE AA: Trees & Flowers
3
Strawberry Switchblade - SIDE AA: Go Away
Territories:WW-US,CA,UK, BENELUX
FORMAT: 7” LTD Black Vinyl (700) + Booklet
Tracklist:
SIDE A: Spanish Song
SIDE AA: Trees & Flowers / Go Away
2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.
“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.
Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.
These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
FORMAT: 7” LTD Black Vinyl (700) + Booklet
Tracklist:
SIDE A: Spanish Song
SIDE AA: Trees & Flowers / Go Away
2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.
“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.
Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.
These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More