Search:dr res

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

DEFTR (pron - ‘Defuture’): The Revolutionary Collaboration Redefining Ambient and Techno Music

DEFTR, the newly formed alias of Answer Code Request and Jan Wagner, presents their debut album “Run Away” on npm, introducing a captivating fusion of ambient and techno. This collaborative project marks a departure from Answer Code Request's renowned 4/4 techno framework, venturing into expansive auditory realms enriched by Jan Wagner's classical expertise.

Spanning eight meticulously crafted tracks, DEFTR's debut album explores a spectrum of blissful and resonant soundscapes. The compositions unfold with a delicate balance of ambient textures and rhythmic innovation, punctuated by evocative vocal samples that enhance the album's atmospheric depth.

Having previously released three EPs that hinted at this innovative direction, DEFTR solidifies their unique sonic identity with this full-
length release. The interplay between Answer Code Request's intricate rhythms and Wagner's ambient sensibilities creates a dynamic tension, resulting in a listening experience that is both immersive and transformative.

DEFTR's vision extends beyond the studio, aiming to bring their sound to life on stage with a focus on live performance elements, including drum machines and synths. While details of the debut album release show are forthcoming, Berlin is anticipated to host this significant event.

With their debut album, DEFTR not only establishes a new creative path for Answer Code Request and Jan Wagner but also sets a high standard for npm's inaugural release, promising an engaging and profound auditory journey.

Limited Edition of 1000 Opaque Pink 180 Gram Vinyl LP. Kiss Each Other Clean, Iron & Wine's fourth full length record was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd's Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd's Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach. His lyrics sprung to life in ways initially unimaginable to early fans and critics helping each song tell its story and build to climaxes thru various sounds and editing techniques. However what remained at the core of KEOC, and what fans of the band had come to love, was the song writing and singing of principle songwriter Sam Beam. Beam's ability to invite you in with his hushed singing tone and knack for a melody remained front and center even in his drive to replicate something in the vein of Waits' Swordfishtormbones Principle recording for KEOC was at home in Dripping Springs, Texas where Beam resided at the time. After laying down the bulk of the record Beam moved recording to Chicago to work with Brian Deck. A cast of musicians helped Beam find his sound and see his vision for KEOC including Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger (Tin Hat Trio), Benny Massarella (Red Red Meat/Califone), Chad Taylor (Chicago Underground Duo) and Matt Lux (Isotope 217). With KEOC Beam and company brought in soft rock smoothness, dub reggae textures, and instruments that hadn't been featured on previous records. The vintage synths on 'Monkeys Uptown', the Stevie Wonder funk on 'Big Burned Hand,', the strum and drang of 'Walking Far From Home' all give the otherwise very organic-sounding arrangements a welcome cheesy kick. The record also produced the biggest radio single of the bands career with the vintage AM friendly vibes of 'Tree by the River.' It was an adventurous period in the career in Iron & Wine and one in which Beam was defying categorization.

DREAMLESS VEIL make their debut with the new album, Every Limb of the Flood. The band, featuring members of INTER ARMA, ARTIFICIAL BRAIN, and PSYCROPTIC manifest terrifying Blackened Extreme Metal and offer one of the year's most haunting releases. Every Limb of the Flood is a concept album. Through tracks such as "A Generation of Eyes", "Saturnism", and "Cyanide Mine" Vocalist Mike Paparo and co. task the listener to consider what it would be like for an individual to fully disappear. DREAMLESS VEIL delves into this murk through 8 tracks - dramatic swells, melodic crescendos, and abrasive blast-beat poundings make way to more introspective moments ultimately resulting in pure horror. Paparo explores the concept of corporeal disintegration with pained shrieks and disembodied bellows, resulting in one of the most unchained performances of his storied career. Lyrics for the record show, but don't tell. DREAMLESS VEIL's concept alludes to misery leading to grotesquery - The opener "Dim Golden Rave" throws the listener into an ambiguous time and place: "Grief, spiritless, collapses against the filth-ridden street". The second track, "A Generation of Eyes" follows this narrative by invoking Neil Young, quoting him to the extent of "rust never sleeps." What ensues is a grief so powerful it decomposes from within. The end result manifests in the album closer "Dreamless" - the body is now fully discarded, hinting at a possible enlightenment through a horrible, gruesome process. Sonically, Every Limb of the Flood is a caustic, corrosive journey. Critically acclaimed drummer David Haley flexes some of his most creative drum work to date, dragging the listener through wild tempo changes, breakneck speeds that come to sudden halts, while guitarist Dan Gargiulo (ARTIFICIAL BRAIN) interweaves disorienting guitar madness. Recorded by Brett Bamberger (REVOCATION) Every Limb of the Flood was mixed by Gargiulo and mastered by Colin Marston (Gorguts, Krallice, and more.)

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

The unconscious and unknown must be really nice places. In any case, if you take the second album of Menelaos Tomasides under his given name as travelogue. A trip into dreamlike territory, yet concrete enough, a journey without target yet looking forward and looking back into familiar places, „dreamhike“ both continues and departs from the style Menelaos has found earlier, in “When the Moon Comes Through”, or his more conceptual-intentional “31 Minuten” works. As the album title - which roughly translates to “dream hiking” but also hints on “walkabout” and “songlines” – suggests, we are rambling between the real and the imaginary. From the bucolic border triangle of Belgium, Germany, and the Netherlands to the buzzing streets of the capital of Cyprus, where Menelaos has lived for many years, the tracks are about real places, about real experiences and emotions yet interwoven with a dreamlike fabric. Something that is just not tangible, yet substantial and palpable. Something concrete that manifests in the genuine and special sound design of this records - basically all of Menelaos’ works - his really special treatment of dynamics and loudness. It is one of the very few records where the established language of music making, specifically Techno, House, Dub, and early 2000’ Electronica, the clicks, thumps and plops from an earlier age of electronic music, transmogrify into slow movements of something new. Something that is gentle and truly personal, looking inwards. There are four-to-the-floor beats, there is wobbly bass, and dubby chords, even sublimated clarion calls. There is an immense energy in these tracks, the sheer materiality of low frequencies of a massive sound system manifested in a tiny room. Yet it is without any aggression, stripped bare of sonic pressure. It is quiet music no matter how high you turn up the volume. A rare treat, that requires exceptional skills and exceptional restraint and control on the technical side of music making. Probably it is a result of Menelaos specific combination of instinctual, intuitive approach to making music, which meets a genuine love for sound in seemingly endless loops of refinement that can lead to such a result as „dreamhike“. The elegant floating balance of control and playful experimentation manifests for example in a track that continues the ongoing collaboration with seasoned Cologne improviser Achim Fink on bass trumpet. Not only in this respect, the album can be described as a product of openness. It comes from a lot of taking in the world, of travel, of places and people met, of friendship and conversation (not necessarily with words). The deep trip of “dreamhike” further manifests Menelaos as one of the truly independent voices of electronic Cologne and beyond. Somewhat alike in character and attitude probably to what late Pete Namlook has established for Frankfurt with his label Fax +49-69/450464 (though ultimately warmer and much less uncanny) Menelaos has found his very own sound and vision. Music that answers to no one but speaks to everyone. Uncompromising yet gentle to the core: kind sounds from a kind spirit, arguably the most extraordinary and valuable quality music can have these days.

Originally from Ireland, but now settled in the peaceful countryside of rural France, Kaz Hawkins is the epitome of musical mastery and versatility. With a soul as rich as the music that inspired her growing up in Belfast, Northern Ireland, and a voice that crosses genres with ease, Kaz stands out as a singer, songwriter and performer extraordinaire. Her musical odyssey began decades ago, shaped by a deep love of blues, soul, jazz and folk, which have become her artistic pillars.

Renowned for her spellbinding performances and heartfelt compositions, Kaz has charmed audiences the world over, weaving stories of resilience, love and the human experience through her melodies. A seasoned musician, Kaz's magnetic stage presence has graced countless venues, captivating audiences and leaving them eager for more. Her melodies transcend borders, resonating with diverse audiences and earning her a loyal fan base across continents. Beyond his musical talent, Kaz embodies authenticity, courageously sharing his past marked by domestic violence, depression, drugs and self-harm, inspiring others to find hope through his music and their own uniqueness.

In 2024 and 2025, Kaz is ready to captivate her audience once again with the release of two live albums, "Live in Brezoi (I)" and "Live in Brezoi (II)". These albums capture the raw energy and emotion of her performances, showcasing her unrivalled talent and the undeniable bond she shares with her audience. Another album, different from the blues, is also in the pipeline and is being
produced in Berlin for release in 2025. In addition, Kaz is embarking on exciting collaborations with other artists, infusing her soul essence into collaborative projects. The first is with French soul artist Thomas Kahn in a duet entitled "A Place Like Home", released on January 10, 2024. Other collaborations will be announced shortly.

As she moves forward, Kaz aims to amplify her presence on social networks, creating deeper bonds with her fans and forging a community united by the magic of her music. In a world where melodies paint emotions and lyrics engrave memories, Kaz Hawkins stands as a testament to the power of music, inviting you to embark on an unforgettable sonic journey.

Limited Gatefold LP version on 180g transparent vinyl, with 4-page lyrics booklet (777x) Tusmorke, arguably the most atavistically trollish, acid-drenched musical act ever to come out of the kingdom of Norway makes yet another eternal return, this time to take the fellow traveller on a subterranean expedition to the kingdom of the Fair Folk! Dawn of Oberon is the band's 12th album, released 12 years after their debut "Underjordisk Tusmorke" (2012). 12-12-12 - That makes this album twice as occult as 666. The band says: "This record is a testament of a tumultuous time. We had a new drummer, Kusken, and keyboard player, Herjekongen, in 2022 and immediately started working on the epic Dawn of Oberon. This behemoth had been wallowing about since the start of the millenium, never quite finding its shape and form. We thought of this as a trial by fire to galvanize the new members. During jams at rehearsals and concerts, new themes emerged, resulting in a sort of sequel in the form of Dusk of Tawblerawn part 1-5. Kusken decided to quit after just 8 months but agreed to document the time we had spent together. All the music was recorded in our rehearsal space and studio in 2022-2023. The record is a manifestation of our Peter Pan syndrome; our aesthetics and ideals remain unchanged for the last 25 years. Never grow up, just grow old. This time we go away with the fairies all together, to the far-away land of the far-out mind.

"There was a bird Matthew Ehler had seen in his backyard before, but he’d never really stopped to look at it.

A red-headed woodpecker, a strange-looking bird. After years of more self-destructive escapes from everyone’s respective demons and traumas, Ehler started to embrace the stillness of birdwatching. “It was something to occupy my mind,” he explains. His new hobby wouldn’t just lend Cliffdiver’s sophomore album its title, but signal a spiritual overhaul rippling through the band.

The origins of Cliffdiver go all the way back to 2017. By 2021, the line-up had settled into Ehler on guitar, Joey Duffy and Briana Wright on vocals, Gilbert Erickson on guitar, Tyler Rogers on bass, Eliot Cooper on drums, and Dony Nickels on sax. All of them veterans of Tulsa’s vibrant and interconnected music scene, they kicked up steam fast — over a host of EPs, singles, and their debut album, Exercise Your Demons , they went from DIY shows to selling out Tulsa’s famed Cain’s Ballroom.

Still, Birdwatching feels like the work of a whole different band: an album specifically grappling with abandoning cyclical behaviors and addictions that no longer serve you. It’s pop-punk maturing into grown-ass adult travails. Birdwatching is a very real take on life: Things get better, but they also get worse again, and better again, and worse again, and nobody will ever have it all figured out. In each snapshot, Cliffdiver offers a companion for those ups and downs.

Produced by Brett Romnes (Hot Mulligan, Mom Jeans, Dogleg)

“Cliffdiver is a set of splayed ribs, a whole lot of heart, and someone you can turn to when the lights refuse to turn on” —NPR Music"

Few bands are as primed to capture their ecstatic live energy in masterful sonic detail like Terry Gross. Composed of three renowned engineer/producers (recording artists like Wooden Shjips, Moon Duo, Earthless, Big Business, and more) whose studio doubles as their jam spot and communal gathering place, the trio"s penchant for longform psychedelic escapades is able to be recorded with granular precision. The potency of the fellowship formed by drummer Phil Becker (Lower Forty-Eight, Peace Creeps, Pins of Light), bassist Donny Newenhouse, and guitarist Phil Manley (Trans Am, Oneida, Life Coach) lies in their ability to utilize their prowess as both players and record engineers to translate feeling with immaculate clarity. On Huge Improvement, Terry Gross embody a complex web of emotion with songs as ferocious and precise as they are agile and care-free, delighting in the catharsis of excising tension alongside one"s most trusted peers. Huge Improvement"s tongue-in-cheek title is rightfully earned. Like their debut Soft Opening, the pieces on Huge Improvement began as improvised studio jam sessions without expectations. The trio"s ability to plug in, play and have each experiment thoroughly documented opens up unparalleled avenues for further exploration and honing. The four mammoth slabs that make up Huge Improvement are driving, unrelenting excursions into the unknown. Whether burning white-hot or smoldering in plumes of smoke, the pieces stretch as much inwardly as they do cosmically, embracing every surprising turn. Terry Gross"s Huge Improvement morphs the trio"s search for communal connection and reprieve into a transcendent respite, a burst of focused energy to be enveloped in while facing the senselessness around us with a smile.

Rhetoric & Terror is Berlin-based Hemphill’s second album since leaving Liars back in 2016.

No stranger to reinventing his approach towards composition, Rhetoric & Terror feels like we are – perhaps for the first time – opening a doorway into Hemphill’s personal life, to his disparate sonic influences, his wide-ranging journeys through philosophy, and his own reflections on his role as an artist.

Like different thoughts and feelings emerging in a state of meditation, Hemphill invites you to pause on one ‘scene’ for a moment before moving onto the next. There’s space to get lost here – both emotionally and in the colour of the album’s wide-ranging textures.

With his wife Angelika Kaswalder on vocals throughout the album and multi-instrumentalist Morgan Henderson – a longtime friend of Hemphill’s since Henderson’s time in the post- hardcore band The Blood Brothers - adding woodwind, Nonpareils is no longer simply a solo project – and it’s apparent in this openness.

The name of the album – Rhetoric & Terror – describes this split that Hemphill is making from the conceptual nature of his first solo album (2018’s Scented Pictures), and the new direction that he – perhaps – hopes to continue taking. The title comes from a chapter in Giorgio Agamben’s book, “The Man Without Content”, where he describes the concepts of rhetoric and terror to describe two different types of writers: the rhetorician and the terrorist. The terrorist is a misologist who is only into the feeling; the rhetorician is committed to logic and form.

“With Rhetoric & Terror, I wanted to start with emotions and feeling. I was playing with my kids, listening to Cocteau Twins, I have a wonderful partner, and it seemed very contrary to any sort of growth to sequester myself from this life in order to get into character as a musician. Instead, I tried to remove the boundaries between my creative life and my. responsibilities and have it all be one fluid thing. All things at all times, and trust that this will guide my music rather than more intellectual concepts or limitations.”

Despite its catalysts being in philosophy and conceptual art, Hemphill has created an album that’s deeply “emotionally available”. It’s also helped him take a new stance on life that combines his life as a partner and parent in a kind of unity with his role as the artist. It’s plain to hear as a listener – Rhetoric & Terror, despite its intimidating name, is welcoming
and playful, even during its most intense moments.

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’ in random-colour reground vinyl. “Lewis’s catchiest and finest album” - (Grade: A) Vice. Blang Records are thrilled to announce they’ll be bringing the wild streets of Manhattan to the UK and Europe this autumn with the vinyl re-release of Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’. The LP sold out of its first pressing and has been impossible to buy anywhere for years…until now. Out on exclusive Random Mix Colour Reground EcoVinyl in record shops from 20th September. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang, it feels fitting that tour support comes from UK antifolk linchpins, Blang Records mainstay, and arguably one of the UKs most criminally underrated bands, David Cronenberg’s Wife (“A mix of 80’s fall and the Velvet Underground” - NME). Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan’s Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more. ‘Manhattan’ was mixed by John Agnello (Dinosaur Jr., Phosphorescent, War On Drugs) and recorded by Brian Speaker at SpeakerSonic Studios NY, produced by Brian Speaker and Jeffrey Lewis. “We’ve been fans of Jeffrey Lewis since seeing him at the Sidewalk Cafe in 2001, so we’re really really pleased to be really-re-releasing the excellent album ‘Manhattan’ just in time for his September UK Tour. This all started when Jeffrey asked for help looking after his merch after his UK tour finished last year and we said we’d help him press some records in Europe from a UK address as the postage costs from the US were way too much. This ultimately led to us re-releasing his classic album (and respectful nod to Lou Reed's New York) ‘Manhattan’. It's beyond a dream come true. Blang is the home of fantastic lyricists and that's exactly what Jeffrey is - this is a perfect fit.” - Blang Records. “Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!” – Regina Spektor. “Jeffrey is the best pure songwriter I know of… ‘Sad Screaming Old Man’… is one of my favourite songs ever written.” – David Berman, Silver Jews. Tour Dates: Jeffrey Lewis & The Voltage, w/ support from David Cronenberg’s Wife - Aug 29th Hertford – Corn Exchange, 30th Coventry – The Tin Music & Arts, Sept 1st Stockton-on-Tees – Georgian Theatre, 2nd York – The Crescent, 3rd Stirling, Scotland – The Tolbooth, 4th Birkenhead – Future Yard, 5th !SOLD OUT! – Halifax – The Grayston Unity, 6th Norwich – Norwich Arts Centre, 7th Northampton – The Black Prince, 8th Carmarthen – CWRW, 9th Nottingham – The Old Cold Store, 10th Southampton – The Joiners Arms, 11th Hastings – The Pig // Jeffrey Lewis solo: 12th London – West Hampstead Arts Center, 13th London – West Hampstead Arts Center

New pressing in soon, note increased price. When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying Inventions for the New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future – often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. To celebrate Maserati's 20th anniversary, we have finally made Maserati VII available again on vinyl for the first time in over five years, packaged in the original heavyweight, full-color old-style tip-on gatefold jacket with custom matte and spot gloss varnishes

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

Emmy-winning composers Kyle Dixon & Michael Stein, best known as the duo behind the score for Netflix’s 'Stranger Thing', have composed the original score for 'The Retaliators' (made by Better Noise Films). The revenge-driven horror thriller is Certified Fresh on Rotten Tomatoes with an audience score of 89% and stars Michael Lombardi (FX’s Rescue Me, the Deuce) and Marc Menchaca (Ozark, Black Mirror), alongside featured appearances from a who’s who of modern active rock chart-leading musicians including Tommy Lee (Motley Crue), Ivan Moody and Zoltan Bathory (Five Finger Death Punch, plus Jacoby Shaddix (Papa Roach).

Mike Paradinas, veteran producer and Planet Mu label owner has written a new album called 'Grush' and it's full of weird bangers that reclaim the 'dance' part of the woeful term IDM. A back-to-first-principles record, inspired in part by the group of artists IDM was coined for; melodic dance music that didn't come out of urban scenes, but interpreted them from a distance. The tracks on 'Grush' are all road-tested live favorites developed with feedback from Mike's touring partner and visuals guy Mora (Jan Moravec). It's a detailed and energetic journey which replicates the flow of a live gig. A lot of the tracks have been made in hotel rooms in response to shows, 'Imperial Crescent' is named after a Japanese Hotel, as is 'Belvedere' in Prague, while some tracks such as 'Hyper Daddy' were created specifically to play live. Drums are confidently at the fore here and the album feels like it traces Mike's musical history and interests neatly around his sweetly nostalgic melodies, with atmospheres and structures which twist and turn with a charming softness which contrasts with the tension in the drums. Take 'Hyper Daddy's' spiralling notes and twinkling piano which remind one of early Black Dog or Omni Trio rushing alongside splashy jungle drums, or the aquatic acid footwork of the title track with its drums softly bubbling and kicking. Elsewhere there's territory which harks back to his Tusken Raiders pseudonym, like the heads down Drexciyan funk of 'Windsor Safari Park,' which transforms from moody electro into a sunny hardcore track midway. The album is interspersed with Reticulum A, B and C at the start middle and end of the album which suggest a theme which carries across the music in an effortless and joyful way. 'Grush' is a strong album that works both for listening and DJing and a great snapshot of where Mike Paradinas musical head is at in 2024.Tracklist Vinyl A: 1/Reticulum A 2/Hyper Daddy 3/Fogou B: 1/Magic Pony Ride (Pt.4) 2/Imperial Crescent 3/Reticulum B 4/Grush C: 1/Belvedere 2/Raver 3/Windsor Safari Park 4/Hastings D: 1/Manscape 2/Metaphonk 3/Reticulum C

They say you should never meet your heroes, but for Mike, meeting the legendary Adrian Sherwood has been a transformative experience, leading to creative collaborations that have benefited both of them.

Nearly 30 years after first being mesmerized by OnU Sound’s releases, a cheeky bit of radio ripping serendipitously led to Mike helping Pats Dokter, the label’s official archivist, with his work restoring master tapes, and eventually to him creating visual content for Adrian’s live shows.

A while after this collaboration began, Adrian offered to remix some of Mike’s music, either by his solo project @misledconvoy or our tunes, and it’s four cuts by us that grace this heavyweight platter.

From the dreamy dub of Transient Transmission to the rolling rhythms of A Doubtful Sound, our originals have been re-arranged and dubbed to $%># in Adrian’s signature style, with fluid melodies, pounding basslines and vocal samples awash in a wall of effects.

Trumpets by David “Ital Horns” Fullwood bookend the release, haunting in the first track and celebratory in the last, while Doug Wimbish (Tackhead) added an extra bassline to the heaving version of 1000 Mile Drift, which also features the voice of the iconic Lee “Scratch” Perry.

Reflecting on the collaboration, Mike says, “the whole experience has been slightly unreal, from working on Adrian’s videos to being in the OnU studio and watching him dub-mixing the tracks I’ve made, something I could never have imagined happening!”

Mike isn’t the only OnU fan, as a pivotal moment for Paddy was “watching Adrian mixing Tack>head at the Powerstation in 1995 and seeing the cause-and-effect of what he was doing and hearing the unbelievable sounds coming out of the speakers. It was the first time I’d ever seen somebody dub mix like that.”

The cover of Echoes of the Night is based upon an original artwork by Hamish Macaulay, while the vinyl has been pressed using a 100% recycled compound known as eco-mix, making each record totally unique as the colours subtly change across the pressing run.

Die Compilation "Das schöne Leben des Herrn K." präsentiert 13 Neuinterpretionen aus dem Manfred Krug Oeuvre. Künstlerinnen und Künstler aus allen Ecken des deutschsprachigen Pop- und Indiekosmos erklärten sich bereit, ein Krug-Stück ihrer Wahl beizusteuern. Und so wie die Zusammenstellung der Platte verlief, so klingt sie nun auch: organisch und stimmig, dabei abwechslungsreich, und, obwohl die aktive Krug-Ära nun doch schon seit Längerem in der Vergangenheit ruht, enorm zeitgemäß.

Mexican supergroup Secret Echoes releases debut single ‘Bring My Beat Back’ on Crosstown Rebels. The project combining a trio of revered talents from the Mexican electronic landscape sees Estefani Brolo, Diego Cevallos, and Marco Anaya unite to reveal a first glimpse into their forthcoming debut album, with the single remixed by Zombies In Miami focus on the song's hypnotic vocals and raw emotive energy.

Secret Echoes is a dynamic collaboration of three acclaimed artists from Mexico’s electronic music scene: Estefani Brolo (of BROLORZIO & I.M YONI), Diego Cevallos (AKA Métrika), and Marco Balcazar (AKA Balcazar of Balcazar & Sordo). With each member bringing a distinct musical background to the group, creating a unique fusion of sound set to resonate with electronic music enthusiasts worldwide, Secret Echoes creates music that blends house foundations with melodic innovation.

The origins of the project trace back to the height of the pandemic, when Cevallos and Balcazar began collaborating on an album they had always envisioned. Renting a unique studio in Jiutepec, Mexico, equipped with analogue tape machines and high-end studio gear, and inviting their talented friends to contribute, Brolo soon joined the project - adding her melodic and lyrical expertise. The result was the recording of 11 tracks that were put on hold until the time was right. After revisiting the tracks and performing them live, ‘Bring My Beat Back’ caught the attention of Crosstown Rebels founder Damian Lazarus during 2024’s Day Zero performance. Inspired by its energy and potential, Lazarus signed the entire album, and this first single provides a first glimpse of what is to come from the enigmatic trio on an imprint known for continually pushing boundaries within house music.

‘Bring My Beat Back’ showcases the group’s distinctive blend of house music foundations, guided by Brolo’s captivating vocals above shimmering synths and refined percussion grooves to deliver a silky-smooth production balancing classic nuances with contemporary touches for the dance floor. Creatures Of The Night founders and Permanent Vacation regulars Zombies In Miami provide an extra layer to the package, with the renowned duo’s remix drawing for neon-lit synths and hazy tones for a deep dive into the late-night hours.

Aniara Recordings presents the second chapter of the Genius Of Time Vocal Series, showcasing the exceptional synergy between duo Arkajo & Dorisburg, in collaboration with a range of talented vocalists. A-side 'Closer' blends intimate vocals with a hypnotic rhythm, creating an atmosphere of pure emotion. On the flip side, 'Fumana Chord' offers a bold, uplifting spirit, driven by a deep, resonant bassline, joyful beats and ecstatic vocal snippets.

Pigs, Pigs, Pigs, Pigs, Pigs, Pigs, Pigs-Drummer Ewan Mackenzie präsentiert die fünfte LP seines Soloprojekts Dextro auf dem neuen Pigs-eigenen Label Mr Medicine. "Respire" ist eine Reise in einen versunkenen Raum, in dem sich akustische Motive mit symphonischer Elektronik zu zauberhaften Klanglandschaften verbinden. Dextro veröffentlicht u.a. bei Grönland und Border Community und war erst kürzlich an Grönlands Harmonia-Rework-Projekt beteiligt. Ihm zur Seite standen Saxofonistin Faye MacCalman (Archipelago, Me Lost Me, The Unthanks), Cellist Tom Merrit Smith und Harmonistin Kate Halsall (Galvanize Ensemble).

Lovers of Italo disco music will consider Cyber People as one of the most important acts in its scene. The Space-synth sound Cyber people brought in the mid 80’s, was highlighted by their 1985 ‘Void Vision’ release, which became a hit both in Europe, as well as in South America. On top of that, Cyber People paved the road for acts like Koto, Laserdance and Hipnosis, just to name a few. Cyber People were disbanded though in 1988, but left behind a series of most important Italo Disco records.

Now, build on the ashes of the former and legendary ‘Memory Records label from Parma – Italy, Memix International is pleased to announce its return, and the return of Cyber People. In its original form, headed again by the Maestro Giorgio “Theo” Spagna himself, as leader of the pack, with a tribute to Anfrando Maiola, the founding father of Mamory Records’ most important act, Koto, who left us in 2023.

As a tribute, Anfrando’s “Dragon’s Legend” get’s a complete new overhaul by Cyber People, respecting its original structure, concept and spirit, bringing it however into the 21st century.

Besides the almost 8-and-a-half-minute tribute of Dragon’s legend on the MEM-side, on the MIX-side you will find the DJ friendly ‘DJ DUB’, bringing you the compact essential of ‘Dragon’s Legend’ for any up-to-date Italian Disco set. (And if you want to call it Italo Disco, that’s perfectly fine with us too!)

With this release, Memix International continues where it’s predecessor stopped in 1989. Paves the road into a new era, and pays with this rerelease it’s respect to Anfrando Maiola and his Koto releases , such with full support from his heir.

With this release Memix International also brings a tribute to Alessandro Porta, the great Italian designer and visual artist, whose heirs were as kind to participate also, and made one of Alessandro’s drawings available for the sleeve of this unique release. It was Porta who was, on many occasions, responsible for the characteristic artwork of various Koto releases and, all together it will for sure make this release a well sought item which comes in a strictly limited edition of 500 units, so distributed on a ‘first to come, first to serve’ basis. Expected release and shipment: end of September/begin of October 2024.

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

Forrest Gump was the surprise hit of the 1994 summer movie season. The film traces the life of a half-wit through the major historical events of the 1950s, '60s, and '70s. It features Tom Hanks as the loveable Forrest Gump and Robin Wright (Claire Underwood in House Of Cards) as Forrest's insecure girlfriend Jenny.

Forrest Gump won six Academy Awards for Best Picture, Best Actor in a Leading Role, Best Director, Best Visual Effects, Best Adapted Screenplay, and Best Film Editing.
The film garnered for seven Golden Globe Award nominations, winning three of them, including Best Actor - Motion Picture Drama, Best Director - Motion Picture, and Best Motion Picture - Drama. The film was also nominated for six Saturn Awards and won two for Best Fantasy Film and Best Supporting Actor (Film. The film also won the Outstanding Achievement in Special Effects award at the 1995 BAFTA Film Awards.

Forrest Gump received numerous other awards such as one win from the Screen Actors Guild Awards in its first year for Tom Hanks in a total of four nominations.

The film was selected for preservation by the Library of Congress in the United States National Film Registry in 2011, being deemed culturally, historically, or aesthetically significant'. The movie has made multiple American Film Institute lists including the quote Mama always said life was like a box of chocolates. You never know what you're gonna get.' ranking 40th on 100 Years...100 Movie Quotes. The film ranked 240 on Empire's list of the 500 Greatest Movies Of All Time. The chain of restaurants, Bubba Gump Shrimp Company opened based on the film, and has opened many locations since its founding.

The score was composed and conducted by Alan Silvestri and was nominated for Best Original Score in the 67th Academy Awards.

The legendary Score is now finally available on vinyl for the first time. The first pressing of 1.500 copies are pressed on 'Chocolate' coloured vinyl. You never know what you'rei
gonna get...

"Springing from Osaka, Japan’s cultural center and historical heart, comes HYPER GAL, a two-piece band consisting of visual artist Koharu Ishida on vocals and noise artist Kurumi Kadoya on drums.

The minimalist duo make maximum impact - stripping music down beyond the bare essentials, to create shimmering, no wave pop from blast beat drums, glittery keyboard loops and ethereal bubblegum vocals - laced with velvet and firecrackers.

On “After Image” HYPER GAL hold fast to their limited palette, but expand their reach. Working with a canvas larger than ever before, the band fearlessly alternate bold, avant-garde strokes with intimate, deliberate gestures. The result is a new world awash in a sea of endless possibilities - only visible with closed eyes and open ears.

“There's something almost vapor-wave-adjacent about the glorious racket riled up by this pair. The effect of repetition throughout, the way the beat slips in and out of time, is hypnotic” - THE WIRE

“Blends elements of noise, no wave, pop and blistering punk to create something remarkable and new… Endlessly inventive and challenging” - MAXIMUMROCKNROLL

“These royalty of no-wave-pop don't blink and their delivery is absolute. An exhilarating, total experience” - NOISE-FI

""Indescribable, just listen to it for yourself. And don't take any stimulants beforehand, you could end up in the emergency room"" – OX FANZINE

“It looks like noise, but there is too much color. Pop, but unsellable. Their music goes beyond barriers, genres and boundaries, as if a virus had been injected into a video game bringing delirious ruin to a perfect world” – SODA POP

“Intensely good. A beautiful challenge, a noise, relentless, not an onslaught, always inviting, like they want to pull you in rather than chase you away. Actually, this is joyous” - THE ORGAN"

Repress! Before he developed into a star composer and arranger, Tom Scott was an ambitious 19 year-old saxophonist looking for his big break in 1967. The opportunity came when legendary jazz label Impulse paired Scott with 9-piece vocal group The California Dreamers and allowed the young musician to take the helm as a band leader, with The Honeysuckle Breeze as the spectacular result. This rare and long out-of-print album features Scott leading a stellar lineup of sessions players—Bill Plummer (sitar), Glen Campbell (guitar) and Carol Kaye (bass) among them—through warm, smooth versions of songs by The Beatles (“She’s Leaving Home”), Donovan (“Mellow Yellow”), Joan Baez (“North”) and Jefferson Airplane (“Today”), which many will recognize from it’s sampling in the Pete Rock & CL Smooth classic “T.R.O.Y.” Resurrected, refurbished and remastered by the talented folks at Get On Down, Scott’s debut record sparkles with a high quality digital audio transfer from the original master tapes and is packaged in a gatefold paste-on case with a dust sleeve and obi strip. Don’t let this “Breeze” pass you by.

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Step inside the world of Ginger Root. Cameron Lew makes it easy to do so; every considered detail is his own manifestation, written, designed, and executed as an all-encompassing diorama of sound and sight. A multi-instrumentalist, producer, songwriter, and visual artist from Southern California, Lew has crafted his project steadily since 2017, inviting a fervent and growing legion of fans into storylines drawn across mediums: captivating albums with accompanying films and globe-spanning tours. The Ginger Root sound _ handmade yet immaculately polished synth-pop, alt-disco, boogie, and soul _ takes shape through Lew's lens as an Asian-American growing up enamored by 1970s and '80s music, specifically the creative and cultural dialogue between Japanese City Pop and its Western counterparts from French Pop to Philly Soul to Ram-era McCartney. He spins his retro-minded influences and proliferates savvily in the present, synthesizing a songwriter's wit, an editor's eye, and a producer's resource into something singular and modern. SHINBANGUMI, his long-awaited third LP, and Ghostly International debut set for physical release in 2024 with a visual album component, translates roughly to a new season of a show. It finds Lew more poised, idiosyncratic, and intentional than ever in a new chapter of life, unlocking "exactly what Ginger Root should sound and feel like," he says. "In terms of instrumentation and musicality, it's the first time that I felt very confident and comfortable with what everything should be comprised of. On the more personal side, I'm coming out of the last four years of writing, touring, and living as a different person; SHINBANGUMI is a platform to showcase my new self."

Tip!

Polido has been fantasizing with the idea of free music throughout his artistic career. Free from restraints, logos, musical genres, but also from this modern obsession with narratives, plans, business plans, algorithms and bubble wrapped ideas for comfort of those of you that can’t breathe without everything making sense.
“Hearing Smoke” has nothing of that. It has been four years since Holuzam released the double album “A Casa e os Cães / Sabor a Terra” and for four years I have been daydreaming about what would come next. This is it, eleven new pieces about the future of the future of music. It is the result of years of study, research and sound consolidation. Sound as matter, mutating, transforming, absorbing all around, a shapeshifting entity connecting with the principles of freedom.

"Polido has been researching Portuguese contemporary composition, its very own sounds and ideas. Its origins, the web of repression, tension and censorship before the April 25th revolution in 1974; secondly, as an afterthought, freedom, equality and a unique sense of community and belonging screaming through the music. He absorbed those states of mind and made an album that listens to the current world and presents globalization as a mental trap.
If the music that inspired him somehow comes from a post-colonial world, “Hearing Smoke” questions how we can create something new in this permanent state of cultural colonization, where new trends or forms of music only thrive if they are accepted by the dominant cultures. The physical world has been transformed, but ideas like “world music” or “ghetto music” still show that dominance, the Strange can only be accepted if it incorporates the rules and codes of that dominant force. What I am saying is that it is hard for Portuguese musicians to present themselves as original. They will never have that credit unless the music relates to something that exists in another

realm. Never for their benefit, but for the power of association. I may sound arrogant here, but Polido is unique, original, one of a kind (all those words, all those redundant synonyms). I knew it four years ago when I got lost in the way “A Casa e os Cães” is assembled and how he makes something memorable out of the most commonplace conversations. “Hearing Smoke” continues the flow and puts us in the centre of these ever evolving masses of sound.
Somehow his music finds you, it starts speaking with you until it asks you to be a part of it. Polido’s beats and harmonics are combined in such a tender way that you mellow out while listening to these beats - thinking of the brilliant “Saque”. Even when he exposes you to something more harsh - “Canto D’Amorte” or the closing moments of the last track “Custa A Crer” - there’s still a cradle effect.
But what keeps me returning to this album is how it seems to transform in my ears. Not every time I listen to it, but while I am listening to it. The sound seems to move, embracing me and controlling my inner thoughts. These start to move along at the same pace, with the same feeling of cloudiness. Nothing new here, the thing is how it feels different from time to time, how the music, because of something that changes or moves, comes as a catharsis/revelation. It drives me nuts how the beats come and go in tracks like “Fogo Firme (Encomendação)” or “The More I Think, The Less I Can Speak“, leaving everything suspended and, simultaneously, relieved. When dramatic - ”Prova De Existência“ - it is sad af and gorgeously epic.

Trap, bass music, dubstep, ambient, hauntology and contemporary music flow side by side here, no pushing around, free of interpretation, and you are free to feel or listen to whatever you want in “Hearing Smoke”. That’s free music for you. Not a hard concept, something for you to enjoy, feel, reflect about. This is what the future will sound like."

André Santos // Holuzam

"Glossolalia" ist das dritte Solo-Album von Dale Crover, dem weltbekannten Schlagzeuger der Melvins, Nirvana und Redd Kross sowie Sänger und Gitarrist von Altamont. Das von Crover und Toshi Kasai produzierte Werk strotzt nur so vor Nuggets-Garagenrock, Proto-Metal-Riffs und herrlich verschwommenem Psych-Pop. Die erste Single des 11-Song-Albums ist "Doug Yuletide". Der Track ist einer von zwei "Glossolalia"-Songs, bei denen Crover mit dem Gitarristen Dan Southwick zusammenarbeitet, seinem langjährigen Freund und Altamont-Bandkollegen. Aber Southwick ist nicht der einzige Freund, der auf Glossolalia zu hören ist: Kim Thayil von Soundgarden (Leadgitarre bei "I Quit" und "Rings"), Ty Segall (Leadgitarre bei "Spoiled Daisies" und "I Waited Forever"), Rob Crow von Pinback ("Don't Worry About It", "Rings" und "I Waited Forever") und Tom Waits' ungelenkes, in Zungen gesprochenes Intro beim Titelstück. "Glossolalia" ist Crovers bisher fokussiertestes Statement als Solokünstler. In seiner Gesamtheit zeigt das neue Album, dass Crover, so wie die Melvins in ihrem vierten Jahrzehnt weiter wachsen und sich entwickeln, auch als Solokünstler neue Schritte unternimmt. Inmitten des inspirierten Geplappers von Waits, des glorreichen Schredderns von Segall und Thayil und vielem mehr, sticht vor allem die Robustheit von Crovers Vision hervor. Diese Platte zeigt, dass seine Gesamtästhetik genauso stark wie sein legendärer Schlagzeugdonner ist. ENGAs he began plotting his new solo album, Dale Crover _ world-renowned drummer for the Melvins, Nirvana and Redd Kross, and singer-guitarist for Altamont _ realized that, unlike with his prior two full-lengths, he was starting from scratch. "I didn't have any songs," he says, "so I just went on this writing spree." The result is Glossolalia, Crover's third LP under his own name and arguably his most focused statement yet as a solo artist: 11 catchy yet eccentric tracks that move from Nuggets-y garage rock to crafty proto-metal riffage and gorgeously hazy psych-pop, touching on everything from a bad teenage trip to the charms of the late, great Jane Birkin, and featuring input by illustrious guests including Ty Segall, Soundgarden's Kim Thayil and none other than Tom Waits. What stands out across the record is the sturdiness of Crover's vision. He's modest about his ambitions _ "It's just kind of like extra credit," he says, about having a solo outlet apart from his main band _ but as this record shows, his overall aesthetic hits just as hard as his legendary drum thunder.

"Wir waren hier" heißt das neue Studioalbum von der Gruppe Die Nerven. Es ist das sechste Album des Trios. Die neuen Songs haben Kevin Kuhn, Julian Knoth und Max Rieger in einer vierwöchigen Session in einem ehemaligen Sterne-Restaurant am Stuttgarter Schlossplatz mit Blick auf die Oper aufgenommen. Und so nah wie auf "Wir waren hier" sind Die Nerven noch auf keinem Studioalbum der Aura ihrer Live-Auftritte gekommen - der musikalischen Spontaneität ihres Zusammenspiels auf der Bühne, dem Stop-and-Go ihrer Improvisationen, der Lust an der gegenseitigen Überraschung, und schließlich: der kollektiven Entäußerung in die Katharsis. Ihre Musik ist immer noch zornig, laut, dramatisch, vielleicht könnte man auch sagen: nihilistisch. Aber es handelt sich um einen reiferen Nihilismus, als man ihn von den Nerven bislang kannte. In ihrer Musik fliegt man immer noch über Halden voll Schrott, über dürre Heiden, wüste Länder und öde Städte. Aber es schillern nun auch schöne Klangtupfer über der Szene wie von den letzten Sonnenstrahlen vor einer ewigen Nacht oder von einem bunt schillernden Ölfilm auf einer verdreckten See.

"Wir waren hier" heißt das neue Studioalbum von der Gruppe Die Nerven. Es ist das sechste Album des Trios. Die neuen Songs haben Kevin Kuhn, Julian Knoth und Max Rieger in einer vierwöchigen Session in einem ehemaligen Sterne-Restaurant am Stuttgarter Schlossplatz mit Blick auf die Oper aufgenommen. Und so nah wie auf "Wir waren hier" sind Die Nerven noch auf keinem Studioalbum der Aura ihrer Live-Auftritte gekommen - der musikalischen Spontaneität ihres Zusammenspiels auf der Bühne, dem Stop-and-Go ihrer Improvisationen, der Lust an der gegenseitigen Überraschung, und schließlich: der kollektiven Entäußerung in die Katharsis. Ihre Musik ist immer noch zornig, laut, dramatisch, vielleicht könnte man auch sagen: nihilistisch. Aber es handelt sich um einen reiferen Nihilismus, als man ihn von den Nerven bislang kannte. In ihrer Musik fliegt man immer noch über Halden voll Schrott, über dürre Heiden, wüste Länder und öde Städte. Aber es schillern nun auch schöne Klangtupfer über der Szene wie von den letzten Sonnenstrahlen vor einer ewigen Nacht oder von einem bunt schillernden Ölfilm auf einer verdreckten See.

Balancing glitch-pop and contemporary piano, the Belgian pianist explores the edges of her voice, language and twisted electronica



The Belgian pianist and producer maya dhondt releases a new album titled 'wow, x', marking her debut solo album under her own name. Navigating between bedroom glitch-pop and contemporary piano, she presents sounds of alienating beauty.



The album ‘wow, x’ will be released on September 13 on vinyl and all digital platforms via VIERNULVIER Records.



“I find beauty in the uncomfortable and disorienting" - maya dhont



The first single, 'desire,' is a mutated synth-pop track that gets under the skin. The song centralizes longing for something you don't know (yet). Perhaps it's the smell of damp earth, which can be both pleasant and unsettling? The single is now available on all streaming platforms and comes with a schizophrenic video by Sakis Brönnimann.



The first release show is scheduled for Saturday, October 5, at De Koer, Ghent.

More shows will be announced soon.



A postmodern cramp, that's how one could describe the music of pianist and producer maya dhondt. Her music is an intuitive and a never ending exploration that has the potential to be and become a multitude of things at once.



On her first solo album under her own name, 'wow, x,' she presents 10 varied tracks in which she creates equally idiosyncratic sound worlds. She takes the liberty to endlessly experiment with vocals, piano, and a mix of distorted lo-fi electronic sounds with an open mind. The result is sometimes synthetic and weird, sometimes compellingly beautiful, and always captivating, drawing you into its underlying melody. These intelligently crafted productions are connected by a penchant for alienating beauty: like a warm, but damp cave where it’s pleasant to linger just a little longer. Her original sound moves within a sonic spectrum reminiscent of contemporary artists such as Lolina, Astrid Sonne, claire rousay, aya or Carla Dal Forno.



"What I create never stands alone, it can be many things at once"



If the world were a sculpture garden, maya dhondt eagerly picks from it to draw inspiration from both visual and literary passages as well as personal experiences. Her highly personal bedroom productions are grounded firmly in the world due to philosophical references and politically charged messages. And the world she lives in is being questioned on 'wow, x', as the title refers to "What Or Why?". This is evident in the single 'desire': "What is the thing that matters / to exist / or to know you’re existing?" What does one choose in life: to live in the moment or to live to remember that moment?



In the lyrics on 'wow, x', maya dhondt plays - at times childishly - with language and its boundaries. On 'tip toe tip,' banal wordplay leads to an unexpected confession, and the seemingly simple phrases in 'untitled' conceal hidden life lessons. dhondt's world of words is multilayered and multilingual: Dutch ('kleine cijfers, groot verlies'), English ('desire'), and French ('untitled') are at her disposal. And on the fierce track that is 'minimalinvasiv,' not only she turns to hardstyle, but also to German - a language dear to her due to her Swiss heritage.

WE ARE WINTER'S BLUE AND RADIANT CHILDREN (WAWBARC) is the new quartet of Mat Ball (BIG|BRAVE), Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion), and Jonathan Downs and Patch (both Ada). On "NO MORE APOCALYPSE FATHER" they present six modal lullabies drenched in seared distortion, slathered across striding electronic pulses. Ball and Menuck began creating music in and for the bleakest moments of Montréal winters: "We're honoring that idea of winter, when you come inside and your house is warm, a place that only exists because of how cold it is outside," says Menuck. They later recruited Downs and Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada's final album at Montréal's Hotel2Tango _ where they reconvened to make this record. "NO MORE APOCALYPSE FATHER" is an album about witnessing bleakness from a place of safety. Carrying newfound descriptive depth, thanks to the quartet's open-ended songs freeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener `Rats and Roses' he sings of an unnamed city struck by an unknown cataclysm, but the details are local: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation. It's backed by blown out synths and guitars reaching a soaring crescendo. "Seeing things from a distance and not being able to intervene happens a lot on the record," Menuck explains. "If you're a feeling and thinking person, that's just part of the human condition. We watch horror unfolding from afar, unable to do anything concrete to change it." A powerless witness, able to describe but not intervene. `Dangling Blanket From A Balcony (White Phosphorous)' references Michael Jackson holding his child over a hotel balcony in 2002_the bizarre media spectacle still lodged in Menuck's psyche. This and the album's closing track also elegize white phosphorous, a technology of war designed to light up battlefields but capable of inflicting horrific burns on those it touches. Illumination and horror in one, here underpinning scenes picturesque and terrifying. "The last song `(Goodnight) White Phosphorous' is deliberately like a lullaby," says Menuck. "Written from the viewpoint of watching white phosphorous falling outside your window." Scorched and tarnished and laden with harrowing imagery, "NO MORE APOCALYPSE FATHER" is also a record bathed in light: the bewilderment of hopeful spirits witnessing despair, watching a blizzard of distress unfold outside from a place of relative shelter and comfort. You could call that emotional ambivalence, maybe numbness. But those words are too passive for the weight of conflicted feeling resonating through the album. "I never know how I feel on an overcast day when the sun is still bright despite the grayness and the light is very flat. The colours become more saturated, and you see a single flower, say a morning glory, whose colour is so vibrant beneath the gray, I don't know if that's a lovely sensation or a terrible sensation. It's both," says Menuck.

Ltd Edition!

The Mystery Lights return with their most ambitious offering to date. With Wayne Gordon back in the producer's chair, the group delivers an eclectic mix of real-deal psychedelia, punk, art rock, and even a splash of country via the Kinks(y) pop earworm "I'm Sorry I Forgot Your Name". The psychedelic highlights of the album, "Purgatory", "Cerebral Crack" and "Can't Sleep Through the Silence", are dark and trippy, landing somewhere between the guitar-driven, lysergic mayhem of the 13th Floor Elevators and the punked-up, tongue-in-cheek insanity of The Monks. But throughout there's a cohesiveness threaded by the elevated musicianship, earnest lyrics and attention to detail that make for a fiercely raw, yet unabashedly catchy album-dripping with all of the sing along hooks that have made Mystery Lights one of the most exciting live bands on the scene.

Ltd Edition!

The Mystery Lights return with their most ambitious offering to date. With Wayne Gordon back in the producer's chair, the group delivers an eclectic mix of real-deal psychedelia, punk, art rock, and even a splash of country via the Kinks(y) pop earworm "I'm Sorry I Forgot Your Name". The psychedelic highlights of the album, "Purgatory", "Cerebral Crack" and "Can't Sleep Through the Silence", are dark and trippy, landing somewhere between the guitar-driven, lysergic mayhem of the 13th Floor Elevators and the punked-up, tongue-in-cheek insanity of The Monks. But throughout there's a cohesiveness threaded by the elevated musicianship, earnest lyrics and attention to detail that make for a fiercely raw, yet unabashedly catchy album-dripping with all of the sing along hooks that have made Mystery Lights one of the most exciting live bands on the scene.

Mutant is proud to present Academy Award-winning composer Michael Giacchino's latest album, Exotic Themes for the Silver Screen – Volume 1, featuring iconic scores from Giacchino's extensive portfolio rendered in the retro lounge style of Exotica from the 1950s.



“It's no secret that we at Mutant are huge fans of Michael Giacchino,” says Spencer Hickman, Co-Founder of Mutant. “We're excited to release a retrospective of his astonishing three decades as a composer. Rather than just curating a simple compilation of his previous works, Michael went back into the studio, rearranged and re-recorded every major theme from his career. These tracks have been recorded in an Easy Listening style inspired by such greats as Martin Denny and Les Baxter, creating not just a unique and incredible look back at some of the most beloved movie and television themes of the modern age, but also bringing a fresh, exciting take to the beautiful journey he has taken us all on with him. It feels like you are discovering these songs for the very first time: timeless, beautiful, and a joy to listen to. These newly recorded themes transport you to a far-off sunset, looking out at the ocean, complete with a cocktail in hand, providing a much-needed escape from the stress of modern times, and we can all agree that is something we all crave right now.”



Exotic Themes for the Silver Screen – Volume 1 spans nearly two decades of Michael Giacchino’s music, from his early video game scores to his television hits and blockbuster films. The album transforms these works through the lens of Exotica, replacing epic strings and thundering drums with vibraphones and marimbas.



“This album was inspired by the work of Arthur Lyman and Martin Denny,” says Giacchino. “What would they do with the Star Trek theme? Or video games like Medal of Honor? It was a way for me to play in that world I loved so much growing up. I thought it would be fun to create a fantasy world, where this album was recorded back in 1967 and then lost, only to resurface today.”

The album showcases Giacchino’s unerring talent for melody, stripping down grand symphonies to their essential elements while retaining their aesthetic and emotional core.



“So much was rooted in the big orchestral sound, so it was really about scaling it back. The real trick is figuring out the little fun hooks and things you can add along the way. There were no rules; I was up for anything. It was a way to re-engage with the material and be creative in a new way.”



Exotic Themes for the Silver Screen – Volume 1 includes an array of reinterpreted pieces from Michael Giacchino’s career. Highlights include ‘Primordial Forest’ from the 1997 video game The Lost World: Jurassic Park, ‘Life and Death’ from Lost, the theme from Ratatouille, ‘Roar!’ from Cloverfield, ‘Enterprising Young Men’ from Star Trek (2009), ‘A Man, A Plan, A Code, Dubai’ from Mission: Impossible - Ghost Protocol, and a Super 8 suite.



Featuring package design by Luke Insect, and liner notes by Charlie Brigden.