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"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".

Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as DEPART (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.

Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland MC-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.

The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."

In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.

Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.

The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.

Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.

The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.

A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.

Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.

Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.

Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.

Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

Tape



Over the course of two nights, a few weeks before the pandemic arrived in Portugal, André Gonçalves (ADDAC System) and Casper Clausen (Efterklang) recorded music from another realm, dreamy and scary at the same time, sounds complete but it seems to be falling apart at any moment. It is like an alien language or a way to process sound that sounds foreign because it is different from everything else, formally, and aesthetically. This is “Aether”, 37 minutes of constant take-off. A departure from what both musicians have done in the past.

That’s the beauty of these collaborations. You don’t know exactly the point of departure and where it leads. “Aether” masters that feeling throughout seven parts. The synthesized sounds hang in the air like clouds slowly moving, transforming into something else. Sometimes they touch each other and form something else. Or they just hang in there, waiting, just waiting. And then Casper Clausen’s voice shows up and offers a “Twin Peaks” feeling to everything, transforming that sound mass into ethereal melodies that become too overwhelming.

We think about all those Popol Vuh soundtracks from the Werner Herzog films, the fog that never goes away. The constant ecstasy of creating something magical or achieving the impossible. Or even Vangelis and his ability to elevate simple sounds into something beautiful and glorious. Both share this element of the unexpected, you’ll never know what you’ll listen to or feel during the process of active listening. It is a bizarre but comforting experience, a synthetic dream you want to be part of. Music to be touched and felt.

The Globeflower Masters Vol. 1 takes its inspiration from classic soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean-Claude Vannier and Piero Umiliani. Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making.

The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on. As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks.

The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

- Stunning debut album filled with lush, warm, timeless productions.

- Taking inspiration from classic 60s and 70s soundtrack, and cinematic, composers such as Axelrod, Morricone and Gainsbourg

Coloured Vinyl

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

Orange w/ black marble vinyl. 180g. To celebrate their seventh anniversary, Black Screen Records have once again teamed up with Oddworld Inhabitants to release the soundtrack to Oddworld: Soulstorm - the explosive second game in their brand new Oddworld Quintology - on limited edition 180g vinyl. Composed, mixed and mastered by the American EDM DJ and producer Josh Gabriel - you may know him from his work on the Oddworld: Abe's Oddysee soundtrack - the official soundtrack comes on limited edition 180g orange/black marbled vinyl in a full-coloured gatefold sleeve and includes four intense ambient bangers from the latest installment of the Oddworld series. All tracks have been remastered for the vinyl format by Christian Bethge. "Josh's unique music has been the ideal soundtrack to Abe's story since its very beginning. This selection of completely original tracks are a clear progressive evolution of that sound, which is a perfect match for the expanded ambitions of the game itself." - Lorne Lanning ABOUT THE GAME: Oddworld: Soulstorm is the explosive second game in a brand new Oddworld Quintology that tells the continuing story of Abe and his comrades as they discover further crimes against Mudokonkind and look for the spark that will ignite a revolution.

Following the release of Netflix's inspiring documentary short 'Hold Your Breath: The Ice Dive', Galya Bisengalieva presents her official soundtrack. To accompany the gruelling journey of freediver Johanna Nordblad as she tries to break the world record for distance travelled under ice with one breath, Galya has crafted an expert ambient narration that highlights the rising intensity toward the films looming climax. She uses warped solo violin techniques and electronically manipulated strings to produce compelling and emotive compositions that induce complete submersion. Aiding in the use of the dive to make comment on both global warming and the pandemic, the soundtrack commands attention while giving the characters their own space to breathe. Galya explains; "Composing music to Joanna's story was a completely new challenge. Until now my writing has been based on more abstract concepts but now I had the opportunity to engage closely in a clearly defined journey of an individual. A story of the freediver and her attempt to break the world record (men's and women's) for distance travelled under the ice, no fins, no wetsuit, on a single breath. What Joanna achieved is truly inspiring and incredibly brave. It would have been extremely easy for me to focus on the jeopardy of her record attempt. However, the story that is being told is her love of the cold water, her sister, family, and the nature she communes with every day. My music needed to reflect the personality of an extremely determined and loving woman. In order to achieve this, I used the violin as her voice, high harmonic soaring melodies. This I juxtaposed against layers of low warped drone and nature sounds, using field recordings of underwater, cutting of the ice for the dive and the howling wind in extreme weather conditions in Finland. The music hints at danger and the power of nature but always comes back to Joanna's intimacy with the icy water."

(Cargo Collective Title) RIYL: Silver Mt Zion, Rachel’s, Grails & Do Make Say Think. 180g LP, custom window-cut letterpress jacket with artworked 300gsm inner + DL. Esmerine presents Everything Was Forever Until It Was No More, its first album in five years, following a celebrated run of Juno Award winning and nominated records throughout the preceding decade. Founded by ex-Godspeed You! Black Emperor percussionist Bruce Cawdron and cellist Rebecca Foon (Saltland, Silver Mt Zion, Set Fire To Flames), the acclaimed instrumental music ensemble and has long embroidered emotive chamber works using threads of post-classical, post-rock, Minimalism, neo-Baroque, jazz, pop and a wide array of folk traditions. Esmerine conjures a distinctive and immediately identifiable sound that consistently defies the trappings of “fusion”, forging emotive cinematic soundtracks under the overriding sonic sensibilities of postpunk grit, Wall-of-Sound, drone and dark ambient. Recorded by longtime co-producer Jace Lasek (The Besnard Lakes), the new album manifestly carries on in this fine tradition. Everything Was Forever Until It Was No More completes Esmerine’s “Anthropocene” triptych: a series of album-length meditations that began in 2015. The album title itself has minor meme status in eco-artistic circles, appropriated from its original context Alex Yurchak’s 2005 book about the collapse of Soviet Russia by several exhibitions and works interrogating artistic production in the age of environmental crisis. (Foon is also well-known for her climate activism as co-founder of Pathway To Paris.) The album grapples with existential tensions between atmosphere and airlessness, seclusion and claustrophobia, forbearance and satiation, scarcity and abundance; it is one of Esmerine’s most restrained and wistful works. Instrumental densities ebb and flow, melding into each other with gauzy timbral warmth, sometimes tracing fleeting tendrils outwards, but always rotating around the saturnine gravitational force of a darkly glowing sonic center. Everything Was Forever Until It Was No More is like a somber forest lit by a closely-orbiting opalescent planet; it could be the alternate score to Von Trier’s Melancholia or Cormac McCarthy’s The Road.Esmerine planted these compositional seeds before pandemic rooted everyone in place, under the auspices of a grant from the Canada Council for the Arts and a 2019 residency at Le Château de Monthelon in France. Lasek then began documenting the band between lockdowns in various stripped-down configurations with spartan remote equipment at the rural Québec homesteads of Cawdron and Foon, culminating in final sessions at Foon’s converted barn in summer/fall 2021, notably with extensive use of the barn’s resonant acoustic piano. Brian Sanderson appears on his fourth Esmerine album since joining in 2012, continuing to expand the ensemble’s ethnomusicological sensibility and melodic sound palette with guitars, ngoni, ekonting, hulusi, and brass horns of all sorts. Everything Was Forever… also signals the full integration of bassist Philippe Charbonneau, who joined Esmerine as a touring member pre-pandemic and plays throughout the new album, along with sound design contributions via synth, tape echo and other processing. Everything Was Forever Until It Was No More features the pandemic collage artwork of Maciek Sczcerbowksi, in a second Esmerine album art collaboration following their Juno award for Album Package of the Year for Lost Voices in 2015.

Mondo, in conjunction with Back Lot Music, are proud to present the final chapter of the Jurassic saga: Michael Giacchino’s score to JURASSIC WORLD DOMINION.

Giacchino started his early career at Disney Interactive Division where he had the opportunity to write music for video games. After moving to DreamWorks Interactive, he was asked to score the temp track for the video game adaptation of The Lost World: Jurassic Park. Subsequently, franchise creator Steven Spielberg hired him as the game’s composer and it became the first PlayStation game to have a live orchestral score, recorded with members of the Seattle Symphony. Now, 25 years later, Giacchino comes full circle with this soundtrack to the epic conclusion of the Jurassic era, recorded with 87 orchestra members and 30 choir members at Abbey Road Studios in London. Fans can expect Giacchino’s usual tongue-in-cheek track titles that highlight the action of the score cues.

Mondo has released all Jurassic World franchise series albums on vinyl to date, so complete the trilogy with the Jurassic World Dominion release. Custom artwork was designed by artist Justin Erickson of Phantom City Creative. The package will include liner notes from Jurassic World architect and director of Dominion, Colin Trevorrow, and pressed onto 180-gram webstore exclusive color vinyl.

Composed by Michael Giacchino
Artwork by Phantom City Creative
Manufactured in Czech Republic

We all make mistakes. We all have regrets. We all look back on the loves and losses life brings and lament on how things might have been different. In these deeply personal moments of reflection our emotions can run wild as we contemplate our choices and come to terms with what’s next. Hindsight is a powerful and complex thing, and a phenomenon whose intricacies are explored in captivating fashion on The Greatest Mistake Of My Life, the second album from Cardiff’s Holding Absence.

Building on the excellent foundations laid down by the band’s eponymous debut record, released in 2019, and following standalone singles ‘Gravity’ and ‘Birdcage’, the four-piece have returned with a group of songs that, in the view of vocalist Lucas Woodland, are the truest representation of Holding Absence to date.

Inspired by a song of the same name that was recorded in the 1930s by actor and singer Dame Gracie Fields, The Greatest Mistake Of My Life is rooted in a time long before Holding Absence even existed. Lucas’ great uncle covered the song during the 1950s – something the frontman repeats on this album – and after finding this out from his grandmother, the singer decided the poignancy of its words were worthy of titling Holding Absence’s next record.

Holding Absence – the band completed by bassist James Joseph and drummer Ashley Green – carry the The Greatest Mistake Of My Life’s contemplative and thoughtful spirit throughout their second album. Whereas their debut was a concept record about the subject of love, The Greatest Mistake Of My Life’s inspirations are more complex, as Holding Absence stare down love in the face of death, all the while musing on the vast array of emotions we as humans experience throughout our lives.

Lead single ‘Beyond Belief’ is a soaring epic about the risk of loving someone forever, when their definition of ‘Forever’ might be different to yours, and a song that, Lucas says, argues how “love is something worth taking a risk on.” Holding Absence’s unique approach to romance is also present on atmospheric tracks like ‘Curse Me With Your Kiss’ and ‘Afterlife’, but for every display of affection, The Greatest Mistake Of My Life counters with despondency. ‘Die Alone (In Your Lover’s Arms)’ tells of the loneliness two people feel within a relationship long-turned sour, while ‘In Circles’ speaks to the monotony of everyday life and the crushing of dreams.

The Greatest Mistake Of My Life soundtracks the journey of our lives via all of its despair, elation, joy and pain, but never once tells the listener how they should be feeling.


Shedding their skins and emerging into a bright new phase for their band, with The Greatest Mistake Of My Life, Holding Absence are embracing change whilst holding onto the things that make them special. Aesthetic, for instance, remains important to Lucas and his bandmates, but as seen in the video for ‘Beyond Belief’, no longer do they exist in a world of purely black and white colour. Ushering in a colourful new era for Holding Absence, Lucas speaks of a desire “to bring warmth to people’s lives.”

Armed with a stellar new album and an unflinching belief in their craft, this new incarnation of Holding Absence promises to excite and impress like never before. An enthralling collection of songs and stories that tell of love, life, death and everything in between, The Greatest Mistake Of My Life is a thrilling record, and one its creators were born to make.

As Holding Absence have proved, the greatest mistakes can sometimes open the door to even greater triumphs.

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

Am 3. Juni erscheint das 3LP Album ”The Matrix (The Complete Score)” mit der gesamten Musik aus dem Original-Blockbuster-Film.

Mit insgesamt 44 neu gemasterte Tracks und ein exklusives Interview mit Komponist Don Davis! Die Matrix gilt seit langem als einer der einflussreichsten Filme aller Zeiten und läutete bei seiner Veröffentlichung 1999 eine neue Ära des Kinos ein. Unter der Regie der damals noch relativ unbekannten Wachowski-Geschwister schildert der Oscar-prämierte Film eine futuristische, dystopische Gesellschaft, in der die Menschen unwissentlich in einer simulierten Realität leben. Mit Keanu Reeves, Laurence Fishburne und Carrie-Anne Moss in den Hauptrollen verbindet The Matrix philosophische Grundsätze, CyberpunkKriegsführung und ausgefeilte Kampfsporttechniken mit bahnbrechenden Spezialeffekten. Der geschickt komponierte Soundtrack von Davis ist das Bindeglied zwischen der atemberaubenden Optik und der verblüffenden Handlung des Films.

Wie der Filmmusikjournalist Kaya Savas in seinem Interview mit Davis im Jahr 2020 feststellt, war die Filmmusik ”anders als alles, was man bis dahin in einem Action- oder Science-Fiction-Film gehört hatte.
Das gilt auch heute noch. Abgesehen von den Fortsetzungen gibt es keinen anderen Stil und keine andere Herangehensweise an die Vertonung von Science-Fiction- und Actionfilmen als die von The Matrix.”

Consequence and more. Emma Ruth Rundle's second instalment in her Electric Guitar series, EG2: Dowsing Voice, is almost like the soundtrack to a film that hasn't been made. The mostly instrumental record follows her on a trip to the Welsh coast and down a magical well into the waters of nature, myth and the Old Golds - by way of her improvised music. The 40 plus minute album was sewn together from recordings channeled during her month-long solo journey in the early days of 2020 and completed before 2021's critically lauded album Engine of Hell was even written. Unlike Electric Guitar One, EG2: Dowsing Voice features vocal improvisation, unconventional singing and extended vocal techniques free from lyrics - like the throat singing on "In the Cave_" which is meant to be the voices of crones gathering in a rhythmic and physical ritual. Rundle was led to these voices by unseen forces along with the immense impact of the Welsh water: ocean, rivers springs and wells that gave the album its extended title Dowsing Voice. While there is some focus on vocal and story here, her textural and even bombastic guitar improvisations are featured throughout the album. For Rundle, the Electric Guitar series will always be about inspired, unplanned moments like this at its core.

Complete soundtrack LP Elvis Presley's 'Blue Hawaii' pressed on 180g vinyl plus the very rare 7" 45 rpm EP, 'King Galahad' featuring six perennial hits on coloured vinyl

Coloured Vinyl

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

In March 2020, Tahiti 80 had a plan to start recording their new album in the studio. That plan, of course, along with everything else in the world, got derailed. But the five-piece group was resilient and resourceful. They quickly shifted to a socially distanced plan B that included file swapping and virtual sessions, all refereed by producer Julien Vignon. The result, due for release in March 2022, is the buoyant Here With You, a collection of eleven upbeat songs that unfold like a prescription for a post-pandemic panacea.

“When lockdown in France happened, we said, 'We're not going to stay at home not doing anything,'” says singer-guitarist Xavier Boyer. “And our new plan became a hopeful thing, waking up every morning and seeing what the other guys had worked on. It wasn't always easy, but this new method allowed a freer approach where we could really go all the way with an idea without being influenced by each other’s suggestions. It must've been overwhelming for Julien, who ended up selecting all our arrangements. But he stayed positive all the way through.”

To help stay inspired and focused during their time in isolation, the band created a mood board, with the centerpiece a photo of an early '90s rave in the UK.

Boyer says, “Whenever you see pictures from this era, people seem very innocent. There are no cell phones and everybody is in to what they are experiencing. We kept that picture in mind as a kind of mantra that would help everyone feel connected to this idea of people celebrating, gathering and just having fun. We were missing the connection with people, and thought it would be great if we could create music that would inspire that kind of emotion.”

Indeed, the songs on Here With You are brimming the feeling of communion that we've all been missing over the past two years. It's there in the catchy opener Lost in the Sound, which walks the walk with Chic guitar flicks, urban nightfall sparkles and an inviting chorus (“Your heart grooves like a thousand 808s on the right time”). It's there in the Jackson 5-style syncopated bounce of “Vintage Creem,” the lush, dreamy “Breakfast in L.A.” and the panoramic sweep of “UFO.” And it's there in the first single “Hot,” which matches an irresistible groove with a neon-lit, percolating arrangement that evokes the disco clubs of 1979.

What's remarkable is that though Tahiti 80 displays a clear affection for sounds of the past, from bubble gum to '70s soul, they never trade in mere pastiche. Their take is more a slightly warped and playful carnival mirror mash-up of classic pop styles, given depth through Boyer's hang-gliding, coolly emotive vocals and lyrics that often rub against the euphoric grain of the music.

“I like to think of songs as a three-minute drama,” says Boyer. “This concept of drama definitely adds different levels to our music. There's the melody, the lyrics, then the production that can maybe emphasize or counterbalance the interaction between the yin and yang in a song.

“There's a difference between the very upbeat, sunshine-y soft rock and the lyrics, even on our past albums,” he continues. “Not dark, but a little more melancholy, and also looking for some kind of motivation, talking to yourself. Like with a lot of Motown songs, you get that feeling where you body’s dancing while your mind’s reflecting, reminiscing.”

That alluring blend of happy-sad has been a signature part of the Tahiti 80 sound from the time Boyer and bassist Pedro Resende formed the group in 1993, as students at the University of Rouen. Taking their name from a souvenir t-shirt given to Boyer's father in 1980, the duo recruited guitarist Mederic Gontier in 1994, and with the addition of drummer Sylvain Marchand a year later, the lineup was complete. The foursome released a self-produced and self-financed EP, 20 Minutes, in 1996, which resulted a record deal with French label Atmospheriques in 1998. Their full-length debut Puzzle, produced with Ivy's Andy Chase and mixed by Tore Johansson, went gold and featured the international hit “Heartbeat” that established the band throughout Europe and Asia.

In the years since, Tahiti 80 – with the additions of Raphaël Léger on drums and Hadrien Grange on keys - has released eight acclaimed albums. The band has fused what MOJO called a “glorious entente of old and new technology” (including singles like “Yellow Butterfly,” “1000 Times,” “Sound Museum,” “Crush!” and “Big Day,” which was featured on a FIFA video game soundtrack), while collaborating with such producers and arrangers as Richard Swift, Tony Lash and Richard Anthony Hewson, who famously arranged The Beatles' “Long and Winding Road.” Boyer has also put out two solo albums, the first under the anagram Axe Riverboy and the second under his name. In 2019, the band released Fear of an Acoustic Planet, a stripped-down reimagining of some of their best-loved tracks from the previous twenty years. It served not only as a look back but a reminder of their formidable songwriting skills.

Boyer is definitely a student of the timeless three-minute pop song format pioneered by '60s artists like The Beatles and The Beach Boys. He says, “I see it as kind of a frame for a painting. Most of the songs on this album, I wrote a verse, pre-chorus and chorus. There aren't many middle eights. I wanted it to be very concise. I feel like people have less attention. There's so much music. It's too easy to switch off or skip to another track, so I want to hook the listener. The three-minute song is kind of an easy code to crack, but at the same time you have to figure out a new way to tell the stories that we've heard before.”

And the stories on Here With You are very much about the longing for connection. Of the album title, Boyer says, “In the world right now, that can mean a lot of different things. Like missing our fans, missing going to concerts. In a way, it can be a statement of what happened last year, and a wish of 'I want to be here with you again.' It's our ninth album. We've had some had some very open, conceptual titles like Puzzle, Activity Center. Sometimes they were more specific like Fosbury orWallpaper for the Soul. Here with You, seems more personal, more engaging in terms of relationships. When I suggested that title, everyone in the band said, 'Yeah, that's it.'”

Until Tahiti 80 can resume a full tour schedule, Boyer says he hopes the new record will make that personal connection. “If I see from the point of view as a music fan, sometimes I see albums I like as companions throughout my life. So if we can be a part of people's existence, even if it's a song that reminds them of the time they were driving with the windows open and it was sunny. Or a sad song that resonates with them after a breakup. That's what we're all looking for when we're making music. You do this very personal thing and you want it to touch as many people as possible.”

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

For their seventh release in partnership with SEGA of Japan, Data Discs is delighted to bring together the complete music from the classic Mega Drive games, Golden Axe (1989) and Golden Axe II (1991), in one special package. This release features the unforgettable artwork from both games, supplied on two thick lithographic prints, with the record itself pressed on heavyweight translucent gold vinyl. The outer sleeve features rare artwork from the 1989 Japanese edition, sourced from the SEGA archives and presented on 425gsm cardstock with gold flood printing. As always, the audio has been carefully restored and mastered using the original console as the source, ensuring these memorable soundtracks are preserved for many quests to come!

Mondo, Backlot Music and Howe Records are proud to present the a soundtrack nearly 40 years in the making: the complete restored score album to David Cronenberg's 1983 masterpiece VIDEODROME.

Another new colour pressing we have 200 only white vinyl coming in Mrch. Single LPs w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack “Night City Aliens” and 2018’s critically acclaimed album Only Love, which landed on ‘Album of the Year’ lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. A livestream performance confirmed for same day. Videos for all three focus tracks (“All Futures”, “Average Death” + “An Iteration” are completed and will be released along with each song.

Described as a ’60s garage rock band performing as a mini-orchestra stuck within a Tarantino film, Los Angeles-based Spindrift is a cinematically inspired rock band that has also been described as “Heavy Western” or “psychedelic spaghetti-western rocknroll.” Led by songwriter-producer-composer Kirpatrick Thomas on guitar and lead vocals, along with Portland-based guitarist Becca Davidson, bass / baritone guitarist, producer, and vocalist Riley Bray, and aerospace engineer Joe Zabielski on drums and electronics, Spindrift creates a cinematic scope that has been heard on their compilation albums like Classic Soundtracks Vol 1, 2, and The West (released by Xemu Records), HBO’s Eastbound & Down (Seasons 1 & 2), the Quentin Tarantino-produced biker exploitation film Hell Ride, the film Diablo (featuring Scott Eastwood), and “The Ballad of Darrell Lemaire” from Season 1 Episode 9 of Hamilton’s Pharmacopeia (Viceland). Classic Soundracks Vol. 3 is their tenth studio soundtrack compilation album, co-produced by Riley Bray and Jello Biafra. Released by Jello’s own Alternative Tentacles Records, it completes a trilogy of themes from various feature films, documentaries, and TV mini-series. This final installment reveals a new level of maturity from the band, opening doors to new genres including espionage-esque Bond themes, upbeat guitar duets, “Italian Polizia” car chase electronica, hard rock from the Middle East, psychedelic disco, and progressive “kung fu” rock." "Los Angeles-based cinematically inspired rock band’s third in a trilogy of themes from various features. Songs have been heard on HBO’s Eastbound & Down, the Tarantino-produced Hell Ride, Diablo and Hamilton’s Pharmacopeia on Viceland.

Nate Scheible's "work of gentle genius" – Fairfax – is arriving on vinyl & all digital services in February 2022. Remastered by Lawrence English and featuring brand new artwork, this edition uncovers a completely new side of the "dreamy and dramatic, meditative and somber" album by the American artist. ~~~

"Few albums have stuck with me like Nate Scheible's Fairfax. In fact, I feel lucky to have had my copy of the original tape to drop into over several years, some heartbreaks, a few streaks of loneliness; when I've not felt terribly well, or couldn't face reflecting for fear of noticing personal decay.

With fresh treatment from mastering maestro, Lawrence English, this new version has brought out fresh new colours in Scheible's elegant composition. The moments of icy isolation are sharper, while the embrace of the album's finale is warmer and heartier than ever. Scheible's found polaroids on the front of the package also fit so aptly that they barely even feel new. The album's allure and message of craving is more powerful than ever.

To anybody who hears this album, she's a great heroine of literature, the voice of Fairfax. Her frank admissions of longing and weakness are infectious cries of hope. She's a powerful woman, unashamed, the innermost voice of reason, grasping the world together selflessly. I wanted to tell her about the times when things weren't so good. I want to tell her now too, just how well things can turn out.

Scheible's beds of oozing and luscious melodies, decaying on reels or tape, flinging out from plucked bass strings, or rising from a struck vibraphone, are a truly loving soundtrack to this mysterious voice found on a tape that came into the artist's possession. The audio letters reveal the woman's story of painful hope and self-gifted redemption, while the click of the saxophone and moan of Scheible's wobbly piano snippets, they sing her – no ~our~ – mood right back to us. Fairfax reminds us that, like the protagonist, we're all gonna do something, ~someday~."
– Tristan Bath

A sequel to the 2001 series Blue Planet, it took 4 years to complete this seven part new exploration of the underwater worlds, with 125 expeditions across 39 countries and 6000 hours of underwater filming. The series was broadcast on BBC One on 29 October 2017 with viewing figures exceeding 10m and its exposure of plastic pollution in our oceans has started a global conversation about reducing plastic waste.

With over 120 soundtracks to his credit which have grossed 24 billion dollars at the box office, Hans Zimmer has been honoured with many accolades: an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement. His Academy Award nomination for Interstellar marked his 10th Oscar nomination.

The composition is completed by Jacob Shea and David Fleming from Emmy and BAFTA nominated Bleeding Fingers Music. Bleeding Fingers has created original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Princess Diana In Her Own Words, NBC’s hit Little Big Shots, Sony’s Snatch (TV), Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire and History Channel’s Mountain Men.

JJ Tartaglia and Jonny Nesta (also band members of world-renowned
Skull Fist) have joined forces once again to form Thunderor, the latest
80s-infused heavy metal /hard rock sensation
The debut album 'Fire It Up' delivers hook-driven stadium caliber songs with an
untamed spirit. Thunderous drums, lightning hot guitar licks, dreamy synths, and
piercing vocals form the musical storm that is Thunderor. Complete with singalong choruses, drum solo breaks, ripping guitar leads, keytars, motorcycles, and
gongs, the Canadian trio will have you fueling up for adventure as you sail through
the 9- track album. For those who've ever felt a longing for escape, a thirst for
adventure, wrapped in romance and danger, Thunderor is your soundtrack!

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Originally released on CD in 2000, the expanded soundtrack edition of John Carpenter's classic 1981 thriller included over 20 minutes of previously unreleased music plus music from scenes deleted from the final print. The masters were re-mixed from the original multi-track session tapes by long-time John Carpenter associate Alan Howarth.This is the first time the expanded edition has appeared on vinyl in its complete form, including original dialogue highlights

It was obvious from the first riff on the first song from their very first album: MASS WORSHIP were born fully-fledged, utterly unique and magnificently destructive. Emerging from Scandinavian shadows like an unstoppable, shape-shifting bulldozer, they have swiftly become one of the most praised and talked-about bands in the metal underground. Despite spending a big part of 2020-2021 locked inside, writing and recording new material, MASS WORSHIP did complete a highly successful tour in support of Polish death metal legends Vader. Meanwhile, MASS WORSHIP are primed and ready to unleash their second full-length assault. Due for release in 2022, “Portal Tombs” is a terrifying but electrifying exploration of the gloomy depths of human nature: a monolithic manifestation of the musical force that is MASS WORSHIP. Drawing inspiration from bands such as At The Gates, Mastodon and Meshuggah, MASS WORSHIP could be likened to many bands, but somehow forge their musical identity into something exceptionally distinctive and transcendent, and with enough confidence and conviction to win over even the most orthodox fans of the genre. “Portal Tombs” will once again proclaim MASS WORSHIP’s one-of-a-kind potency with maximum force. A triumph for both style and substance, “Portal Tombs” is the kind of metal record that shatters epochs, audaciously redefining what it means to be heavy. MASS WORSHIP continue to lead the charge for individuality and verve, while still delivering a never-ending tsunami of life-affirming, spine-shattering riffs. Lyrically, too, “Portal Tombs” takes the path less trodden, exploring the dark recesses of humanity’s past, its present and, darkest of all, its future. As we spiral towards an abyss of our own making, MASS WORSHIP’s soundtrack will resonate loudest of all. “Portal Tombs” is available as: Ltd. CD Digipak, Gatefold LP, Digital Album

*Repress*

Brave Wave is bringing Koei Tecmo Games' classic Ninja Gaiden soundtracks to Vinyl, CD, Bandcamp, iTunes and streaming services! For the first time ever, the soundtracks for Ninja Gaiden on NES and Arcade and Ninja Gaiden II: The Dark Sword of Chaos are available exactly as intended by the composers originally and true to the original releases. This also marks the first time ever Ninja Gaiden III: The Ancient Ship of Doom has received an official soundtrack release in any format and in any territory. Vol. 2 contains the complete soundtracks for Ninja Gaiden II: The Dark Sword of Chaos and Ninja Gaiden III: The Ancient Sword of Doom. There are 29 tracks for Ninja Gaiden II and 30 tracks for Ninja Gaiden III. They were composed by Ryuichi Nitta, Mayuko Okamura, Rika Shigeno and Kaori Nakabai.

2022 re-press, 180g vinyl

A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown's top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was, he wrote every tune on the album while also arranging and conducting for it. It features 11 timeless grooves, with a blend of beat ballads and undeniable dancers.
The album's centrepiece is undoubtedly the iconic, brooding minor-key masterpiece "A Love That's Worth Having". The album's most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw's Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic "Dreamchaser". Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener "Ain't Gonna Stop" is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum 'n' conga rhythm whilst the bumping uptown soul of "You Can't Miss Something That You Never Had" anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of "Good To The Last Drop" whilst "That's What I Call Lovin' You" features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of "You Gotta Try" hints at the Blaxploitation that was to come.Ushering in the flipside, the thundering proto-70s-Motown rhythm of "Let Me Give You The Love You Need" segues neatly into the bouncing Northern Soul favourite "Lucky To Be Loved By You" whilst Hutch's gutbucket guitar stylings are all over the smouldering "Keep On Doin' What You Do". "Your Love Keeps Liftin' Me Higher" is not a rendition of the Jackie Wilson classic, rather, it's a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic "Do What You Wanna Do" name-checks contemporary dance fads before instructing the listener to just get up and dance.Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade's very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Officially licensed and remastered for vinyl by Simon Francis, it has been pressed on audiophile 180g vinyl for the first time and features the original artwork and liner notes.

Mathieu Harlaut has always had the audacity to push his curiosity to its logical conclusion, conjuring up unique sonic spectres. Verging on strange, these apparitions aggregate a myriad of influences and approaches combining DIY, scholarly appropriation and pop arrangements. Chamberlain, his alias, embodies the project, where classical, jazz, electro and soundtracks merge to form innovative musical compositions. Chamberlain’s vision emerges as he takes these diverse territories to create completely new landscapes. Evocative postcards of journeys to come. A present where influences and inspirations offer up the ideal framework for creating new horizons.

With his characteristic attention to detail, Chamberlain is a skilled craftsman and an alchemist in turns. With him there is no apparent "timeline". No welded joints. No stiches. The overall impression of Chamberlain's music is enveloping, finding just the right points of balance and energy to evoke a particular atmosphere. But it doesn’t diffuse atmosphere, it’s more like an ambient perfume. Chamberlain's tracks are like the many notes of a fine fragrance, infusions that elicit subtle and contrasting emotions. Be it the music lover's indulgent solitude or the sensory exultation of a shared club experience.

In 1972, Australia’s Albert Falzon made a film that would forever change the way the world thought about surfing. The film was Morning of the Earth. For many people it was the very first time they came to recognise surfing as a complete lifestyle. This recognition, coupled with mind-blowing, innovative surfing made the film a classic that has remained vital for over 50 years. Albe’s portrayal of all things pure and simple influenced generations, and passed on an enduring sprit to our Australian culture, our music, and our lifestyle.

Morning Of The Earth’s ethos of soul and spirit in surfing representing surfing as a lifestyle rather than a commercial entity. Not only did it show that these opportunities were open to everybody on their own doorstep, but it also showed for the first time the new exotic frontiers of Indonesia and Hawaii, in which you could further your adventures that encompassed the realm of spirituality and soulfulness.

Morning of the Earth took a unique approach to music. G Wayne Thomas’s selection of performers, songs and songwriters along with his own writing and performance created a warm blend of country soul and pop that helps carry the film to an esoteric level. For the first time, music was not treated as a background or incidental to the vision on the screen. The music was the narrator, with each track played in its entirety. The original soundtrack produced the Australian #1 single Open Up Your Heart and was the first Australian soundtrack to achieve gold sales. It was also recently included in the 100 Best Australian Albums.

The movie and the soundtrack have gone on to become legendary within the Australian surf history so we will be re-issuing the original 12 track soundtrack on black vinyl to commemorate the 50th Anniversary.

Punchline: Enjoy this first single "Waiting For A Star To Fall" from swedish allstar band AT THE MOVIES, doing unique cover versions of their favourite movie songs. Taken from their upcoming album "The Soundtrack of Your Life - Vol. 2" and with members from Pretty Maids, HammerFall, King Diamond, The Nightflight Orchestra, Therion and more! 1. SINGLE - 12.11.21 „Waiting for a star to fall“ 2. SINGLE - 19.11.21 „Last Christmas“ 3. SINGLE - 10.12. „(I Just) Died In Your Arms“ 07.01.22 on album release day): - „Heaven Is A Place On Earth“ FOCUS TRACK: „(I Just) Died In Your Arms“ "Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

"Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Punchline: Enjoy this first single "Waiting For A Star To Fall" from swedish allstar band AT THE MOVIES, doing unique cover versions of their favourite movie songs. Taken from their upcoming album "The Soundtrack of Your Life - Vol. 2" and with members from Pretty Maids, HammerFall, King Diamond, The Nightflight Orchestra, Therion and more! 1. SINGLE - 12.11.21 „Waiting for a star to fall“ 2. SINGLE - 19.11.21 „Last Christmas“ 3. SINGLE - 10.12. „(I Just) Died In Your Arms“ 07.01.22 on album release day): - „Heaven Is A Place On Earth“ FOCUS TRACK: „(I Just) Died In Your Arms“ "Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

"Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Argentine producer Pedro Canale returns from a three-year sojourn with his long awaited third album. Originally coming out of Buenos Aires's famed digital cumbia scene, Chancha has notoriously broken way outside those boundaries to forge unprecedented mergers between Brazilian rhythms, Paraguayan harp, Andean mysticism and the solitude of Argentinian folklore - all processed through his own futuristic style of postdubstep.

Chancha's sound is without question truly unique and instantly recognizable to the point he has become a key reference point for an entire crop of artists that have begun to carry his genes.

Hailed by the Washington Post, the New York Times, Pitchfork, NPR and countless others, Chancha Via Circuito defies even the shrewdest of marketing geniuses. On one hand, he is something of a cult artist within micro-circles of electronic music, having been invited to perform at Montreal's MUTEK as well as the Roskilde and Vive Latino Festivals. At the same time, Chancha's music has found broad appeal outside of the avant-garde, most notably his magnificent remix of Jose Larralde's "Quimey Neuquen" which was heavily featured in 2013 as part of the final season of the critically acclaimed television series Breaking Bad. Fans of the show undoubtedly remember Walter White burying his millions in the desert, soundtracked by the wide and gentle grooves of Chancha Via Circuito.

Amansara is a natural progressing of Chancha's special strain of electronic South America. Lead single "Coplita" features the haunting vocals of previous collaborator Miram Garcia, while "Sueno En Paraguay" merges Andean folklore sounds with bleeps and blips and pounding drums in a way that sounds completely natural and ordained. "Jardines" features the driving vocals of Lido Pimienta merging with heavy synths, percussion and bells into an unforgettable track, while both "Tarocchi" and "Guajaca" ramp things up into deep, electronic dancefloor inna rainforest territory.

Art for Amansara comes from Argentinian psychedelic folklore painter Paula Duro who has crafted the look of all of Chancha's previous releases.

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

CAM Sugar is proud to present the first physical release, on LP and double CD, of the original soundtrack to the TV series “MEDICI - MASTERS OF FLORENCE” (2016-2019), that received international praise following the Netflix distribution. The original score composed by Paolo Buonvino brings the Italian Renaissance back to life. The soundtrack mixes traditional instruments belonging to classical music (a common practice with historical dramas) with smooth electronic elements, allowing the listeners to take a journey of exploration through one of the most exciting periods of European history as much as into one’s intimacy.  The result is a score that is impactful and enjoyable for a broad audience, also thanks to the voice of Skin (Skunk Anansie), who performs “Renaissance” and “Revolution Bones”, respectively the theme songs to season 1 and season 2 & 3. The LP version offers a selection of the best tracks composed for the 3 seasons, while the double CD edition features the series’ complete soundtrack.

Following the success of the label's Cassiopeia reissue, Mysticisms presents a second EP from Nail with four previously unreleased tracks of gliding deep house, dub techno and Balearic sunrise anthems, highlighting this respected talent.

Recorded between 1993 to 1999, predominately at the DiY collective's Strictly 4 Groovers studio in Nottingham, with the ever reliable Damian "Deadbeats" Stanley engineering. While edits and overdubs were completed at home, some were mixed down to DAT and cassette to became part of Nail and friends after party soundtrack, as much for pure enjoyment as appraisal.

Still a teenager for the early years of these recordings, Nail was honing his craft. Utilizing the ever faithful S1000 sampler, Juno 106, Oberheim Matrix 1000 and Roland SH101, influences from Future Sound Of London, the emerging 'West Coast Sound' rising in the US, Maurizio's dub fusion, through to the bouncing free party sounds emanating out from the Midlands to a now nationwide party scene embed in to machines.

Unreleased until now, the Cassiopeia release ignited an interest in these old cassettes and DATs, bringing them to life and offering further proof of Nail's place as one of the UK's best House producers.

Ghost the Mystery.