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These days – on the new, ninth Fink album – Greenall is operating within a lineage of authentic, quietly revolutionary artists from England’s verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall – along with bandmates Tim Thornton and Guy Whittaker – as he began jigsawing together The City Is Coming to Erase it All, the follow-up to 2024’s Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album’s opener. ‘Wishing For Blue Sky’ circles a universal teenage ache: waiting for life to start. “No point dying of patience” goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Eur

This is nowstalgia more than nostalgia, though; there’s a parallel between these 18-year-olds and Fink’s autumn-aged family men. “You’re expected to be boring and settling down at this age,” Thornton says. “But we’ve still got this tremendous wanderlust. We want to go and discover, and also achieve things. It’s a nice life – home and family – but fuck, I can’t wait to get back out there.” City is a product of this hunger for discovery, and idolatry of the album as a form – like we had in 1974. City’s cover mirrors its interior, the first song is the greeting, the instrumental closer the conclusion. It’s a story. It’s a record for people who, like its creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they’re ready to chase after their own blue sky

Two decades into his winding voyage through music, culture and creativity, Tom Trago has become part of the densely woven fabric of the Dutch electronic scene - a producer, DJ, label owner, collaborator, remixer, radio host and DJ's DJ who is renowned not only for his impressive productivity, but also the genuine depth and variety of his work. While it was Trago's distinctive DJ sets that once grabbed headlines - he famously held residencies at renowned Amsterdam institutions Trouw and De School, and for a decade spent much of his time jetting between some of the most renowned clubs in Europe - in recent years Tom has cut down on appearances. Today, he chooses to be far more selective about where (and when) he DJs or performs live, often working with a handful of cherished venues and festivals while ensuring that his travels are sustainable and inspiring. Instead of the grind of touring and hedonistic night-time activity, Trago has chosen to focus on music-making, alongside semi-regular forays into radio broadcasting (NTS, Radio Radio, BBC Radio and EchoBox). He now spends most of his days producing and remixing at his new SR-3 studio in Alkmaar and his seaside home-come-studio in Bergen aan Zee. As part of these lifestyle and career changes, Trago took time to look deeper, not only inside himself, but also for musical inspiration. Tom has always loved, and devoted time to, digging into a wide variety of production styles, using this inspiration to develop a trademark personal production style, but in recent years he has taken it even further. Fuelled by a desire to challenge himself, Tom consistently tries new things in the studio while channeling all he's learned during a career that has moved forwards at breakneck speed. Since making his debut in 2006, Trago has released six critically acclaimed albums (two of which, the eclectic, beat-focused, career-spanning, Patta-released archive dive, 18, and the dancefloor excursion, Trembala, appeared in 2022); extensively worked with Dutch electronic music institutions Rush Hour and Dekmantel; collaborated with countless friends and contemporaries (Charlie Soul Clap, Awanto 3, Maxi Mill, Steffi, San Proper, Seth Troxler, and BokBok included); remixed artists including New Order, Carl Craig, Cassius, Tiga and Erol Alkan, and championed a swathe of fellow Dutch producers via the Voyage Direct label he founded in 2009. In 2025 Tom returns to legendary Dutch label Magnetron Music, home to Fatima Yamaha, DMX Krew, Legowelt, Staygold and many other, to release his Magnus Opus; Ignorance.

Phase alternations arise where overlapping waves diverge in phase, revealing the hidden
geometry of sound. A phenomenon that Peryl deliberately allows to happen — thus placing
the physical and technical aspects of music at the center of attention. His new album
builds on a fundamental idea of electronic music — but reimagined.

The person Peryl and his needs steps into the background during production —
functioning merely as a channel that intuitively receives and transmits what long-studied
machines, in dialogue with the subconscious, collectively bring to the surface.

The result is a collection of nine tracks, like emanations of precisely crafted analog
synthesis. No sound returns the same way twice. This fragility fuels the urgency — a
creative necessity to listen, to commit, to allow form to arrive before it dissolves again.

Rhythm is no longer on the grid, but a series of small shifts, offsets, and delays. Loops fall
slightly out of sync. Deviation creates friction, and friction creates energy. Through the
layered interplay of phase-driven effects — chorus, phaser, flanger — the sounds begin to
breathe in alternate rhythms. Hollows emerge. Swells fold into one another.

Challenging these swells is an essential part of Phase Alternations. Effects come alive in
subtle shifts, industrial textures whisper melodies, folding and unfolding in rhythms that
emerge through their own logic.

Peryl presents the result of an experiment: the sound itself chooses its form.

On this record Obliq chooses to follow decidedly more house and bouncy paths. Alessio stands out for his garage touch Dj Rou for more dreamy lines.
The side B, sculpted by both, gives a track very influenced by the 90s but with a modern and more dubby touch, the whole thing turns out to be very happy.

Real Lies’ new album ‘WE WILL ANNIHILATE OUR ENEMIES’ will arrive on April 16th 2025 via Tonal. The album is about taking the hand of someone you love intensely and running headlong into the chaos and noise and grinding forces that dominate modern life. It follows gilded 2024 collaborations with Mall Grab, Kettama and Drain Gang’s YEAR0001 label. Lyricist Kevin Lee Kharas and producer Patrick King created the record in their studio, hidden away under a railway bridge somewhere in London’s Zone 3. Three pictures stared down at them from the walls throughout, including an image of a young Sasha Shulgin in the relief print style of Che Guevara t-shirts sold at Camden Market, and a photo of an orbiter fairground ride in flight, taken sometime in the early 2000s. Kharas’ lyrical inspiration comes when he steps away from the tsunami of data flooding his consciousness and paces London’s rain-soaked streets late at night. “I wanted the songs on WWAOE to confront modern reality head-on, unflinching,” he explains. “I didn’t want to whine about a lost past. I didn’t want nostalgia. I wanted to learn to love the modern world, with all its horrors and futility.” After a teenhood spent playing in hardcore bands, the duo found ecstasy at a squat party for the first time, and moved to London. Since then, they’ve made music about finding romance and fun when the moon is up, becoming a cult act in the process.

PROMISE is the latest album from Brooklyn-based producer Ibe Soliman, aka Bad Colours. Known for his blend of house, proto-techno, rap, and soul, Bad Colours delivers a dynamic, emotionally resonant record. Driven by hypnotic rhythms and personal storytelling, PROMISE explores themes of vulnerability, desire, and transformation. It's a versatile album designed for both dancefloors and introspective listening.

PROMISE is the fourth LP from Bad Colours on Bastard Jazz, following 2024's collaborative album with Cor.ece, Been Here Before. Soliman's career spans over a decade—DJing alongside artists like James Murphy, Mark Ronson, and Q-Tip, and producing for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross. His work has received support from KCRW, KEXP (including multiple Midnight in a Perfect World mixes), and CBC Radio 3, and has charted on both the NACC Top Electronic and Top 200 charts. Bad Colours has been featured in press outlets like NYLON, Nonderland, Resident Advisor, Electronic Groove, and Fusicology. His music has appeared in Netflix's Escape from Spiderhead, Hulu's Woke, Disney's Chang Can Dunk, Showtime's American Gigolo, Valorant's Rising Stars, and more.

Tar 40
*Xris Vavrzhina*
TAR040
_TH Tar Hallow_

Xris bends the sentiment. Pacing at four in the morning with no intention of stopping. The night won't go quiet. The days are not linear. Straight lines are for people with plans.

On April 13th, 2019 Record Day, Vega Records celebrates with the new release 'My Body' performed by none other than the Legend and King Luther Vandross. This is a song that was never released and was recorded back in 1979 by Luther Vandross when he was working on the colossal album 'Never Too Much'. Brought to Louie Vega by artist and renowned background singer to the greats Mr. Fonzi Thornton, Vega was able to work on the immaculate sounds of Vandross. As Vega recalls 'When I put up the tracks in my studio it sounded as if Luther were singing today, it made it so easy to come with the house grooves having such a perfect vocal performance and one of kind tone. Once I came with the music, I felt I needed to call his original background singer team, which Fonzi organized in a flash. He called upon the genius background singers Brenda White, Lisa Fischer, Cindy Mizelle, Tawatha Agee and Fonzi himself. We are talking the A-Team of background singers, a dream come true in my studio', Vega recalls.
The Result is a stunning art piece by Richard Wilson on the cover of the vinyl double pack 12'. There are seven versions to choose from ready to work back to back.
So not only is it record day, it's also the birthday of Luther Vandross which is on April 20,
HAPPY BIRTHDAY LUTHER VANDROSS!!!
LOUIE VEGA SENDS A BIG HAPPY BIRTHDAY TO LUTHER VANDROSS & THANK YOU TO FONZI THORNTON, SEVETA WILLIAMS, AND VANDROSS MUSIC, LLC.

The neon "pdqb Arcade" sign in Port Astra flickered with the same chaotic energy it had decades ago. Six men, now with more gray hair and worries than they once had, stood at the entrance. They were the "Lucky Six," reunited after years of scattered lives and separate paths.

"I can't believe this place is still here" said Noise, who had flown in from Tokyo. "It hasn't changed 8 bits, haha". CEM, now a father of 3340 synthesizers from Bari, replied with a grin. "We have. Look at Galaxian, he's unrecognizable!"

Each of them held a single, precious coin. Their plan, born of a wave of nostalgia and the understanding that they couldn't stay forever, was simple: one coin, one game, one last chance to be a legend. Each man would choose the game that meant the most to him and play the round of his life…

At the end, pdqb, the arcade owner, came up to the guys. "Don't be sad", he said. "Even if it was your last credit, there's always one more somewhere in some game". He then walked through the arcade and played four different machines that just happened to have an extra credit on them. "See?", he said.

Synaptic Cliffs proudly presents pdqb together with six black belt gamers (PRZ, Noise&Noise, Galaxian, CEM3340, Dark Vektor, Mesak), each a legend in their own right. They don't just replay pdqb's 8 1/2 Bit album; they become it. Together, they embark on a journey through legendary worlds, creating a place filled with soundscapes and challenges that blur the line between music and game. They move with the rhythm of the music and face the challenges within, weaving their own stories into the fabric of the iconic work.

On a "Balearic-Jazz trip", the phenomenally hyped Thought Leadership returns with another X ideas: the deck this time chooses the Ace of Swords. In the acclaim garnered by III of Pentacles, there were many whispers of “Balearic” from those in the know. As soon as you drop the needle on XI you will be basking in turbo Balearica.

Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

The sonic palate has been augmented by the addition of synth and bass; there are more guitar layers, more pedals and more organic drums this time – a much fuller production. Still DIY, and still recorded straight to multitrack, just ever so slightly grander in scale; think a rough-hewn, long-lost Claremont 56 cut and you’ll have some idea of how XI opens this future classic LP.

The touchstones so key to the vision of Pentacles (Cocteau Twins, Dif Juz, Durutti Column) are all still present and correct; XII could be a piece from Extractions, XIII is pure Garlands-era Guthrie and, now with the shuffling jazz drums, XV makes TL even more LC – but more disparate influences are found this time out too. ECM guitar legends John Abercrombie and Pat Metheny in the more considered melodic phrasing and harmonic structure of the ideas and a nod to the cosmic Balearic spirit in the overall vibe, means more is offered to the listener across Swords.

XVI and XVII are the biggest indicators to Thought Leaderships’ new found love of The Real Book and their grasp of jazz chords. The former sounds like if Mike Hedges had produced on a heavily sedated ECM date in the early 80s, whilst the latter is Bright Size Life condensed into a most post-punk shard of Strat conversation. The syrupy Phase 90 on the lead parts lends much weight to the guitar melodies, a beautiful tonal counterpoint to the Vox-ish chimes of the plangent chords we’ve all come to love.

The flip again treats us to three extended, improvised jams. XVIII owes as much to Canterbury as it does to Krautrock, another modal voyage through the stars. Light the incense and drift away, guided by delayed cymbals and weaving ribbons of guitar. XIX has almost a New-Wave/Sophisti-Pop energy to it in tone, if not in structure and execution. Something almost Tears for Fears-esque in the chiming chorus guitars. An interesting outlier that has already received a lot of love from those that have heard it. XX is the starkest idea, and the only piece this time with no drums. What we do get, however, is a free exploration over a two chord-vamp. It’s Harvest Time meets Planet Caravan and a fitting end to this Balearic jazz trip.

Be With is honoured to present the first ever vinyl release of Ace Of Swords, carefully remastered by Be With's engineer Simon Francis to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut at Abbey Road Studios whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With.

The last one flew. You have been warned.

After a busy summer on the road, Silverlining launches Forgotten Chorus, a new imprint for deep, hypnotic and abstract body music. The idea was born at a festival, where low frequencies drifting through the natural filter of English woods prompted him to mentally fill the gaps of the higher registers. Three weeks later, he wrote ‘Salvaged Chimes (From the Rubble of Sound)’, an almost verbatim recreation of the track he’d imagined. For Silverlining, this moment of embracing discarded sound became emblematic of how overlooked voices, such as those of the oppressed and forgotten, can still resonate if we choose to listen differently.

This concept led to experimentation with flint-knapper John Lord and conceptual artist Antonia Beard, whose recordings he sampled of the ancient practice of striking flint, humanity's first technology. Those sounds were then cut and made into all the instruments, save for the TR-909, that comprise 'Attuned To Detune'. The EP’s lead track, ‘Folk Dust’, pushes high-tempo breakbeats through Silverlining’s own lens on UK broken techno, balancing raw energy with ethereal melodies.

Forgotten Chorus seeks to celebrate the beauty in sounds and stories that fall outside the dominant narrative. Its debut release, a fast-paced, three-track techno EP by Silverlining, embodies this spirit and marks another step in his evolving exploration of new sonic ground.

Born-and-raised Detroit staple DJ Holographic unveils her album, House In The Dark LP via her newly launched label, Through The Veil.

The LP taps into the core of Afrofuturism that defined the foundation of Detroit techno but reimagines it in a femme, queer, and conscious way. The project draws from her deep-rooted relationship with astrology and shadow work—a therapeutic practice used to explore and heal repressed parts of the self. These transformative inner journeys serve as the creative bedrock for the album, which navigates themes of self-discovery, healing, and empowerment.

“Through healing practices like shadow work, astrology, and more, I’ve found a profound sense of arrival while writing House In The Dark. I’ve stepped into who I’ve always wanted to be as a creative and so much more. ‘Pisces’ is a journey through the depths of illusion, where the home becomes both a sanctuary and a mirror for our inner world, revealing what’s real and what we choose to believe.” — DJ Holographic

A celebrated DJ whose talents have taken her to Berlin’s Panorama Bar to Pitchfork Music Festival in Mexico City, Holographic has upcoming stops at London’s fabric, New York’s Public Records, Circoloco’s opening Ibiza party, and more. Her work has been covered by PBS, CRACK Magazine, Ransom Note, Billboard, DJ Mag, Resident Advisor, and more.

SHDW presents 'Federation Of Rytm IV': a bumper 30-track collection spanning the past, present, and future of techno.

Offering powerful standalone club cuts and a cohesive deep-dive, the expansive VA lands on 24th October 2025.

The fourth edition of SHDW's flagship 'Federation Of Rytm' VA series has been carefully curated by the DJ/ producer and head honcho over more than a year, with close attention to detail given to sequencing. It is a balance of label regulars and debutants that represents the past, present, and future, both sonically and through the generational diversity of the artists involved. There are plenty of surprises along the way while always remaining true to the Mutual Rytm ethos and reflecting the journey of the night from start to finish, whether that's in intimate, sweaty clubs or on big festival stages.

Across 30 tracks in the digital collection and 24 on four sides of wax, the release explores the full breadth of the Mutual Rytm sound. Driving grooves and relentless percussion set the pace, gradually unfolding into hypnotic and atmospheric passages that invite deeper immersion. Pulsating low-end power alternates with eerie minimalism, while bursts of futuristic energy and cavernous kick drums keep the tension high. Elsewhere, dub textures and moments of introspection provide balance, creating a narrative arc that moves fluidly between intensity and release, atmosphere and tension, darkness and light.

In 2025, Roger 23 makes his return to Night Defined Recordings. Following his 2022 album “Bounds of a Moral Principle and Established Standard Behavior”, the unmistakable Saarländer revisits his teenage memories of the Saarbrücken-Leicester connection through a collaboration with his UK kindred spirit, Tom Dicicco. In just two months, the duo has created a collection of ten tracks rich in sonic depth, embodying their dedication to and belief in the power of exploration.

In a world where it’s easy to point fingers or resist change, Tom Dicicco and Roger 23 choose a different path. They see creativity not just as self-expression but as a way to inspire future generations. Their mission is to challenge norms, trust the process, and create with purpose.

This album is more than just a musical project — it’s a statement that true innovation arises from freedom and risk-taking. The journey has taught them more than music production — it has reinforced the importance of conviction and trusting their vision. Their work serves as a reminder that leadership is about breaking new ground and inspiring others to do the same.

WE CANNOT COMPLAIN, IF WE DON’T DO IT BETTER

for UK: please contact Rubadub

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch


Billy Idol - "Catch My Fall" (From The 1987 Movie 'Some Kind Of Wonderful')
The Association - "Cherish" (From The 1986 Movie 'Pretty In Pink')
Penguin Cafe Orchestra - "Music For A Found Harmonium" (From The 1988 Movie 'She's Having A Baby')
Zapp - "Radio People" (From The 1986 Movie 'Ferris Bueller's Day Off')
Blue Room - "Cry Like This" (From The 1987 Movie 'Some Kind Of Wonderful')
Ray Charles - "Mess Around" (From The 1987 Movie 'Planes, Trains & Automobiles')
Joe Turner - "Lipstick, Powder & Paint" (From The 1989 Movie 'Uncle Buck')
Darlene Love - " (Today I Met) The Boy I'm Gonna Marry" (From The 1984 Movie 'Sixteen Candles')
Marvin Gaye - "How Sweet It Is (To Be Loved By You)" (From The 1988 Movie 'She's Having A Baby')
Perry Como/Mitchell Ayres & His Orchestra/The Ray Charles Singers - "Juke Box Baby" (From The 1989 Movie 'Uncle Buck')
The Chordettes - "Mr Sandman" (From The 1989 Movie 'Uncle Buck')
Ray Anthony & His Orchestra - "The Peter Gunn Theme" (From The 1984 Movie 'Sixteen Candles')
Lindsey Buckingham - "Holiday Road" (From The 1983 Movie 'National Lampoon's Vacation')
Emmylou Harris - "Back In Baby's Arms" (From The 1987 Movie 'Planes, Trains & Automobiles')
Hugh Harris - "Rhythm Of Life" (From The 1989 Movie 'Uncle Buck')
Spandau Ballet - "True" (From The 1984 Movie 'Sixteen Candles')
Propaganda - "Abuse" (From The 1987 Movie 'Some Kind Of Wonderful')
The Dream Academy - "The Edge Of Forever" (From The 1986 Movie 'Ferris Bueller's Day Off')
Yello - "Lost Again" (From The 1987 Movie 'Planes, Trains & Automobiles')
Bryan Ferry - "Crazy Love" (From The 1988 Movie 'She's Having A Baby')
The Rave-Ups - "Positively Lost Me" (From The 1986 Movie 'Pretty In Pink')
Los Lobos - "Don't Worry Baby" (From The 1985 Movie 'Weird Science')
Steve Earle - "Continental Trailways Blues" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Revillos - "Rev Up" (From The 1984 Movie 'Sixteen Candles')
Boston - "More Than A Feeling" (From The 1988 Movie 'She's Having A Baby')
Balaam & The Angel - "I'll Show You Something Special" (From The 1987 Movie 'Planes, Trains & Automobiles')
The Rave-Ups - "Rave Up/Shut Up" (From The 1986 Movie 'Pretty In Pink')
Pop Will Eat Itself - "Beaver Patrol" (From The 1988 Movie 'The Great Outdoors')
The Vapors - "Turning Japanese" (From The 1984 Movie 'Sixteen Candles')
Silicon Teens - "Red River Rock" (From The 1987 Movie 'Planes, Trains & Automobiles')
out

For the first time on vinyl a collection of tracks by Cortex, Alain Neffe (Bene Gesserit,Insane Music) experimental spoken-word project originally released on tape in 1984.

Cortex was never intended to be a conventional musical project.
From the very beginning it was centered around free live performances. These encounters were stripped down and highly visual: Alain Neffe constructed a trapezoidal fluorescent white screen lit by black light.

The narrator—la récitante—was only illuminated in the face, while the rest of the stage remained in complete darkness.
This created a ghostly effect where the audience could see only her glowing face and dark silhouette. She was a beautiful young woman, with a striking presence, and beside her, Alain Neffe played synthesizer and created sonic effects.
The aim of Cortex was to deliver a minimalist and emotional experience, one centered on text and the voice of the narrator.

Most of the tracks that exist today were recorded informally during rehearsals, using two microphones placed in front of Marshall amps, captured directly to cassette.
La récitante could choose a text from a collection of hundreds. Then, the music was improvised in real time around her voice. That process, simple, direct, and instinctive produced a body of work that’s rough around the edges, but full of presence. It’s not polished, but that’s the point.

Cortex was focused entirely on the connection between voice and sound.

Limited to 300 copies

Demon Music group in conjunction with the Hughes family are proud to present the first official compilation of music
from the movies of legendary filmmaker John Hughes, covering the classic eighties period 1983 – 1989.
For anyone growing up in the 1980s, the films of John Hughes are some of the most iconic of the decade and have
created a lasting cultural impact still felt and referenced across TV, film and music. As well as the characters and
stories created in these iconic movies, what made John Hughes’ movies different from the rest was the symbiotic
relationship between scene and music. Whether Cameron Frye staring at the painting in Ferris Bueller’s Day Off set to
The Dream Academy’s “Please, Please, Please Let Me Get What I Want (Instrumental)”, Duckie and Andie from Pretty
In Pink at prom set to Orchestral Manoeuvres In The Dark’s “If You Leave”, or even Neal and Del’s classic “Those aren’t
pillows” scene from Planes, Trains and Automobiles set to Emmylou Harris’ “Back In Baby’s Arms”.
“Music was a huge part of filmmaking for him, it was a thing he seemed to like the most.” Matthew Broderick
Curated by John Hughes’ music supervisor Tarquin Gotch, this 6LP vinyl boxset includes 73 tracks from the movies
National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Weird Science, Pretty In Pink, Ferris Bueller’s Day
Off, Some Kind Of Wonderful, Planes, Trains And Automobiles, She’s Having A Baby, The Great Outdoors and Uncle
Buck.
“Back when we were working on these movie soundtracks, the best way to send music around the world was the
cassette, by Fedex. We sent John cassettes of newly released music, of demos, of just finished mixes (and in return he
would send VHS videos of the scenes that needed music).” Tarquin Gotch
The films of John Hughes spawned many classic tracks, some licensed for the films, some commission specifically, and
many going on to become huge international hits from acts such as Simple Minds, Kate Bush, Furniture, Yello, and
The Psychedelic Furs.
“It serves as a reminder not just to the musicians he championed in the 1980s, but to how intensely his search for
music expanded beyond this era. Until his final days, he was still collecting outrageous amounts of music from around
the world, galaxies removed from the New Romantic and new wave sounds that, to many, still define him.” James
Hughes
Also includes an extensive 24-page booklet including memories from Matthew Broderick, James Hughes, Tarquin
Gotch, Ron Payne, plus track-by-track sleeve notes.
“John said he only made movies so he could choose what music to put in them, so as his success at the Box Office
grew, and thus his power with the studios, the number of tracks in his films, by up and coming UK bands, steadily
grew.” Tarquin Gotch

"Three years ago, Jérôme Leclercq and I from Mediatoon Licensing came up with the idea of creating a cinema concert to celebrate the 20th anniversary of Naruto. Why a cinema concert? The music is part of the success of the licence and fans have a particular attachment to the credits and the original soundtracks. The originality of the music by Toshio Masuda, the composer of Naruto, comes from the clever mix of traditional Japanese instruments, such as the Shakuhachi or the Shamisen, with guitar and other pop/rock instruments. So we came up with the idea of bringing this music to the stage with a 50-strong orchestra, accompanied by an original montage of the best moments from the anime. This orchestra is made up of three parts: symphonic instruments, pop/rock instruments and traditional instruments.

To do this, we approached the ODINO orchestra and its conductor Sylvain Audinovski. The ODINO orchestra is one of those capable of mixing musical styles while maintaining a very high level of performance. We have also chosen traditional Japanese instrumentalists to complete the orchestra's core, especially for the show.

The arrangements and musical direction are the fruit of a collaboration between Quentin Benayoun, Sébastien Caviggia and myself. My two accomplices, with whom I formed the group P.U.S.S. in 2007, have a great mastery of rock and orchestral music writing. This mix is essential to keep the promise made to the fans of the series and required several months' work to select the music and write the scores for the whole orchestra.

How do you tell the story of Naruto to fans, but also to those who don't know the anime? That's the real challenge of this unique film-concert. How do you select the best moments in the story of this young ninja apprentice from the vastness of the first 220 episodes? Six months of selection and research enabled me to choose the key images in the narrative, while preserving certain dialectics to match the anime's incredible music.

This original film-concert, lasting almost 2? hours, is a real Rock-Symphonic show paying tribute to the work of Masashi Kashimoto and the music of Toshio Masuda."

Belgium's iconic DJ and producer, Yves Deruyter, who celebrates his 40th DJ career in 2025, makes a triumphant return to the music scene with the much-anticipated remaster of his seminal second album: "2001".

Renowned for his pioneering influence on techno and classics, Deruyter's re-release is packed with timeless tracks, including the unforgettable anthem "Back To Earth" and also including but not limited to: "Music-Non-Stop", "Rhythmic Bazz", the much sought after Transfusion and as a special bonus "Born Slippy".

Available in an exclusive 2 x 12" vinyl release, collectors and fans alike can choose between a special light blue edition, limited to 500 copies, or an ultra-limited faded smoked black-to-transparent white 180-gram audiophile version, limited to just 200 copies.

Each version comes repackaged in a stunning, redesigned sleeve, making it a must-have collector's item for true enthusiasts. Don't miss the chance to own a piece of techno history!