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We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

"Dear music lovers, this album represents the truest and purest essence of myself in a 'now state' at the end of my thirties. I really don't care about aging, but I care about these ten songs. They make me happy, sad, aware, they make me laugh, cry and confident - hopefully, they make you feel the same or make you feel at all, too. For me, they shatter the rising coldness in this world. This wholesome musical powerhouse is about 'people in white cars' - it's a weird metaphor. Learn all about it on this album." - Rico

Oríkì is an album blending jazz, Fuji and Afrobeat in a powerful tribute to Yorùbá heritage. Featuring Mercury Prize-shortlisted Moses Boyd, Afronaut Zu (Steam Down, Rudimental) and spoken word artist Adesayo, Oríkì merges ancestral praise with contemporary expression.

Six years in the making, the album draws inspiration from NIJI’s great-grandmother, Matilda Taiwo (Mata), and serves as his personal statement on identity, history, and homecoming. The album is threaded with the evocative rhythms of the talking drum, grounding each composition in cultural authenticity. With Oríkì, NIJI invites listeners into his journey of reconnection, presenting a work both timeless and rooted—a musical expression of past, present and future converging.

Als die Melodic-Rock-Supergroup W.E.T. 2009 ihr selbstbetiteltes Debütalbum veröffentlichte, war nicht abzusehen, dass sie auch 15 Jahre später
noch Platten machen würden.
Doch das Dreiergespann, bestehend aus Sänger Jeff Scott Soto (Talisman, Journey, Axel Rudi Pell, Malmsteen), Erik Mårtensson (Eclipse) an Gitarre,
Bass und Keyboards und ergänzt durch Gitarrist Robert Säll (Work of Art), meldet sich mit seinem fünften Studioalbum zurück.
Das Album mit dem Titel „APEX“ ist ein kühnes Statement für die Zuversicht der Band, ihr bisher bestes Werk abgeliefert zu haben. Elf Tracks voller
großer Refrains und eingängiger Melodien, serviert auf einem Tablett voller sanfter Härte.

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

"The beauty of The Devil Makes Three is the way they take an old-time musical genre and, by putting their own imprint on it, turn it into something that lives and breathes anew, passing the torch to a new generation, just as stateside rock fans learned about the likes of pioneers Little Richard, Chuck Berry, Jerry Lee Lewis and Buddy Holly from the first wave of British Invasion bands. With their latest album, Spirits, the band continues this tradition by incorporating their signature punk, folk and bluegrass sound along with country and singer-songwriter leanings. “That’s what we set out to do. We wanted to use these musical forms to talk about current issues,” explains Pete Bernhard. “Folk music should be about what’s happening now, just as it was when Woody Guthrie and Bob Dylan did it.” The song titles alone describe the band’s return to a stripped-down, drum-less sound and songs that reflect the ongoing struggle to survive amid the uncertainties of the current volatile climate: “Dark Gets the Best of You,” “Divide and Conquer,” “Ghost are Weak,” “Hard Times,” “I Love Doing Drugs,” “Poison Well” and “The Devil Wins.” The tracks were recorded at Dreamland, part of a converted church compound outside Woodstock in upstate New York which offered some haunted moments of its own, with plenty of spooky thunderstorms and lightning. “There’s definitely a theme of ghosts and death running through this album,” acknowledged Bernhard, who lost his mother, brother and closest childhood friend while making the record. “It also has a good amount of political material, a reflection on how divided people are these days, just trying to find common ground. Not being able to perform our music live led to some deep reflections.”"

Over the last ten years, Chris Imler's perhaps not quite as rapid but equally unstoppable rise has coincided with the world's free fall. “The Internet will break my heart” marks the steepest artistic stage to date. We see a man whose entire oeuvre is a late work, at the dizzying heights of his game. “So, the Internet, that's a really hot topic”, I can already hear blasé hisses here and there in the boxes. But the truth is that the topic is annoyingly topical. Because only now is the world wide web unfolding its full disappointing potential. All pipe dreams of an emancipatory power of the digital multitude (remember Negri/Hardt, haha) are as completely extinguished as the Arab Spring was swallowed up by the pre - nuclear winter. While they are capped from above in authoritarian states, social media in the so - called free world are primarily used by lumpen capital to undermine humanistic standards and by the remnants of the left for self - destructive polarization. But the cute animal videos! They too have their dark side, which Imler brings up in the title song: “The animals in the real world are under pressure”. - Jens Friebe

Re-Issue
IN FLAMES repräsentieren das Beste aus Vergangenheit, Gegenwart und Zukunft des Metal. IN FLAMES sind heute genauso vital und sogar noch energiegeladener als in den vergangenen Jahrzehnten, als sie Klassiker wie Come Clarity und Clayman herausbrachten.

Die Band hat sich einen umwerfenden Ruf erspielt, indem sie auf der ganzen Welt bei jedem erdenklichen großen Rock- und Metal-Festival mitreißende und inspirierende Auftritte absolvierte, als Headliner auf mehreren Tourneen auftrat und mit Bands wie Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation und Lamb Of God tourte. Sie treten regelmäßig auf einigen der größten Bühnen und Festivals der Welt auf.

"Foregone", das furiose vierzehnte Studioalbum, verbindet die größten aggressiven, metallischen und melodischen Stärken ihrer bahnbrechenden Alben mit dem ausgereiften Songwriting ihrer postmodernen Ära. "Foregone" schafft es meisterhaft, wenn auch unwahrscheinlich, alle Seiten der IN FLAMES-Fangemeinde zu bedienen, und das mit großer Wucht.

Ein Gefühl des Stolzes, der Errungenschaft und der anhaltenden Vitalität ist jedes Mal, wenn die Band die Bühne betritt, und überall auf "Foregone" zu spüren. Als Pioniere des Melodic Death Metal und innovative Verfechter des Grooves sind die Kunst, der Einfluss, die Größe und die Zukunft von IN FLAMES so groß wie der Heavy Metal-Horizont selbst.

Wie viele finnische Death-Metal-Pioniere zeichnet sich die Band durch einen ausgeprägten Sinn für Schrägheit aus, indem sie verschiedene Einflüsse zu einem unverwechselbaren Sound verschmilzt. "Das Rückgrat ist der Death Metal", sagt Sänger Kari Kankaanpää, "aber wir haben uns nie davor gescheut, neue Inspirationen und Einflüsse zu erforschen, die die einzigartige Note von Sepulchral Curse ausmachen. Musik muss dunkel, schwer und wütend sein!"

Crimson Moon Evocations markiert das Debüt der Band bei Dark Descent Records, eine Partnerschaft, die sich sowohl natürlich als auch von großer Bedeutung anfühlt: "Dark Descent Records hat immer einen besonderen Platz in meinem Herzen gehabt. Es ist eine große Ehre, mit dieser Platte zu ihrem renommierten Roster zu stoßen."

Diese neue Zusammenarbeit spiegelt die ungebrochene Dynamik von Sepulchral Curse wider und erscheint nur zwei Jahre nach ihrem kühnen Sprung nach vorne mit Abhorrent Dimensions. "Mit Abhorrent Dimensions haben wir wirklich begonnen, unseren eigenen Sound und Stil zu finden, und Crimson Moon Evocations taucht noch tiefer in das ein, was wir sind, und kristallisiert die Essenz des Sepulchral Curse-Sounds."

Um ihre Vision einzufangen, kehrte die Band in die finnischen Oxroad Studios zurück, um mit dem Produzenten Tomi Uusitupa zu arbeiten, dessen Einfluss entscheidend war. "Tomi ist wie unser sechstes Mitglied. Er wählt die Projekte, mit denen er arbeitet, sorgfältig aus, da er in jede Platte, die er macht, eine enorme Menge an Liebe und persönlichem Input einfließen lässt."

Das Album ist nicht nur ein Meilenstein, sondern auch ein Statement, das von Mark Erskine mit einem atemberaubenden Artwork versehen wurde: Sepulchral Curse ist zum Gipfel des Blackened Death Metal aufgestiegen!

Repressed Blood Red Vinyl of NECK DEEP's sencond full lenght proper, originally from 2015. Kerrang!: "Life's Not Out To Get You" is a must-listen for any fan of pop-punk." #31 Greatest Pop-Punk Albums of All Time - Alternative Press: "Neck Deep have solidified their position as one of the leading bands in the new wave of pop-punk. Top 10 Essential Records of 2015" - - NME: "Neck Deep have produced an album that is both anthemic and emotionally resonant." - Rock Sound: "Neck Deep have delivered their most mature and accomplished album to date." #3 on Rock Sounds Top 50 of 2015 Following "Wishful Thinking," with their second studio album, "Life's Not Out To Get You", Neck Deep, released what is easily one of their most career defining albums and one of the largest albums in the pop-punk genre. - Featuring fan favorite songs: "December," "Can't Kick Up the Roots," & "Serpents" - DIY wrote the "full-length feels both quintessential and refreshing, a modern classic_The hooks are glorious, the bounce is addictive and it's a little rough around the edges for good measure." In the little over a decade since Neck Deep formed in the Barlow brothers' spare room in Wrexham, Wales, a lot has changed. From the scrappy, naively hopeful beginnings that define the starting of so many teenage bands, the pop-punks have gone on to be one of British Rock music's most successful global exports in recent memory: top 5 records in both the US and UK, global touring, viral hits and over a billion plays, just some of the fruits of ten years spent mastering their craft. - For Fans Of | Blink-182, Green Day, & State Champs

Emergent polymath Brother Aten makes his first outing on Bruk with an icy slice of system-ready
minimalism, guided by the cooly detached voice of Ze R.
Taking cues from cult sci-fi and early 80s no wave, Fragmented Dystopia is a crystal clear
statement trimmed of all unnecessary baggage. The title spells out the mood — Aten's
soundscapes are stark and synthetic machine mantras punched out on outboard instruments
navigating gritty, futuristic zones.
On 'Unavailable' steadily humming drones shape the space in which Ze R. hovers, initially
delivering a deadpan denial before their humanity sneaks in as the track snakes through an
intricate lattice of crisp digital percussion. Short and razor-sharp two-parter 'Fragmented Dystopia'
finds an even sparser corner to occupy within Aten's subtly cyberpunk vision, where Ze R.'s
scattered words cut a measured figure delivered at acute angles before breaking into wilder forms
at the end of Part 2.

Originally from Brooklyn and now based in Berlin, Brother Aten has been weaving a fascinating
tapestry of audio and visual work as MAF. His artwork examines the fraught relationship between
technology and society. Ze R. explores dimensions of sexuality, subjectivity and individualism
through writing, performance and community organisation.

It feels like most every week Burnski starts a new label that is immediately as good as all his others, and here is this week's case in point: Reliance is a super limited new outlet from the super producer and it kicks off with ODF who you may know from a brilliant remix of Special Request. 'Yeah (Uh!)' opens with bubbly basslines and neon melodies and is a timeless garage bumper. '2 Turn' then brings the funk with tight bass and lovely silky drums, 'Rattlesnake' is more dark and menacing thanks to the trippy samples and low end and 'Back To 98' is a stateful shot of garage nostalgia direct to the veins.A

For Peggy Gou, recording an instalment of !K7’s DJ-Kicks series was one of the items on her list of career goals. “It’s the premier class of DJ mixes,” she says. “Some of my favourite selectors have contributed to it.” In 2019, Peggy Gou was able to tick that off her list as she proudly presented the 69th edition of the mix series.

To kickstart 2025, which is !K7's 40th anniversary year, the release is re-issued on a tigerfur-coloured 2LP. Peggy started working on the mix in 2018. It was a busy time for the then 28-year-old: she’d just scored her first Mixmag cover and her single ‘It Makes You Forget (Itgehane)’ was receiving awards and critical acclaim. Each month she would DJ in 20 nightclubs all over the world. And yet, the goal for her mix was ambitious: instead of trying to capture the energy of her DJ sets, she aimed to create a portrayal of her own musical journey.

An 18-track listening session that takes you straight into Peggy Gou’s living room where she plays you the formative tunes from her collection. No genre boundaries – she moves across disco, house, techno and electro. No tempo limits – the mix ranges from 90 to 150 BPM. And no age restriction – the earliest tunes on the mix are from 1983.

The same level of attention was brought to the arresting cover artwork, in which the well-documented animal lover references both Korean iconography and the endangered status of the creature of the country's foundational mythology, the tiger. The album artwork shows Gou posing alongside a tiger. "As the first Korean woman to contribute to the DJ-Kicks series I wanted to do something from my heritage," she said in a statement. "I chose the tiger, which is very important in Korean traditions and a metaphor for my personality. As it is inhumane to shoot with a real tiger, I and the photographer Jonas Lindstroem used a library image to make a composite. The tiger disappears when you turn to the inside-cover photo, to highlight that these beautiful animals are already extinct in my home country and in danger of disappearing from our world entirely.”

Another Goa Trance hero joins the Metallic States project. Following amazing re-issues of his side project Prism, O.V.N.I. is back 26 years after his last release on vinyl under this moniker. A new approach for new times could define the proposition here, with 4 tracks infused with the psychedelic touch that defines him so well.

Close your eyes… do you see the Fractals?

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

The Complete Film Music Composed by Robert Aiki Aubrey Lowe - 2xLP 180 Gram Colored Vinyl - Old-Style Tip-On Gatefold Jackets with Satin Coating and a Built-In Booklet Page - Composer Liner Notes - 12 Page Art Gallery Exhibit Catalogue // In partnership with Universal Pictures, Metro Goldwyn Mayer (MGM) and Monkeypaw Productions, Waxwork Records is thrilled to present CANDYMAN Original Motion Picture Soundtrack by Robert Aiki Aubrey Lowe. Directed by Nia DaCosta (next year's The Marvels) from a screenplay by Oscarr winner Jordan Peele, Win Rosenfeld and DaCosta, Candyman, currently in theaters nationwide, is a fresh take on the blood-chilling urban legend and a contemporary incarnation of the 1992 cult horror classic. About Robert Aiki Aubrey Lowe: Robert Aiki Aubrey Lowe (b.1975) is an artist, curator and composer who works primarily with, but not limited to, voice and modular synthesizer for sound in the realm of spontaneous music. Along with analog video synthesis works, he has brought forth an A/V proposal that has been a focus of live performance and installation / exhibition. The marriage of synthesis and the voice has allowed for a heightened physicality in the way of ecstatic music, both in a live setting and recorded. The sensitivity of analogue modular synthesis echoes the organic nature of vocal expression, which in this case is meant to put forth a trancelike state. Lowe's works on paper tend towards human relations to the natural/magical world and the repetition of motifs. The deluxe 2xLP vinyl release features 180-gram colored vinyl, old-style tip-on gatefold jackets with satin coating and a built-in booklet page, liner notes by composer Robert Aiki Aubrey Lowe, a 12-page art gallery exhibition catalogue, artwork by Sherwin Ovid and Julian Williams and puppetry art by Manual Cinema.

Mit MORPH legt die Ellis Mano Band ein facettenreiches, in sich schlüssiges Opus vor. “MORPH ist für uns mehr als nur ein Album – es ist unser
nächster großer Schritt, unser musikalisches Reifezeugnis,“ so die Band. Mit Tracks wie dem epischen „Countdown To Nothing“ und der rockigen
Hymne „For All I Care“ lädt die multinational besetzte Blues-Rock Institution die Hörer auf eine intensive Reise durch moderne Interpretation des
Classic Rock ein. Dabei treffen energiegeladene Riffs auf überraschende, ruhige Momente – alles verpackt im Artwork der Grafiker Legende Hugh
Syme (Rush, Aerosmith, Bon Jovi…), das den Spirit von MORPH perfekt widerspiegelt. „Wir freuen uns, diese Klangwelten mit unseren Fans zu teilen,
sowohl auf Platte als auch live!“
Mit zahlreichen Top-2-Platzierungen in den Schweizer Albumcharts und hervorragenden Kritikerreaktionen schreitet die Ellis Mano Band weiter voran
und wird auch in Zukunft Musik vom Allerfeinsten liefern - zeitlos und 100% handgemacht!

The Young Mothers return with their third album, Better If You Let It, blending a genre-defying mix of jazz, hip-hop, punk, experimental rock, and electronic music. Formed by Norwegian bassist Ingebrigt Håker Flaten in Austin, Texas, the band’s sound is shaped by the diverse musical backgrounds of its members, hailing from both the U.S. and Norway. With influences spanning from Texas’ vibrant hip-hop and punk scenes to Norway’s experimental jazz traditions, the band creates a powerful fusion that feels cinematic and unpredictable.

The lineup includes Jawwaad Taylor (trumpet, rhymes, electronics) and Jason Jackson (tenor and baritone sax) from Houston, Stefan Gonzalez (vibraphone, drums, percussion, voice) from Dallas, Frank Rosaly (drums, electronics) from Chicago and Amsterdam, and Håker Flaten (bass) from Norway.

This global roster brings together a dynamic, cross-cultural sound, with Better If You Let It showcasing their most cohesive and wide-ranging material yet. Recorded in Oslo and set for release on Sonic Transmission Records, the album is a bold statement, proving The Young Mothers’ ability to push musical boundaries across genres and geographies.

Montreal-based rock band Le Nombre, active from 2002 to 2009, released three albums filled with raw poetry and relentless riffs and rhythms. Scénario Catastrophe was produced by Ian Blurton (Tricky Woo, The Weakerthans) and recorded in Toronto. Released in 2004, it marked the band’s peak both musically and lyrically. This record enabled them to tour Europe, the United States, and Canada, where they opened for The New York Dolls at Festival d’été de Québec. Praised by the press both here and abroad, the album, now offered with a remastered sound, will be available on vinyl for the first time in February 2025, twenty years after its original release.

Montreal-based rock band Le Nombre, active from 2002 to 2009, released three albums filled with raw poetry and relentless riffs and rhythms. Scénario Catastrophe was produced by Ian Blurton (Tricky Woo, The Weakerthans) and recorded in Toronto. Released in 2004, it marked the band’s peak both musically and lyrically. This record enabled them to tour Europe, the United States, and Canada, where they opened for The New York Dolls at Festival d’été de Québec. Praised by the press both here and abroad, the album, now offered with a remastered sound, will be available on vinyl for the first time in February 2025, twenty years after its original release.