quête:no go zone

WRWTFWW Records is proud to announce the first ever release of the long-lost original motion picture soundtrack from the 1988 cult horror comedy sensation Ghoulies II by the incomparable Fuzzbee Morse. Digging deep to uncover a true gem of the VHS era, this limited-edition vinyl release (500 copies worldwide) marks history in the making as a piece of film score lore is resurrected from the depths of oblivion. The LP is packed with 39 tracks and features an exclusive artwork by French illustrator Pierre Thyss, as well an obi and composer notes.

The captivating melodies that once played hauntingly in the background of Ghoulies II were long believed to be lost forever. It took over 30 years and Fuzzbee Morse's unwavering determination to dig out the legendary recordings – and restore them for full audio pleasure!
The superb soundscape of Ghoulies II perfectly captures the chilling and wacky essence of the cult movie, as well as its creepy carnival setting. Morse, citing influences such as Bernard Hermann, Frank Zappa, and Igor Stravinsky, flexes his multi-instrumentalist skills, flowing with ease between magical fairground elements (with brilliant use of calliope, tuba, flutes and sparkly sounding synthesizers), dark atmospheres and frightening attacks (tribal percussion, strings, along with dissonant, atonal gongs, bowed cymbals), and goofy moods (bassoon, bass clarinet, glockenspiel, trumpet, clarinet). It’s big cinematic horror movie music with a lighter comedic touch – the 80s live again!

To complete this collector's edition, French illustrator Pierre Thyss (the man behind the WRWTFWW Records logo) lends his (immense) talent to provide awe-inspiring visuals that flawlessly encapsulate the juxtaposition of horror and comedy.

Ghoulies II follows the release of the full uncut soundtrack of Ghoulies (1985) which was released on vinyl for the first time ever by WRWTFWW Records in 2020 alongside soundtracks for other Richard Band-composed, Empire Pictures-produced classics: TerrorVision and Troll. All these 80s horror favorites are still available – complete the collection now!

Metal-Legende Max Cavalera (Soulfly, Killer Be Killed, ex-Sepultura) und sein multi-talentierter Sohn Igor kehren mit ihrem zweiten Album zurück und werden damit für richtiggehende Aufstände in
den Pits und Wohnzimmern der Szene sorgen. Ihr Crust/Death/Thrash-Sound ist der Soundtrack für die rebellische Jungend in diesen chaotischen, gefährlich und verdrehten Zeiten.

Superb EP, printed sleeve, colored vinyl... Limited 300 in total (with 4 avalaible colors). Music is Industrial Hardcore, creative zone.

Indonesian trio Grrrl Gang builds on their considerable worldwide buzz with Spunky!, their full-length debut album. Released on 22 September 2023 by Green Island Music in partnership with exclusive licensees Kill Rock Stars (United States), Trapped Animal Records (United Kingdom) and Big Romantic Records (Japan and Taiwan), the album is preceded by its title track and first single dropped on May 30, featured from the same title of the album, 'Spunky!' Spunky! arrives following some major life changes for Angeeta Sentana (vocals, guitar), Akbar Rumandung (bass, vocals), and Edo Alventa (guitar, vocals), including a switch in locale from Yogyakarta, the city where they formed the band while still in college. “This is Grrrl Gang’s first release after we graduated and got day jobs that made us have to move to Jakarta, which is undeniably 180 degrees compared to Jogja,” says Rumandung. “But moving to Jakarta enabled us to work with Lafa on Spunky! from start to finish.” The song itself essentially describes Sentana's experience during a manic episode. “I feel like I’m on top of the world, untouchable. I do things without thinking, always chasing after that feeling of instant gratification. I feel extra confident in myself to a point of grandiose thinking and that I could do anything,” Sentana explains. That would be Lafa Pratomo, the in-demand producer brought in to help shape the ten tracks that make up Spunky! With a resume that includes the likes of the chanteuse Danilla and legendary singer-songwriter Iwan Fals, Pratomo might not seem the obvious choice to take the Grrrl Gang producer’s chair. But according to Rumandung, “In terms of production, this was something new for us by working with someone outside of Grrrl Gang’s comfort zone.” Indeed, Pratomo considerably beefs up Grrrl Gang’s sound particularly Alventa’s guitar tones, Rumandung’s rumbling bass, and touring drummer Muhammad Faiz Abdurrahman’s muscular beats while preserving the band’s signature raucous energy, catchy melodies, and Sentana’s attitude-filled, equal-parts-honey-and-vinegar vocals. The music video for Spunky! premieres on the Grrrl Gang YouTube channel on the same day as the release of the song. The video, directed by Bathroom Girls, is part of a continuous movie, with Spunky! being the second chapter. It tells the story of an introverted girl who goes to a house party to validate herself among her peers. Despite facing challenges to her self-esteem, she manages to overcome her discomfort to survive the night. During the party, she watches Grrrl Gang perform Spunky! and is mesmerized by the confident performance of Angee, the lead singer. The girl imagines herself as Angee, a confident and cool person that she will never be. Hailing from the cultural city of Yogyakarta, Indonesia, Grrrl Gang is a rising force in the independent music scene with their infectious melodies, anthemic songs, and electrifying live performances. The power trio, composed of Angee Sentana on guitar and vocals, Akbar Rumandung on bass, and Edo Alventa on guitar, has been making waves in the Southeast Asian music scene since their formation in 2016. Grrrl Gang's music is a celebration of their collective roots and a testament to the power of pop music to connect people across cultures and borders. Their lyrics touch on themes such as feminism, mental health, and relationships with a raw honesty that speaks to a generation of young listeners. With their infectious energy, socially conscious lyrics, and unique sound, Grrrl Gang is poised to take the global music scene by storm and become a voice for a new generation

Third season and third album in 2023 for infamous french punk legends Ludwig Von 88. That's what happens when you turn 40. In one year, you make up for everything you haven't done in four decades. And since Ludwig Von 88 have always done a lot, they catch up a lot. After "L'Hiver des Crêtes" ("Winter on the ridges") and "Le Printemps du Pogo" ("Spring's Pogo"), here comes "L'été du No Future!" ("Summer of No Future").

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

Join Ryudo and his team on their greatest adventure yet! We're delighted to be collaborating again with Game Arts on this new vinyl edition of the Grandia II soundtrack, composed and arranged by Noriyuki Iwadare and entirely remastered for the vinyl format!

A cult title for the Dreamcast released in Japan in 2000 and acclaimed in particular for its innovative combat system, the game recently benefited from a remastered version in 2019 on Nintendo Switch and PC.

The Grandia II Memorial Soundtrack Edition comes in the form of a luxurious vinyl box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It contains 3 yellow color discs inserted in individually illustrated sleeves and a newly designed 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (Scenario Writer), Atsuko Nishida (Designer), Noriyuki Iwadare (Composer) and vocal Kaori Kawasumi.

The Grandia II Original Soundtrack CD Edition comes in the form of a luxurious box set, newly illustrated for the occasion by the game's original character designer, Youshi Kanoe.

It includes 2 CDs and a 16-page booklet with illustrations by Youshi Kanoe and new comments from the team, including Kei Shigema (scriptwriter), Atsuko Nishida (designer), Noriyuki Iwadare (composer) and singer Kaori Kawasumi.

Der Soundtrack zur HBO-Serie "The Last of Us" basiert auf der beliebten Musik und Klangwelt des gleichnamigen Videospiels. Geschrieben wurde der Soundtrack vom mit einem Academy Award ausgezeichneten Komponisten Gustavo Santaolalla und von David Fleming.Die intime, gitarrenbetonte Klanglandschaft spiegelt die Emotionalität der Serie wider und nimmt die Hörer mit auf die ungewisse Reise durch die USA in einer postapokalyptischen Welt, zwanzig Jahre nach der Zerstörung der modernen Zivilisation durch eine, von einem Pilz verursachte Epidemie.

Based on the critically acclaimed video game of the same name developed by Naughty Dog for the PlayStation® platforms, The Last of Us is written and executive produced by co-creators Craig Mazin (Emmy® Award-winning creator of HBO’s “Chernobyl”) and Neil Druckmann (creator and writer of the award-winning “The Last of Us” franchise and Naughty Dog Co-President).


The Last of Us takes place twenty years after modern civilization
has been destroyed by a viral outbreak. Joel, a hardened survivor, is hired to smuggle Ellie, a 14-year-old girl, out of an oppressive quarantine zone. What starts as a small job soon becomes a brutal, heartbreaking journey, as they both must traverse the U.S. and depend on each other for survival.

The vinyl release to the acclaimed series contains soundtrack
highlights from the show. Featured are score tracks by composer Gustavo Santaolalla, with additional music by David Fleming as well as songs by Depeche Mode, Pearl Jam, Jessica Mazin & Nick Offerman.


The package contains 2x vinyl, standard weight at 140g, 1x green and 1x clear, a double-sided poster of the show’s key art, spot gloss and soft touch on the gatefold and an insert featuring liner notes by Neil Druckmann, Craig Mazin, Gustavo Santaolalla & David Fleming and images from the show.

The collaboration between Klara Lewis and Nik Colk Void somehow seemed inevitable. Both artists having seen their releases published by Editions Mego, individually carving out idiosyncratic voices in the worlds of extreme, abstract electronic music. With Full-On, Lewis and Void explore and assimilate the very edge of their individual practice where a unique collaborative interface allows two voices to combine and morph into a third voice.


Lewis and Void play ping pong with the conversation of sounds, generating ideas and bouncing them off each other, simultaneously encouraging the other to go further with their ideas opening up an opportunity to engage with previously unexplored terrain. Guitars, synths, euro rack modular systems, voice, sampling and outboard processing are folded in a playful unification with a propensity to tease, explore and extract new ideas and shapes, sometimes brutal, sometimes playful.

Trust was also a compositional tool allowing instinct to freely move on any aspect of the sound and space. This sound/feeling/instinct/association let this wild and wonderful material grow organically into something new.

The result of this exploratory interplay are 17 intense miniatures reveling in the process of unadulterated experimentation and whimsical interplay, not just between the humans, but the machines themselves. United in an endless series of sonic U-turns, this daring duo intertwine pop and noise whilst also bringing together visions of tender techno and forthright ambient.

The various zones which manifest from all this reveals vocals shifting in mysterious ways, dust drenched beats churning limpidly and devilish string loops navigating a disorientating domain. The experience of listening to Full-On is to be confronted with a range of ideas resulting in a platter of emotions. A place where beauty and the beast collide with the impulsive and outright weird. What a wonderful world.

Emil Amos (Grails, OM and podcaster plus) decommissions pieces originally bound for the KPM library. A personal interpolation of "music for films (& television)" expounds upon diverse sounds: synthy 80s soundtracks, contemporary hip-hop beatmaking, ambient music, and The Hulk"s "Lonely Man Theme". Emil"s dark visions are full of noirish shadows and eerie neon glow - mood music for drug trips spent dreaming up new soundtracks to take drugs to! Emil Amos" forthcoming Zone Black album is a fully inhabitable world, its episodic narrative divided into an improbable balance between morbid ambient anthems and insouciant hip-hop instrumentals. Emil hadn"t heard it done quite this way before, so he took it upon himself. And it sounds real! Straight out of Madlib"s kitchen sink, and with a sense of brooding dread, "Jealous Gods" features throbbing beats, low synth paired with high vocal melody, layered together into something even more impossibly bizarre than the sum of their parts - like say, monks singing from on high, over a battleground littered with remnants of the old guard. Emil warps evocative tones, taking familiar sounds into new dimensions, reaching for the kind of depth and resonance that defines moments with an almost invisible touch.

There is a wealth of talent on show on the third EP from the Fusion Sequence label which has put together this six-track deep house sizzler. The Variable Club' 'Biorhythms' is perfectly warm and dynamic for cosy backroom moments and Alpine DJ then brings an old school piano feel to 'Pepe Nony' before A Vision Of Panorama zones you out on lush chords and reverential keys on 'Kissing The Sun.' The flipside offers the more dark and heads-down 'Many Stories' while the blissed-out and feel-good grooves return with Common Mode's 'Bassface.' Body Corp shuts down with the slower, seductive sounds of 'Take It Or Leave It' which rounds out a top-class EP.

On the first of February, Golden Earring played in Ahoy, Rotterdam for the first time in 23 years. Their setlist included all of their biggest hits and fan favourites such as: “Twilight Zone”, “Radar Love”, “Another 45 Miles”, “Going To The Run”, and “Just A Little Bit Of Peace In My Heart” amongst others. After celebrating their 40th anniversary in 2005 this live registration shows how they were still eager, relevant and energetic as ever.

The recordings were originally released as a DVD in 2006 and are now available on vinyl for the first time. Live In Ahoy 2006 is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl and includes an insert.

Selected by Jim O’Rourke for his Tone Glow list of 25 albums that “never got their due”, Org was founded in the early 90’s by Espen Jensen and Kjetil D Brandsdal who would later go on to variously record as Elektrodiesel, Noxagt and Ultralyd in the swirl of the highly active Norwegian underground. “Org" was the only album the pair recorded as a duo, pressed in a meagre edition of just over 100 copies which disappeared almost as soon as they were made, lodged in the memory of the select few who have managed to hear it in the years since.

Made up of three long tracks, the near 20-minute ‘001’ opens the album with an extended organ zone-out matched with scraping factory machinery saturated into a dense cloud of harmonic fuzz. There's something transcendental about the sound that intersects with microtonal Alice Coltrane (particularly the unfairly maligned organ-only edition of "Turiya Sings"), as well as Pauline Oliveros and Ramleh. It’s music that pulls you in subconsciously; before you know it, you're fixating on the uncomfortable grind of metal on metal, buried mechanical rhythms and liturgical organ vamps that wind between industrial cacophony and sacred ritual music. For its last few seconds, we go into a full death metal tearout that fades out before it takes full flight, a glorious wtf.

‘002’ connects between minimalist drone styles and shoegaze, distorting fuzzed organ into pliable, dreamlike warbles that end up sounding like Kevin Shields' ‘Loveless’-era glides, or even Sunn O))) at their most devotional. Never losing the numbing overdriven mettle, its a piece that sounds spiritually entwined with Matthew Bower's Skullflower - a minimalist re-reading of high-contrast guitar music that takes all the psychoacoustic power and none of the annoying posturing.

For ‘003’, subaqueous organ is joined by synth and drum machine, sounding like the inspirational spark for Religious Knives' screwed 'n chopped cosmic psychedelia. The choice of sounds links it to Antena's foundational electro samba recordings too, but the overwhelming drone - a constant on all three compositions - connects the music to minimalist spirituals that have simmered beneath the DIY/avant garde for decades.

‘Org’ sits heavy on the nerves with overproof levels of mulched amp worship and ungodly, palms-down organ chords and wheezing, bezonked lines of melodic thought. 25 years out of sight and marinading in the archives, with the benefit of hindsight we can better understand the role these sounds played in the development of music in the contemporary sphere. It’s an important piece of the puzzle, one that makes valuable connections that, over time, have looked progressively more faint.

Das 5. Studioalbum von Django Django trägt den Titel ”Off Planet” und besteht aus 21 Titeln, die in vier Teile aufgeteilt sind. Ursprünglich sollten es vier experimentelle EPs werden, die aber schnell in ein richtiges Album verwandelt wurden, als die Band das Potenzial der Aufnahmesession erkannte. ”Off Planet” enthält einige der aufregendsten und dynamischsten Stücke, die Django Django je produziert haben. Das Album ist eine Rückbesinnung auf ihre experimentellen und elektronischen Wurzeln und enthält außerdem spannende Gastauftritte von Self Esteem, Jack Penate und vielen anderen.

Jeder Teil des Albums wird digital veröffentlicht und am Tag der Veröffentlichung des vierten Teils wird das gesamte Album auf Doppel-Vinyl und Doppel-CD erscheinen.

'Insight Into Mind And Space' is the latest full length project from techno producer and label owner 30drop. It's a 10 track collection compiled out tracks previously released on Jeff Mills' Axis imprint in digital formats. The original albums 'Soroban' and 'Photosynthetic Zone Manifesto' have been released in the years 2020 and 2021 and will now be available on vinyl in a limited edition for the first time. The compiled album includes pieces that, like the mind, evolve as a consequence of each other in an orderly way. Starting with the early origins represented by the track 'Dunkelblau' with which the album begins, going through 'Accepting The Future', which represent the complexity reached by the human brain. 'Insight Into Mind And Space' portrays those hypothetical and alternative molecular combinations in the form of songs. Exposed to different chemical elements, gravitational and environmental conditions, dormant genes and signaling pathways are activated and uncannily combined. And just like the molecular events, sounds are combined in different ways, whether simple or complex, to create songs that provide an artistic vision to that scientific concept that opens a hypothesis to other types of intelligence that are far from human and that could exist in the vast out there. About 30drop. In his formative years, the artist responsible for 30drop discovered new synthetic and electronic sounds that would later influence his work. From the year 1996, his activity as a DJ powered his link with music, focused on Detroit Techno and Techno sounds that held the transgressive references of Birmingham, UK. These impressions saw 30drop magnetize toward an industrial, experimental, noise-based sound, particularly in the mid-2000s. After a creative pause, 2014 brought his new project, '30drop', at this time his label 30D Records of which he is the Manager and joint A&R with Angel Molina, was also born. The conceptual part of this project has been done in collaboration and with the supervision of Meritxell Rosell, PhD in biochemistry and molecular biology.

Das 5. Studioalbum von Django Django trägt den Titel ”Off Planet” und besteht aus 21 Titeln, die in vier Teile aufgeteilt sind. Ursprünglich sollten es vier experimentelle EPs werden, die aber schnell in ein richtiges Album verwandelt wurden, als die Band das Potenzial der Aufnahmesession erkannte. ”Off Planet” enthält einige der aufregendsten und dynamischsten Stücke, die Django Django je produziert haben. Das Album ist eine Rückbesinnung auf ihre experimentellen und elektronischen Wurzeln und enthält außerdem spannende Gastauftritte von Self Esteem, Jack Penate und vielen anderen.

Jeder Teil des Albums wird digital veröffentlicht und am Tag der Veröffentlichung des vierten Teils wird das gesamte Album auf Doppel-Vinyl und Doppel-CD erscheinen.

Following on from the Bergisch-Brandenburgisches Quartett’s anarchic Live ’82 (BT095), Black Truffle continues its deep dive into the archives of legendary drummer/accordionist/photographer/composer/conceptual prankster Sven-Åke Johansson with Scheisse ’71. Recorded in November 1971 during the Berliner Jazztage at a heavy-hitting concert that also included the Spontaneous Music Ensemble and groups led by Peter Brötzmann, Manfred Schoof, and Masahiko Sato, Scheisse ’71 is the only document of a wild, otherwise unrecorded quintet featuring Johansson on drums, accordion and oboe d’amore, legendary free jazz vocalist Jeanne Lee, her husband Gunter Hampel on vibes, flute and bass clarinet, live electronics pioneer Michael Waisvisz on modified Putney (VCS 3) synthesizer, and the unknown Freddy Gosseye on electric bass. Part of a festival centred on giants of jazz like Duke Ellignton and Dizzy Gillespie, the radical performance shocked its audience, who can be heard heckling and yelling abuse at points, including the titular exclamation of ‘Scheiße!’ Clocking at just over half an hour and recorded in raw but detailed stereo by Johansson himself, the music burns with intensity while also making room for spacious passages and frequent dynamic movement. Beginning with Lee’s voice, Hampel on flute and Johansson on oboe d’amore in a bird-like game of call and response, the unexpected entry of Waisvisz’s tortured, squelching synth bursts prompts the first of many changes in energy and instrumentation, as Gosseye’s busy, roving bass enters and Johansson moves to the kit, his swinging cymbal work and juddering toms extending the approach of Sunny Murray or early Milford Graves. The presence of synthesizer, electric bass, and Lee’s highly amplified voice moves the quintet away from conventional free jazz textures, at times pushing into zones of abstract free sound reminiscent of what groups like MEV, AMM or Johansson’s MND were exploring in the same years. But the energy and joyful melodicism of the music keep it rooted in the tradition of American fire music and its European inheritors. Capable of changing gears in an instant from ferocious blow outs to fragile tapestries of chiming vibes and fizzing synth, the music finds space for Lee’s post-bop free scat (which integrates shrieks and howls just as a post-Ayler saxophonist might), Gosseye’s virtuosic bass runs (a rare attempt to apply the classic free jazz style of players like Alan Silva or Henry Grimes to the electric instrument), Johansson’s folkish accordion interjections, and even a sustained passage of unison bass clarinet and electric bass riffing in its second half. Special mention should be made of Waisvisz’s Putney performance, one of the earliest documents of this under-recorded instrument inventor and player, here playing a major role in giving the music its wildly exploratory, primordial air, his buzzing glissandi and bubbling filter sweeps at times howling like a distressed monkey. Arriving in an austerely stylish sleeve with beautiful black and white photographs by Johansson, Scheisse ’71 is an essential recording that adds yet another layer to our appreciation of this golden era of radical free music.

"Sunrise On Slaughter Beach" ist Clutch’s 13. Studioalbum, das im September 2022 veröffentlicht wurde. Es ist eine knallharte Zusammenfassung all dessen, was die Band großartig macht, und ein weiterer großer Sprung nach vorne in Richtung Langlebigkeit der Karriere.

Die hier vorliegende, limitierte Veröffentlichung besteht aus sechs hand gepressten 7" Vinyl jeweils in eigens hergestellten Jacken und hat drei zusätzliche Bonustracks: “Boogeyman Blues”, “Arts & Crafts”, und “Railroad Daisies”. Alle drei Songs wurden während der Aufnahmen von "Sunrise on Slaughter Beach" eingespielt. Ein 8-seitiges Booklet und eine 7" Plattenspieler Matte runden das Paket aus. Das Album wurde im The Magpie Cage Recording Studio, Baltimore, MD, von dem Grammy-nominierten Tom Dalgety (Ghost, Royal Blood, Pixies) produziert und gemischt, mit zusätzlicher Technik von J Robbins (Jawbreaker, Against Me!, The Sword).