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Songs of Silence is a beautiful turn-based strategy game of fantasy warfare. Leading one of the game's distinct factions, it is the player's task to conquer randomized maps through military might, subterfuge or arcane means. Intriguing hero stories grounded in a rich fantasy world create emotional bonds and give meaning to the player's actions. Roguelike meta-game progression, based on heroes' personal stories and unlocking new features and content via playing, ensuring long-time motivation and keeping the game excitingly fresh. The atmospheric soundtrack of the game is composed by Hitoshi Sakimoto, the famous artist behind all-time favourites such as Final Fantasy Tactics, Final Fantasy 12 and Valkyria Chronicles. Sakimoto describes his way into creating the soundtrack for Songs of Silence: "Regarding Songs of Silence, the stage design and the world-building are incredibly detailed and meticulously crafted. The settings are thoroughly developed and each region has its own unique culture. Given this highly refined world, I believe that my role was primarily to support and enhance the atmosphere with sound. At the same time, I wanted to ensure that the music conveys the uniqueness of this world. When people see it, I want them to feel its strong presence while also recognizing that it is a world unlike anything they have seen before. Expressing this uniqueness and reinforcing the impression it leaves is, in my view, the role of music and sound." But Sakimoto's music isn't just pushing the gamer's experience, it aims to add a little extra in a way that only his profession is able to: "It's a bit difficult to describe the specific 'feeling' I was aiming for, but I intend to create sounds and music that people have rarely heard before. Since the world itself is already well-defined, my approach was to add an extra layer - something that cannot be conveyed through visuals or text alone - through music."

Ennio Morricone composed and arranged scores for more than 500 film and television productions, making him one of the most influential and best-selling film composers since the late 50s. The Legend of 1900 (Italian: La leggenda del pianista sull'oceano) is a 1998 Italian drama film directed by Giuseppe Tornatore and starring Tim Roth, Pruitt Taylor Vince, and Mélanie Thierry. The film is inspired by Novecento, a monologue by Alessandro Baricco. The Legend Of 1900 was nominated for a variety of international awards, winning several for its soundtrack, including a Golden Globe for Best Original Score - Motion Picture. This release includes the song “Lost Boys Calling” featuring Roger Waters & Eddie van Halen. Throughout his career, Morricone received an unprecedented amount of awards, including Grammys, Golden Globes and BAFTAs. Ennio Morricone has influenced many artists including Danger Mouse, Dire Straits, Muse, Metallica, Radiohead, Hans Zimmer, and many more. The Legend of 1900 is available as a limited edition of 2500 numbered copies on green coloured vinyl and contains an insert and is housed in a deluxe sleeve with silver foil finish.

The Passion of the Christ is a 2004 biblical drama film by Mel Gibson with music composed by John Debney. The soundtrack received an Academy Award nomination for Best Original Score and it was on the first place in both Top Christian Albums and Top Soundtracks in 2004. In 2005, the album won a Dove Award for Instrumental album of the year at the 36th GMA Dove Awards. The soundtrack succeeds as a coherent, moving, well-executed musical statement whether or not one has seen the film. The album is a combination of folk instruments, Eastern-tinged harmonics, solo, and choral voices. Debney worked together with Indian master violinist and vocalist L. Shankar, and singer/double-violinist Gingger Shankar. The Passion of the Christ is available as a limited edition of 750 numbered copies on gold coloured vinyl and includes a 4-page booklet.

Francesco Sotgiu has forged a unique and very swinging project of songs. With a quintet consisting of Luigi Bonafede on piano, Emanuele Cisi and Riccardo Luppi on woodwinds, Salvatore Maiore on bass, Francesco on drums, and with special guest Paolo Fresu on trumpet to cap off this heartfelt collection. There is also a nice diversity of groups within this larger collection. A nice trio piece called “Calm” featuring Paolo Birro sitting in with Marco Micheli and Francesco. And one called “Lotus Blossom” where Francesco shows his considerable skills and soul on violin. But the bulk of the material is straight-ahead jazz and is totally swinging and soulful, proving that jazz has no borders and is a worldwide language to which Francesco has added to that tradition with this project and all the great voices he has included here. Bravo maestro.

This is the comment of Gil Goldstein, American accordion player who won 5 Grammys and collaborated with giants such as Gil Evans, Wayne Shorter, and Michel Petrucciani.

This record was recorded in the middle of the pandemic times, and most of the work for preparing this record took place via the telephone: the selection of the songs on paper, the exchange of ideas on arrangements, staff and instruments, a sort of “phone rehearsal” of the structure of the songs, with the choice of a solo; everything else, everything that will happen in the recording sessions, is the result of a controlled improvisation, a jam session masterfully captured in the studio through the use of well-positioned ribbon microphones.

This is why “Passing,” literally “passing” or “crossing”: because the musicians have gone through listening to these songs as teenagers, and find themselves today, as a mature meeting of old friends who create an informal game made of nostalgic fun, great personality, confrontation, and deep spirituality. In the classic “Caravan” by Ellington and Tizol or “Afro Blue” by Mongo Santamaria, Coltrane toning, the Latin accent of the rhythm section supports the interpretation of the theme and the interplay in the solos between the soprano and tenor saxophones by Cisi & Luppi, and the piano by Bonafede.

A certain elegance in the execution distinguishes pieces such as Duke Ellington’s “Sound of Love,” yet another tribute by Mingus to the Duke, with a calibrated solo on the double bass of Maiore and the flute by Luppi, the immortal “Take Five” by Paul Desmond, with the highlighted soprano by Cisi, “Wishes,” “7th Street,” and the eponymous “Passing,” all pieces composed by Sotgiu, characterized by the precise medium/fast drive of the drums and a certain “cinematic” taste of the main themes.

In songs such as “Black Bats and Poles,” composed by trumpeter Jack Walrath for the Mingus Orchestra, and in “Stranatole,” an original piece in which Sotgiu writes a theme of Monk’s influence and enjoys overturning the traditional “Anatole Jazz” structure, the quintet opts for an effective hard bop language, with exciting moments of dazzling virtuosity in Bonafede’s solo. While in Coltrane’s “Wise One” and McCoy Tyner’s “Ballad for Aisha,” we enter a modal, mystical, and ceremonial jazz, of a cosmic depth, which seems to hover in the sweet volume of the great hall of the recording studio. These are truly magnificent interpretations.

A special separate mention for two classics such as “My Foolish Heart” by Victor Young, performed in trio by Sotgiu, Maiore, and the unmistakable trumpet by Paolo Fresu, and the (unfortunately very short) “Lotus Blossom” by Billy Strayhorn and Duke Ellington, which in the piano-violin duo of Birro and Sotgiu, in a minute gives a suspended momentary magic, sums up the roots of African-American jazz music, and also referencing an old-fashioned Italian musical sensitivity, typical of Nino Rota’s music for Federico Fellini’s films.

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

We are thrilled to announce another underground gem on our label. This time, it's Collage's incredible 4-track EP "Mit den Puppen tanzen" (Dancing With The Puppets). Originally released in 1984 on the small FMusic label, the 12" EP is a true highlight in German Electro and NDW history, becoming a sought-after item among collectors. It features intense lyrics by singer Katrin A. Kunze, with music composed by Markus Kammann and Jürgen Grah.

Kammann and Grah, both originally from Solingen - a small city near Wuppertal - had previously collaborated on the new wave project Schwarze Bewegung with a different singer. Their self-titled LP was released in 1982 on Bacillus/Bellaphon. During this period, the electro sound pioneered by Kraftwerk evolved into electro-funk, sparked by the release of Afrika Bambaataa's groundbreaking track "Planet Rock", which achieved global acclaim. The iconic Roland TR-808 drum machine, masterfully employed by Arthur Baker's production team, revolutionized dance music with further hits like "Looking for the Perfect Beat" and collaborations with Planet Patrol. Markus Kammann cites these tracks, along with black music as a whole, as key influences on his work. In contrast, much of the electronic music emerging from Germany at the time rather leaned towards the styles of artists like Klaus Schulze and Tangerine Dream. Kammann's influences are evident in Collage's EP, which incorporates elements of early electronic hip-hop, such as the scratching sounds in the title track (created with tape rather than turntables) and short rap segments in "Niemals zurück".

By this time, Kammann and Grah had acquired their own Roland 808 as well as a JUNO-60 keyboard. Grah, originally a drummer, played keyboards and vibraphone, while Kammann, primarily a guitarist, also played bass. All the lyrics on the EP were written and performed by Kathrin A. Kunze, who hailed from Cuxhaven, a northern German city. She moved to Wuppertal around 1983 to study literature, and the group Collage was born.

Through Uwe Bauer, drummer of Fehlfarben, and their manager Horst Lüdge (of Profil), Collage connected with Werner Lambertz, a legendary sound technician from Düsseldorf. Lambertz's state-of-the-art studio featured custom-built sequencers capable of triggering the JUNO-60, as well as expensive equipment like a vocoder. Over the course of a week, the group completed all four tracks.

The EP's hard yet playful electro beats were complemented by Kunze's distinctive performance and introspective lyrics, which lent the songs a uniquely German and wavy touch. Her subtle songwriting conveyed a sense of paranoia and sorrow, as seen in lines like "Ich glaub mir selber nicht. Wer hält denn schon, was er verspricht?" ("I don't believe myself. Who stays true to their word, anyway?").

Unfortunately, the EP was never properly promoted and was distributed solely through the independent market via EFA. Despite this, Collage continued working on new material and pre-recorded an album that garnered label's attention. Polydor expressed interest but proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, the album was never released. In 1987, Kammann, Grah, and Kunze launched another project called Cold End, which released another brilliant and highly sought-after 12" single, Metropolitan Jungle, originally issued on Tam Tam and recently re-released.

The first-ever reissue of "Mit den Puppen tanzen" is limited to only 400 copies - 200 on classic black vinyl and 200 on blue transparent vinyl. The cover art remains true to the original 12" release, designed by the aforementioned Uwe Bauer (aka Bimbo Art). This reissue is a must-have for DJs and collectors alike

compiled by tsunaki kadowaki
artwork by yoshirotten
mastering by kuniyuki takahashi

Tsunaki Kadowaki, a staff member at Kyoto’s record store Meditations, the supervisor of "New Age Music Disc Guide", and the founder of Sad Disco, curates the fourth installment of "Midnight in Tokyo" themed around Ambient Kayō.

The Midnight in Tokyo series by Studio Mule focuses on Japanese music, serving as a soundtrack for Tokyo nights—whether for home listening, club play, or as a driving BGM, transcending location and space. After a six-year hiatus, the fourth volume takes "Ambient Kayō" as its new perspective, compiling genre-defying tracks released between 1977 and 1999 to explore the intersection of Japanese ambient and pop music.

For this long-awaited fourth installment, selections were made regardless of record label status (major or independent), era, format (vinyl or CD), original release price, or prior reissues. Instead, the focus was on music that deeply moves the listener, is open-minded and evocative, brims with inspiration and spiritual insight, and embodies the "utagokoro" (singing heart) of Japanese artists.

Opening the compilation is "Umi e Kinasai" by Yōsui Inoue, a legendary Japanese singer-songwriter whose works have recently gained renewed interest as hidden gems of Walearic and ambient pop

Composed and arranged by Katsu Hoshi—who is also known for his arrangements on Inoue’s masterpiece Ice World—the track features renowned players such as Masayoshi Takanaka, Hiroki Inui, and Shigeru Inoue. The song embodies a yearning for Balearic horizons, tinged with youthful vibrancy and sentimentality.

Next, "Oritatamu Umi", compiled from Keiko Nosaka, a 20-string koto player, and George Murasaki, a pioneer of Okinawan rock, is an instrumental track from their album "Niraikanai Requiem 1945". As the title suggests, it carries themes of requiem and remembrance, conveying poetic lyricism even without words. Blending Ryukyuan/Okinawan harmonies and indigenous elements, it unfolds as an intimate and nostalgic piece of progressive rock.

Also featured is "Natsu no Kowareru Koro" by Higurashi, a folk-rock band led by Seiichi Takeda, formerly a guitarist of The Remainders of The Clover, the predecessor of RC Succession. Like the opening track "Umi e Kinasai", this song was also produced by Katsu Hoshi. It stands as a folk/new music piece that takes a step into an "otherworldly" realm, recommended for fans of Twin Cosmos and Masumi Hara.

From the enigmatic Blue, the only work left by the mysterious composer S.R. Kinoshita, comes "Mangrove", a hidden treasure of Japan's ambient/new age scene from the CD era. With an oriental and enigmatic atmosphere, the track evokes a mystical world of deep, uncharted jungles, unfolding as an otherworldly New Age Kayō.

"Yaponesia Sakura", selected from Rehabilual’s sole album New Child, is a masterpiece of Japanese new age music. Produced by Swami Dhyan Akamo, a disciple of Indian meditation teacher Osho and a renowned balafon player, the track features Michio Ogawa (Chakra) and Atsuo Fujimoto (Colored Music). Their collective artistry creates an exquisite spiritual ambient pop sound.

"Asa no Hitoshizuku", the opening folk song from Sachiko Kanenobu’s album Sachiko, is also included. Known for her legendary folk album Misora, produced by Haruomi Hosono, Kanenobu’s fourth album after resuming her career was inspired by her experiences living in San Francisco and revolves around the theme of "love." This track carries the same intimate poetic world as Misora, imbued with a pure, crystalline innocence.

From the synth-pop band E.S. Island, known for the Haruomi Hosono-produced *Teku Teku Mami", comes "Yume Fūrin ", selected from their long-lost new age classic Nanpū from Hachijo. Created while the band’s core duo was living in Hachijō Island, the album aimed to sonically capture "the high and happy vibrations of everyday island life." This track offers a dynamic, tribal-infused New Age Kayō experience.

Dubbed "the world's first Min’yō House Mix" "Esashi Oiwake (Maeuta) " comes from Kanazawa Akiko HOUSE MIX Ⅰ, a collaboration between Japanese house music pioneer Soichi Terada and Akiko Kanazawa, a renowned min’yō singer. Through the prism of club music, Hokkaido's Esashi Oiwake, one of Japan’s most iconic folk songs, is transformed into a futuristic ambient pop piece with intricate sound design.

The compilation also includes "Sweet Ong Choh", a track from Voice From Asia, a group active between 1989 and 1992 featuring vocal artist Shizuru Ohtaka. Taken from their imaginative minimal work Voice From Asia, released under Aoyama Spiral’s music label Newsic, the song presents a tranquil, tribal-minimal soundscape enriched by ethnic instruments.

Hailed by Haruomi Hosono as having “a shaman residing in her voice,” singer-songwriter Nami Hōdatsu also appears in the selection. Known for her collaborations with Henry Kawahara, her debut album featured "Asa-Hikari-Ame-Yume", a track that now stands as a precursor to modern vocaloid/synthesized vocal music—a hidden gem of post-choir aesthetics that deserves rediscovery.

Likewise, "Tennessee Waltz", from Naomi Akimoto’s album One Night Stand, supported by members of Mariah, serves as another early prototype of vocaloid/synthesized vocal music. The track weaves fragmented vocal samples, pastoral yet sweetly minimal synth sounds, and mechanical beats into a strikingly unconventional piece in the history of Japanese music.

Closing the compilation is "Heaven Electric", a track from Nav Katze’s album Gentle & Elegance, which featured remixes by Autechre, Seefeel, and Sun Electric. Merging elements of IDM, ambient techno, and chillout, the song embodies an optimism reminiscent of space music while seamlessly blending a mystical Japanese aesthetic—an ambient pop masterpiece.

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The album presents 12 exquisite pop tracks infused with an ambient feeling, resonating deeply with the evolving landscape of the mid-2020s—a time of post-hyperpop and Y2K revival.

Tsunaki Kadowaki (Compiler)

Born in 1993 in Yonago, Tottori, Tsunaki Kadowaki is a staff member and buyer at Kyoto’s Meditations record store. He is the editor of New Age Music Disc Guide (DU BOOKS) and a contributor to Music Magazine, Record Collectors' Magazine, ele-king, and more. Kadowaki has written liner notes for multiple Japanese releases (Brian Eno, Masahiro Sugaya etc.) and runs the Sad Disco music label under Disk Union. He also curates Spotify’s official New Age Music playlist and performed as a DJ at YCAM’s Audio Base Camp #3 in 2024.

Bad news: Not much is known about pdqb, and what we do know is most likely either wrong or made up. The man who is credited for the productions is said to have gone insane due to being possessed by an alien parasite. His whereabouts remain unknown. Good news: Fortunately, Synaptic Cliffs owns about a dozen releases from whoever or whatever is behind the mysterious abbreviation and will publish every single one of them…because they are ultra awesome.

With the original tapes of this Mini-LP, pdqb left a fragmented note in the '90s stating that he decoded eight tracks originally produced with the NCO6.27 for test subjects who were all given some strange form of brain implants, and that a certain wetware could be unveiled in that manner, and that he conducted that research long before he developed a machine capable of hacking into the dreams of everyone who has ever lived.

However, the music could best be described as playful and dark, old-school Techno/Electro/Industrial blended with Chiptunes, IDM/Braindance, and Electronica. It is pressed on a beautiful green splatter vinyl.

The first 150 customers will be rewarded with a free leftover flexi disc from the '80s featuring two exclusive tracks composed by pdqb while he worked for Silvio Berlusconi's Mediaset TV production company. The flexi was originally included in the November 1985 issue of the Italian Playboy Magazine (cover girl: Grace Jones) and is extremely sought after.

Modern Obscure Music is proud to present Pierre Bastien & DJ Low's "Swing Low", a work that fuses the poetic inventiveness of Pierre Bastien with the visionary legacy of the late DJ Low (Tom Deweerdt), a central figure in Belgian independent music and founder of the influential Lowlands label. This album, which interweaves memory and experimentation, represents Bastien's debut on the Barcelona label's catalog and a testament to the creative bond between the two artists.
The album, composed of seven pieces, stands out for its hybrid nature: five reinterpretations of Bastien's previous works, some of them coming from his influential Mecanoid (originally released by Rephlex), and two unreleased improvisations, A Pupa and Reviver, which seal the unique character of the project.
Pierre Bastien, recognized as a composer, inventor and builder of sound machines, has been a tireless explorer of the frontiers between the mechanical and the musical. From his contribution to the Belcanto Orchestra, his collaboration with the PRSNT project to his participation in Pedro Vian's Earth, Our Planet or his collaboration with Tomaga for the Other People label, his career illustrates a constant commitment to experimentation and the intersection of disciplines. Among the artists he has worked with are names such as Robert Wyatt, Jac Berrocal, Jaki Liebezeit and designer Issey Miyake. His works have found homes on iconic labels such as Marionette, Morphine and Discrepant to name a few.

The album is presented with a visual design by Koen Bruyneel, reinterpreted as a tribute to Tom Deweerdt, a decade after his departure.

VENTILATEUR is an instrumental project combining sounds from the vivid worlds of contemporary jazz and postpunk. The three-piece band, consisting of Iben Stalpaert on drums, Jasper Hollevoet on bass and Daan Soenens on guitar, uses angular rhythms and flowing melodies to construct compositions that embody both contrast and cohesion. Originally from Bruges, the band currently has Ghent as its homebase.

The trio released its self-titled debut EP on 22 March 2019. VENTILATEUR won awards at Fresh Fish, Red Rock Rally and Burgrock that same year and was one of the laureates of the then brand new Sound Track. Thanks to Sound Track 2020, the band received a residency at Het Entrepot in Bruges and a year of professional coaching from VI.BE and other national players in the music landscape.

In 2020, VENTILATEUR joined forces with young Ghent theatre collective Camping Sunset for the performance Happiness. The band composed the soundtrack for the play and also performed it live during the five-week run of the production. The music was subsequently recorded and released under the title A Soundtrack For Happiness at the Brussels label Sentimental.

In 2022, VENTILATEUR released its first full-length album with W.E.R.F. Records. Hoofdplaat, titled after the village near the manor house that served as its recording location, is the result of a long process of purification. VENTILATEUR presents the essence of their sound, stripped from all ballast.

VENTILATEUR balances on the border between the ‘niche’ world of instrumental jazz and the accessible world of the pop-rock circuit. From this position, the band aims to bring instrumental music to a wider audience. Apart from being purely intrinsically artistic, the trio's ambition is to excite a new audience for cultural participation and specifically the rich genre of jazz. Through their choice of accessibility within the experimental, the band aims to form a bridge between a wider audience and a musical world still too often labelled as ‘niche’. The musicians not only focus on the club and festival circuit, but have already written soundtracks for some short film projects and are also reaching out to the theatre world.

In its early years, VENTILATEUR was mainly known within the Flemish arts landscape on the Bruges-Ghent-Brussels axis. A soundtrack for Happiness and Hoofdplaat introduced VENTILATEUR to a new audience. Songs from the albums got airtime from Radio 1, Klara and other stations, and singles appeared in national playlists. The band’s music was also picked up by VRT, which used the single Nectar during several programs. In 2023, the band scored their biggest gig yet: Ghent Jazz on a podium curated by their label, W.E.R.F. Records.

VENTILATEUR as a project can count on the support of organisations such as W.E.R.F. Records, Cactus Music Centre, Het Entrepot and VI.BE. The band also has close ties with theatre companies such as Camping Sunset, Compagnie Cecilia and Ontroerend Goed and, of course, numerous connections within the Flemish and Brussels music scene.

A lost paradise, a lost innocence, and a lost culture; these are the dominant themes presented in Nicolas Roeg's 1971 masterpiece Walkabout, a survival story of two children lost in the scorched Australian wilderness. Together with other seminal Australian surrealistic outback films, (e.g. Wake In Fright) Walkabout was a film that reshaped the Australian film industry and defined the country's New Wave. On the cusp of the film's 45t h anniversary it is pertinent to observe that for decades the film's original soundtrack has also been considered lost. Composed and conducted by the acclaimed British film composer John Barry, the score is a hallucinogenic mix of exotic romanticism, children's nursery rhyme and potent psychedelic experimentation. For decades, the consensus among soundtrack circles was that the master tapes were officially missing with little chance that the music would ever see a legitimate release, but The Roundtable is pleased to announce that this is no longer the case. The complete soundtrack to one of cinema history's most visually spellbinding films has now finally been re-discovered, sourced from the original stereo master tapes and prepared to the guidelines of the original ill-fated 1970s LP release.


The premiere soundtrack release to Nicolas Roeg's 1971 New Wave Masterpiece.
Lost hallucinogenic orchestral score from acclaimed film composer John Barry.
12-track LP re-mastered from the original stereo master tapes.
180g vinyl and deluxe packaging including archival film stills and original press material.
6 Panel digipack CD.

Introduced by the digital single ‘Deixa Passar’, this 12” EP concretises on physical support the renewed collaboration between the two Schema Records artists Gerardo Frisina and Tomaz ”Toco” Di Cunto, working together again five years after the release of the EP “Frisina Meets Toco” (SCEP 487): the two unreleased songs here included, the aforementioned “Deixa Passar” and “Ilê”, are featured both in their original and reworked versions, and represent an excellent blend of samba jazz and Brazilian popular music. In both tracks, the music composed and arranged by Gerardo backs up the Portuguese language lyrics and melodic lines of Toco, who duets with Luzia Dvorek in an almost surprising contrast between serious and graceful sounds. The instrumental department features Gianluca Petrella on trombone, Eduardo Taufic on piano (Deixa Passar) and Fender Rhodes (Ilê), and Edu Moreno on flute (Ilê), in an excellent ‘union of opposites’, between popular music and modern sounds, between acoustic instruments and electronics, with mystical influences that envelop the songs with a mysterious and attractive aura. Not only musically, but also visually and lyrically, this EP is a tribute to the Brazilian culture and lands, already from a cover that re-imagines the iconic shapes of the famous Copacabana pavement in Rio De Janeiro: while “Deixa Passar” celebrates Rio’s carnival as an opportunity to momentarily free oneself from the burdens of life, “Ilê” recalls the traditions of Salvador De Bahia’s historic ‘bloco afro’ quarter called Ilê Aiyê.

"In celebration of its 20th Anniversary, Waxwork Records is proud to present THE RING Original Motion Picture Music by Hans Zimmer! This long anticipated release marks the first time that The Ring will be available on vinyl. The Ring is a 2002 supernatural horror film directed by Gore Verbinski and starring Naomi Watts and Brian Cox. It is a remake of Hideo Nakata’s 1998 Japanese horror film Ringu, based on Koji Suzuki’s 1991 eponymous novel. The plot follows a journalist who investigates an urban legend of a cursed videotape that seemingly kills the viewer seven days after watching it. The Ring was released on October 18, 2002 to positive reviews praising its atmosphere, visuals, and Watt’s performance. It is one of the highest grossing horror remakes and paved the way for English-language remakes of other Asian horror films such as The Grudge and Dark Water. The score by composed by Hans Zimmer is a dark symphonic orchestration that shifts from ghostly and melancholic to frightening and terror stricken. Constructed from a base of a piano, violins, synthesizer, and two cellos, Zimmer’s score is thoroughly effective in bringing the listener into the haunting space that is The Ring with dreadfully anxious strings, mournful keys, and rolling percussion. Zimmer creates a shadowy ambience that pulls you into the gripping ghost story. Waxwork Records is thrilled to present the full score to The Ring composed by Hans Zimmer for the very first time on vinyl as a deluxe double LP for the film’s 20th Anniversary. Featuring 180 gram “Samara & The Well” Green & Black Marbled Vinyl and “Cursed VHS Tape” Black with White Splatter Colored Vinyl, heavyweight gatefold jackets with matte satin coating, new art and design by Matt Needle, exclusive liner notes by director Gore Verbinski, a 12”x12” printed insert, and enthusiastic album packaging approvals from director Verbinski and composer Hans Zimmer.

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.

‘4th DIMENSION’ is the last and probably greatest album ever recorded by Italian piano Maestro Mario Rusca. This monumental music produc"on features tracks in Nonet, Quintet and Trio. Along with the faithful rhythm sec"on composed by Riccardo Fioravan" on bass and Maxx Furian on drums, on this slamming cinema"c jazz album Mario Rusca teamed up with two extraordinary wind players: legendary Flavio Boltro (of Michel Petrucciani Quintet fame) on trumpet and Gabriele Comeglio on sax alto.

As far as the choruses are concerned, Nicole4a Tiberini, Mar"na Rossi and Alice Macchi, from Maestro Rusca’s ensemble music courses at the Civica di Jazz School, provide inspired and swinging backing vocals. The cherry on the cake, the element that gives to ‘4th DIMENSION’ a pulsa"ng and swinging’ drive, is the par"cipa"on on the album of Marco Fadda, one of Italy’s leading percussion players.

This heterogeneous ensemble has shaped, during 5 days of intense studio recordings, an absolute masterpiece full of swinging rhythms along with a few magical in"mate moments. In his 65 years career, Italian piano legend Mario Rusca has shared the stage and recording studios with luminaries such as Chet Baker, Cur"s Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Lee Konitz, Dusko Gojkovic, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy and Tony Sco4 (with whom he formed an indissoluble partnership).

Being accompanied in this album by extraordinary musicians, Rusca chooses to flow in a repertoire that, like in his most recent records for Mono Jazz, bridges between original pieces and revisited standards from the American Jazz Songbook, approached with unprecedented sensi"vity and depth.

The journey of ‘4th DIMENSION’ is an extraordinary cinema"c musical voyage across various styles ranging from Bop, Hard Bop, Cool, Funk and La"n Jazz. ‘4th DIMENSION’ is a perfect follow up to the interna"onally acclaimed Easy Tempo legacy! In these 13 tracks, “il Maestro” embraces and enhances a ‘cinema"c’ component in his music - an a4ribute he has long cul"vated through original soundtracks and library albums recorded for diverse cult Italian labels.

This, as we were saying, is achieved through the addi"on of percussionist Marco Fadda, who introduces a series of rhythmic nuances across several tracks, and of the extraordinary female vocal trio reminiscent of I Cantori Moderni of Alessandro Alessandroni & Edda Dell'Orso, used in the tradi"on of Italian composers of ‘60s and ‘70s film music.

This natural progression reflects Italy's history, where jazz musicians have long been involved in soundtracks and film scoring since the late ‘50s. Italian jazz has integrated this approach into its composi"on and arranging styles, as demonstrated in the first 10 volumes of the Easy Tempo series. A spirit and tradi"on that Rusca's ‘4th DIMENSION’ record con"nues. Listening to some of the tracks on the record evokes the legendary works created for cinema by Piero Umiliani, Piero Piccioni, Lelio Lu4azzi, Armando Trovajoli, Gianni Ferrio and others.

WRWTFWW Records is very excited to announce the first ever release of the highly-sought after original soundtrack from 1987 cult horror movie Dolls by multi-instrumentalist, composer, producer, music man extraordinaire Fuzzbee Morse. The limited-edition LP is a miracle of lostthen-found VHS era film scores and is housed in a heavyweight 350gsm sleeve with a bloody cutout sticker and exclusive composer notes.

Directed by Stuart Gordon (Re-Animator, From Beyond, Robot Jox...) and released by Charles Band’s infamous Empire Pictures (which later morphed into Full Moon Productions), Dolls is 80s campy VHS horror in all its glory, a fan-favorite with all the attributes needed for a frightening popcorn night, including one hell of a soundtrack with a very welcomed heavy dose of menacing synths, thunderous orchestrations, and quirky interludes.

The haunting score comes from master Fuzzbee Morse who composed it in Richard Band’s garage with a Yamaha QX-1 sequencer, an arsenal of vintage synthesizers, and a wide array of instruments. The result is a must-have (and never released before!) soundtrack that blends horror tropes with influences ranging from Igor Stravinsky’s The Rite of Spring to Bernard Herrmann, Frank Zappa, Beethoven, Charles Ives and Eleanor Rigby!

Dolls follows the WRWTFWW release of Fuzzbee Morse’s Ghoulies II (1988) as well as 3 other soundtracks from the Empire Pictures vaults: Richard Band’s Ghoulies (1985), TerrorVision (1986), and Troll (1986). All still available – complete the collection now!

Points of interests

- For fans of soundtracks, horror, cult, synth, ambient, classical, 80s, VHS, Charles Band, Full Moon Productions, Stuart Gordon, John Carpenter, b-movies, sci-fi, Gremlins, toys, evil toys, Toys R Us, the good old days, toys you can play with at 33rpm, Christmas presents.
- First ever release for the soundtrack of cult horror movie Dolls (1987), with cut out sticker and composer notes.

Kid Katana Records teamed up with SNK, Dotemu and Leikir Studio to release Metal Slug Tactics OST, a return of this iconic franchise renewed in a dynamic tactical RPG.

This edition includes:
→ 2x 12-inch orange vinyls featuring the 37 tracks in the game
→ exclusive gatefold designed with game-related graphics and glossy 90s finish

This OST was fully composed by Tee Lopes, the talent behind the music of TMNT: Shredder’s Revenge, Sonic Mania and Streets of Rage 4: Mr X’s Nightmare. He crafted a solid piece of music perfectly fitting the colorful and intense gameplay.

Berlin based label "Matasuna Records" kicks off the new year 2025 with a soulful 7inch featuring songs by Barcelona's "The Blaxound" and singer "John Vermont". Their common love for vintage soul from the 60s and 70s brought them together for this project to compose and record classic soul sung in Spanish. This 45 shows that the concept worked out wonderfully: Spanish Soul at its best, sounding authentic and contemporary at the same time!

Matasuna Records, known for its reissues of musical treasures from the past, also has an eye for exciting new discoveries in contemporary music. With "The Blaxound & John Vermont" the label has once again found an interesting project for soulful & contemporary music that fits perfectly into the label's sound spectrum and will appeal to lovers of authentic soul music.

The two songs "No Es Por Ti" and "Qué Más Te Da?" from their recently released album will be released for the first time as a 7-inch vinyl single on Matasuna Records. The instrumentation and the lovely harmonies are the ideal basis for John Vermont, who with his versatile voice, sometimes powerful, sometimes smooth - but always soulful - can fully develop his vocal spectrum and fill the songs with his presence. Instrumental and vocal arrangements are beautifully balanced and harmonious. Beatific!

Artist info


"The Blaxound" is a Barcelona-based music project with deep ties to the city's Funk and Soul sceney. The project started in 2003 under the direction of musician, songwriter and producer "Marta Roman". The Blaxound has released four studio albums between 2007 and 2024 on different labels.

Years ago, Marta focused on the idea of recording a classic soul album sung in Spanish, respecting as much as possible the original production and sound of the late 60s and early 70s. Luckily, she met singer "Ivan Espejo" aka "John Vermont", which was the turning point and led to the full vocal album "Déjalo Ir" released on "Love Soul Productions" in 2024.

All songs were composed, recorded and produced by Marta Roman in her own studio, Black Flamingo Recordings, in Barcelona, Spain.

Tricatel is releasing on gatefold vinyl a selection of tracks composed by Bertrand Burgalat for Ça, c'est Paris! the series directed by Marc Fitoussi, starring Alex Lutz, Nicolas Maury and Monica Bellucci.

Marc Fitoussi - extract from the sleeve notes
After collaborating on my film "Les Apparences", I knew he'd be the ideal man for this series. Someone who could make real revue music, like you'd hear at the Paradis Latin or the Alcazar, and who could also be resolutely contemporary, like when the troupe relaxes and dances in a bar to a hit of the moment.

Stéphane Lerouge - extract from the sleeve notes
It's a genre that dates back to the thirties, that of the backstage musical, a genre with well-defined codes: the struggle of a collective, a troupe of singers and dancers, to put on a show that, despite a tsunami of obstacles, will end in triumph and reveal a new star. A broad spectrum of films can be linked to this, from "Quarante-deuxième rue" to "Tous en scène", from "Chorus line" to "Trois places pour le vingt-six". And today, the original link in this long chain is the series "Ça, c'est Paris!", in which Marc Fitoussi strips away this tradition, reenchanting it, making it crackle with new energy. In the end, his mission is almost the same as that of his main character, Gaspard Berthille (Alex Lutz), heir to a cabaret, the Tout-Paris, for whom he must invent a present, or rather, a future. To carry out this delicate task, Gaspard Berthille needed an accomplice, invisible on screen: Bertrand Burgalat. His freedom, the way he juggles harmony and tonality, shines through in every measure, as if Marc Fitoussi's subject had triggered something decisive and essential in him.

“Waxwork Records is thrilled to present CASTLE FREAK Original Motion Picture Soundtrack composed by Richard Band (Re-Animator, From Beyond, Puppet Master). This 1995 direct-to-video release directed by Stuart Gordon (Re-Animator, From Beyond) has gone on to become a sought after Horror cult classic.

Jeffrey Combs and Barbara Crampton star as John and Susan Reilly, and Jessica Dollarhide as their blind daughter Rebecca. After visiting John’s newly inheri- ted 12th-century castle, the family soon realizes that they are not alone amongst the medieval stone walls. Chained up in the dungeons is Giorgio, the hideously disfigured son of the castle’s former owner. When Gior- gio escapes and wreaks havoc upon the unsuspecting Reillys, the family is brought to their breaking points.

Richard Band is an award-winning American com- poser who has written the music for over 100 fea- ture films, television series, and more. His score for Castle Freak features the innovative use of a string quartet in the film’s prologue, bringing a classical flair to his tense and terrifying score.

Waxwork Records is proud to release Castle Freak on vinyl for the first time. Featuring a heavyweight die- cut gatefold jacket with all new artwork by Anthony Petrie and pressed on “”Dungeon Splatter”” colored vinyl.”

“This is a true story”

Fargo is a fantastic dark comedy-crime drama television series created and written by Noah Hawley and inspired by Joel & Ethan Coen’s 1996 movie of the same name. Both Coen brothers serve as executive producers on the series. The show stars Martin Freeman (The Hobbit trilogy), Billy Bob Thornton, Bob Odenkirk (Breaking Bad, Better Call Saul) and more.

The soundtrack features selections from the show’s original music composed by Jeff Russo (Power, Necessary Roughness, About Cherry). Its score is well done, with different motifs or instruments assigned to different characters. For Lester Nygaard (Martin Freeman’s character) it’s that nearly-whimsical main theme. For the drifter Lorne Malvo (Thornton’s character) it’s sleigh bell chimes that represent his animalistic nature coming out.

This is a limited edition contains of 666 individually numbered copies on transparent green vinyl. The package includes an insert with pictures of the characters.

GC'mon Tigre announces their new instrumental project, Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album offers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method. This project investigates an alternative approach in which music shapes and guides visual storytelling. It's the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project's artistic concept. C'mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans juggling personal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe.

Limited to 100 Copies!

Rawar ep is the 6th release of Macro Terra records, an Italian independent label founded in 2020 and focused on a blend of Electro, Techno and Experimental sounds stemming from Ambient, Industrial and Bass music.

This release features the italian based dj and producer Pomposo and Artizhan, and the collaboration with E8 Machines and Gianni Vittozzi, who come from the London underground scene.

The release is composed of 6 tracks with a dark electro style, perfectly fused with ambient sound carpets, voice samples, overwhelming bass and electronic drums coming from modular synthesis.

The main track Rawar by Pomposo and E8 Machines sees the remix of Artizhan that takes you back to all his productions, characterized by the drum'n'bass sound and killer break!
A beautiful interpretation of the original track that allows you to have the track you are missing in your bag for a dj set

6 Tunes of pure energy dance floor oriented!

Les Disques Bongo Joe is reissuing Au Revoir, the debut album by Société Étrange, originally released in 2015 on the Lyon-based label S.K. Records, and now considered a cult classic. This Lyon trio, composed of Antoine Bellini (electronics), Romain Hervault (bass), and later joined by Jonathan Grandcollot (percussion), explores a minimalist instrumental soundscape, where repetition and tension play a central role.

Au Revoir was created with a raw and intuitive approach, mostly composed during the group’s earliest days. At the time, Antoine and Romain were working as a duo, experimenting with drum machines and electronic sounds inspired by the post-punk of the 80s, the robotic grooves of Neu! and Cluster, and the DIY spirit of early hip-hop. The result is a music that is both hypnotic and introspective, where the presence and absence of sonic elements balance with minimal precision. Between electronic layers and winding bass lines, the tracks move forward like on a foggy road, uncertain but captivating.

For this reissue, Société Étrange offers two new recordings. One of them is a revisited version of Voiturin à Phynance, renamed Voiturin à Fifinance for the occasion, with Jonathan Grandcollot now fully integrated into the group. His percussive style, both organic and melodic, has profoundly transformed the group’s sonic dynamics, adding richness and texture to this new version. The previously unreleased track Blanchard completes the edition, offering another facet of their universe, more spontaneous and free.

This reissue is more than just a re-release of an out-of-print album. It is a testament to the evolution of Société Étrange, a group that blurs genre boundaries, seamlessly blending post-punk, krautrock, dub, and electronic minimalism. With Au Revoir, the trio crafts a singular instrumental sound, where each note seems to carry a unique weight and intention, borrowing equally from abstraction and narrative.

« Most aresting, however, is the film's use of sound and music, which give each scene an atmospheric lilt. »

Maya Phillips

In order to celebrate the first anniversary of Sirocco and the Kingdom of Winds, the animated film by benoît Chieux, Stereo Rônin Records partners with Cristal Publishing, Sacrebleu Production, Take Five, and Ciel de Paris to offer a limited vinyl edition of the original soundtrack composed by Pablo Pico.

The soundtrack of Sirocco and the Kingdom of Air Currents, composed by Pablo Pico, stands out for its melodic richness and immersive atmosphere. It accompanies the journey of Juliette and Carmen through a fantastical world. The music blends traditional instruments with modern sounds, creating a nostalgic yet dynamic ambiance. The themes evoke adventure, discovery, and magic, enriching the film’s visual narrative. With his captivating compositions, Pablo Pico captures the essence of the story, providing an auditory experience that perfectly complements the film's universe.

Synopsis

Juliette and Carmen, two fearless sisters aged 4 and 8, discover a secret passage to the Kingdom of Air Currents, their favorite book. Transformed into cats and separated from each other, they must show courage and daring to reunite. With the help of the singer Selma, they will try to return to the real world by confronting Sirocco, the master of winds and storms... But is he as terrifying as they imagine?

“Being able to release this magnificent soundtrack composed by Pablo Pico is a great pride and a real pleasure. I want to open our catalog to unique works and universes. Being able to do this from our second published title, with a first foot in the world of animation, with Sirocco is an important shift for the label”

Frédéric Claquin – Stereo Ronin

“Sirocco’s music is like a deep breath. It was inspired by the fantastic universe of the film, the epic breath and the fantasy of the characters. I hope that with this vinyl edition, you will be able to relive the adventures of Juliette and Carmen and that the songs of Selma will take you far to the Kingdom of Air Currents”

Pablo Pico – Composer

“Cristal is a music publishing house, specializing in music for images, committed to working alongside composers for over 25 years. Our mission is to highlight the emotions sought in audiovisual productions, we choose our projects carefully, Sirocco was a real favorite, both on the subject and on its treatment, where music has its place, and becomes a real actress in the film. The talent of Pablo Pico brings this accuracy to the story”

Eric Debègue – Cristal Group.

The Equatoguinean Norberto de Nöah established in Madrid in the early 80s, where he became a firebrand of African culture in the vibrant Movida. In 1988 he self-released his first solo album, a blend of homeland sounds —modern and traditional— with new synth and drum machine touches. The vanished album finally gets its well-deserved reissue.

Edition of 500 albums on vinyl (Bandcamp download code included) - Original artwork with new 14 pages insert and poster

In the mid-1980s, the European media, music industry and public became increasingly interested in African music. This was a period of international success for King Sunny Adé, Salif Keita, Youssou N’Dour, Ray Lema, Touré Kunda, etc. Spain, with its own particular conditions, wasn’t oblivious to the phenomenon and the Equatoguinean Norberto de Nöah may be its best exponent.

Norberto moved in the early eighties from his hometown in the island Fernando Po (now known as Bioko) to its former colonial capital, Madrid. While studying dramatic arts, he created and led the band Nohkis, made up of African and Spanish musicians. In 1985 they released the maxi-single “Mujer española” / “África, ¿dónde está tu gloria?”, and the song “El loco”, was released on a compilation LP called Esto es increíble, both on the label Lollipop. According to the journalist Patricia Godes, they were first artists to record an African music record in Spain. It received positive reviews and a great impact on the most independent side of Madrid’s La Movida movement. Very soon afterwards, Nohkis’ band split up.

Afterwards, Norberto would concentrate on his solo career, and Norberto de Nöah and The Böhöbé Spirits Müsic was released in 1988, definitely a solo album. Norberto created his own label, Kilimandjaro Productions, and composed, arranged and produced all the songs of the LP. Moreover, he sang and played all the instruments: a vast selection of organic instruments, a Yamaha RX-5 drum machine and a Roland D-50 synthesizer.

In the album he exposed his deepest roots, updating the lexicon of traditional Bubi music, the musician’s ethnic group, a compendium of ceremonial melodies that ancient troubadours composed for the court. Doing so he showed new possibilities to one of the oldest ethnic groups in the world. Besides all this, he was also inspired by American music such as funk, R&B, Latin American music and also by a wide range of African and Caribbean rhythms.

Mixing the traditional and the avant-garde in a spontaneous and natural way, the music contained in the record’s grooves flows freely and takes you to places full of magic and mystery, while still transmitting new and exciting sensations. Even more, according to the Equatoguinean musician and writer Baron Ya Búk-Lu based in Madrid, the album’s sound was “the perfect combination of all characteristics that defined the Equatoguinean Afropop music made in Madrid during the 1980s”, a story that still needs to be told in all its depth and intensity!

Following the release of two LPs and several singles, the activity of Norberto de Nöah and Kilimandjaro Productions (and the subsequent Bananas Podridas) ceased. Nevertheless, Norberto’s links to music continued, as a promoter and DJ in Madrid’s nightlife.

Norberto de Nöah contributed greatly to changing Spain’s musical landscape, breaking barriers and mental frameworks. He was the first to make contemporary and popular Guinean music known to the Spanish public.

The repercussions in the African market of a Spanish (and Bube) speaking African musical project, where English and French dominate, was very difficult. In addition, the passage of time and changes in phonographic formats have diluted the memory of Norberto's legacy. Now it’s time to reverse the situation and break all the outdated frontiers!

Norberto de Nöah and The Böhöbé Spirits Müsic, as every important music piece, was at the same time part of a universal phenomenon of recognition of African music and a very personal project, based on the artist’s nostalgic and heartfelt need to show and homage his ethnic group, the Bubis. In this process he also refreshed his hometown music legacy, giving it a new air and opening the door to lots of other great Equatoguinean artists coming afterwards, as well as being an inspiration for many musicians in Spain.

Comprising someof Denmark"s most prominent young musicians, Copenhagen"s trailblazing neo-jazz quintet OTOOTO refer to their innovative blend of jazz tradition and modern indie-pop as "homeshake meets the jazz messengers". Their third studio album"2nd Quake" is set to release on November 8th on April Records. OTOOTO, consisting of Jonas Due (trumpet and flugelhorn), Oilly Wallace (alto sax and flute), Calle Brickman (keys), Andreas Svendsen (drums and percussion), and Matthias Petri (bass), has been a fixture on both the Danish and international jazz scenes since their 2021 debut "This Love Is For You". Their new release marks a new chapter in their journey, reflecting a bold, mature artistic vision that promises to cement their place as leaders in Scandinavian contemporary jazz. "Our mission is to reflect the modern society and put a sound to its vibrations. And through this sound we seek to transmit purity, love, and joy." Navigating through a wide array of inspirations from 70"s rock and European church music, to the pioneering sounds of Jean-Michel Jarre and Vangelis, the five piece - led by trumpeter Jonas Due and saxophonist Oilly Wallace - self describe their sound as"a roaring sea of analogue synths and velvety horns". Featuring eight meticulously composed original pieces, 2nd Quakebalances strong memorable melodies with intricate orchestration, a continuous sense of groove, thick layers of texture and fearless, lyrical improvisations. A collaboration with electronic producer Sofie Birch, the record is an electro-organic sonic exploration of the union between acoustic instrumental timbres and electronic manipulation, spearheaded by the sound of the legendary Juno 106 synth alongside stellar jazz-informed musician-ship.

The Tattooist of Auschwitz is a 2024 six-part TV miniseries based on the international bestselling novel by Heather Morris, inspired by the real-life story of Holocaust prisoners Lali and Gita Sokolov.

The story follows one man, Lali, a Slovakian Jew, who, in 1942, was deported to Auschwitz, the concentration camp where over a million Jews were murdered during the Holocaust. Shortly after
arrival, Lali was made one of the Tätowierer (tattooists), charged to ink identification numbers onto fellow prisoners’ arms. One day, he met Gita when tattooing her prisoner number on her arm, leading to a love that defies the horrors around them. The cast features Harvey Keitel, Melanie Lynskey, Jonah Hauer-King, and Anna Próchniak.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES 4-PAGE BOOKLET
• ORIGINAL SOUNDTRACK TO THE 2024 SKY TV MINISERIES STARRING JONAH HAUER-KING, ANNA PRÓCHNIAK, MELANIE LYNSKEY AND HARVEY KEITEL
• MUSIC COMPOSED AND PERFORMED BY LEGENDARY FILM COMPOSER HANS ZIMMER AND KARA TALVE
• SOUNDTRACK NOMINATED TWO TIMES AT THE PRIMETIME EMMY AWARDS
• FEATURING “LOVE WILL SURVIVE” PERFORMED BY BARBRA STREISAND
• BLACK VINYL

Music for the series was composed by multi Academy Award-winning composer Hans Zimmer and Kara Talve. The soundtrack also features the brand new song “Love Will Survive” by global music icon Barbra Streisand. The music for the show received 2 Primetime Emmy nominations, for “Outstanding Original Music and Lyrics” and “Outstanding Music Composition for a Limited or Anthology Series, Movie or Special (Original Dramatic Score)”

The Tattooist of Auschwitz is available on black vinyl and includes a 4-page booklet.

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

Wewantsounds is delighted to announce the release of the sought-after soundtrack for cult 1980 French film "Clara Et Les Chics Types," featuring Isabelle Adjani, Daniel Auteuil and the Splendid troupe actors. The Jazz-Funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc has never been reissued since 1980. ). Together they weaved a mainly instrumental blend of Jazz funk, reggae and pop which matched the narrative perfectly. Although all the ingredients were there for a success, the film unfortunately stalled and so did the soundtrack. Jonasz went on to become a huge star in France shortly after, but strangely, the Clara soundtrack was never reissued, not even on CD. Remastered from with original master tapes, the release includes two never-released bonus tracks and a 4-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion.

The Dutch groove-driven heavy rock band Hell Valley High releases their highly anticipated debut-lp “Welcome To Hell Valley”. The album was recorded at Big Dog Recordings, just outside of Antwerp, Belgium. All music was recorded live to capture Hell Valley High’s true energy. The title is a nod to the legendary 1994 Kyuss album. At the same time - like the band’s name - the title is an ode to the band's favourite movie Back To The Future. “Welcome To Hell Valley” includes groovy & grungy songs and catchy fiery stoner rock tunes. The album also contains a cover of the song “Send Me A Postcard”, that was originally released in 1970 by Shocking Blue. Hell Valley High is composed of seasoned musicians who have played a lot of shows in The Netherlands and toured Europe extensively. The group features ex-members of Wildebeast, Filthy Felons, Note To Amy, Apehanger and Junkyard Safari. Black and orange coloured vinyl edition.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

Wewantsounds is delighted to announce the release of the sought-after soundtrack for cult 1980 French film "Clara Et Les Chics Types," featuring Isabelle Adjani, Daniel Auteuil and the Splendid troupe actors. The Jazz-Funk soundtrack, composed by Michel Jonasz and featuring Manu Katché and Sylvin Marc has never been reissued since 1980. Remastered from with original master tapes, the release includes two never-released bonus tracks and a 4-page booklet with liner notes by French music expert and musician Guido Minisky (also a member of Acid Arab) who interviewed Michel Jonasz and actor Christophe Bourseiller for the occasion.

Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr—plus years leading her power trio Unnatural Ways and playing in Bill Orcutt’s quartet—the guitarist’s name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar’s possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza’s thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock’n’roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill. Conceptually, The Circular Train is presented as a psychogeographical train ride through certain of Mendoza’s musical homelands. The songs draw on ancestral and recent familial memories, notably of her parents’ roots in mining towns—in her father’s home country of Bolivia and mother’s hometown of Butte, Montana, each country with its own history of colonialism, racism, forced labor, the eradication of culture and the subsequent excavation of it. These adventurous songs were composed in cars and planes, in the heart of the Mississippi Delta, in Los Angeles and upstate New York—which is to say in motion. “Ride to Cerro Rico,” named for the mountain and silver mine at the center of Potosi, Bolivia, was inspired by Mendoza’s great grandmother’s life there in a Quechua mining family. “Dust From the Mines” drew from that history as well as Mendoza’s familial lineage of miners in Montana, building up to stunning swaths of shredded iridescence. “Pink River Dolphins” was inspired by a visit to the Amazon rainforest, swimming with dolphins alongside her father—the pink bufeos that inhabit both Bolivia and Columbia—and the song is dedicated to the memory of Mendoza’s late friend, the Colombian-American trumpeter jaimie branch. They shared a fascination with those intelligent and agile creatures who often communicate by echolocation. “Make a sound, it comes back around,” Mendoza sings, and later, “Echo, echo/The answer in a sound,” evoking what branch knew well: through music we navigate life. The Circular Train contains one cover, “Irene, Goodnight,” composed by Gussie Lord Davis and popularized by Leadbelly; Mendoza has been performing it for over 20 years. Almost as deeply embedded in her repertoire is the penultimate track, “The Shadow Song.” “Treat your shadow kind and it might treat you good,” Mendoza sings on this song that she’s been reworking for over a decade, an emblem of devotion. “Treat your shadow kind and it might treat you right,” she repeats, becoming a blues mantra. What is a shadow self if not one’s secret world, which, once laid bare, awaits an echo, a return?

Die Schachtel Records is proud to present Ifigenia/Oreste, a new vinyl LP by celebrated Italian composer Paolo Spaccamonti. This album marks the seventh installment in the label's renowned Decay Music series, which has become synonymous with deeply emotive, abstract, and electronic/ambient music, which has so fare featured works of such names as Stefano Pilia, Giovanni di Domenico, Sandro Mussida, Vértice, Damavand and Claudio Rocchetti. Aim of the series is composing a fascinating scenario of the most interesting names of experimental musicians – mainly of Italian origins - working at the intersection of sound and music, abstract and visual, storytelling and abstract composition.

Paolo Spaccamonti has long been a significant figure in the contemporary music scene, known for his ability to bridge the worlds of instrumental, electronic, and experimental music. His most recent release, Nel Torbido (2023), is a testament to his ever-evolving artistry. With Nel Torbido, Spaccamonti delivered a haunting and immersive sonic experience that oscillates between tension and release, bringing together moody soundscapes, unsettling textures, and his signature understated guitar work. His exploration of silence, noise, and melodic tension has earned him recognition as one of the most unique voices in modern composition.

Composed by Spaccamonti, Ifigenia/Oreste is the original score for the theatrical production IFIGENIA / ORESTE, directed by Valerio Binasco and produced by Teatro Stabile di Torino. The music, both haunting and subtle, mirrors the play's minimalist and intense staging, immersing listeners in an evocative soundscape that blends ambient textures with guitar-driven melodies. The music was recorded and processed by Filippo Conti, with additional production and mixing by Stefano Pilia. The vinyl’s design has been crafted by Bruno Stucchi of Dinamomilano, making this release a fusion of sound, visual, staging and cultural reference.

In reflecting on his collaboration with director Valerio Binasco, Spaccamonti said: "From the first meeting with Valerio, it was clear that we aimed to create a production stripped of any unnecessary stylistic embellishments. Ifigenia and Oreste had to be severe, devoid of visual distractions, simple yet extreme in its own way. I sought to follow the same path with the music. The foundation is always the guitar, but I wanted to avoid overloading it, either harmonically or sonically. Sometimes, I treated it like a fragmented background noise; other times, I ventured into more aggressive, melancholic, or even melodic terrains, but always in a very human way. The text demanded an atmosphere that lived in the alternation of silence and rarefaction, like in the films of Bresson and Lanthimos. Short scenes interrupted by moments of darkness. In a marked rhythm, a suspense constantly suggesting the advance toward death, announced from the very first scene. Hence, the emphasis I wanted to place on silence through the music, even within individual tracks. Long, granular tails, like the (few) lights on stage."

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

The legendary Lagoa club, a temple of techno in Menin, is celebrating its 34th anniversary in style with the exclusive release of LAGOA TRAX Vol. 1, a vinyl compilation featuring four unreleased tracks composed by four of the club's iconic resident DJs: Manu Kenton, DJ HS, Jamie Dill, and Max Walder. These artists, who have made their mark in Lagoa's history with their memorable performances, pay tribute to the soul and energy of the club through compositions that are true to its unique musical style, known for its powerful beats and dynamic sounds.

This vinyl captures the essence of Lagoa's legendary nights, offering fans four exclusive tracks to once again vibe to the intense rhythm that has shaped the club's reputation.

Le légendaire club Lagoa, temple de la techno à Menin, célèbre son 34ème anniversaire en grande pompe avec la sortie exclusive de LAGOA TRAX Vol. 1, un vinyle regroupant quatre titres inédits, composés par quatre des DJ résidents emblématiques du club : Manu Kenton, DJ HS, Jamie Dill et Max Walder. Ces artistes, qui ont marqué l’histoire de Lagoa avec leurs performances mémorables, rendent hommage à l'âme et à l'énergie du club à travers des compositions fidèles à son style musical unique, reconnu pour ses rythmes puissants et ses sonorités dynamiques.

Ce vinyle capture l'essence des nuits légendaires de Lagoa, offrant aux fans quatre morceaux exclusifs pour vibrer à nouveau sur le rythme intense qui a forge la reputation du club.

Christmas Time with the Judds is the fourth studio album by country duo the Judds. Now available on Opaque White Vinyl; originally released on September 29, 1987 by Curb Records/RCA Records. It was produced by Brent Maher who had produced the first three Judds albums. Christmas Time was the duo's first collection of Christmas music released in a full-length album and includes the standout recordings of "What Child Is This" and "Beautiful Star of Bethlehem" as well as the original recording of "Who Is This Babe" which was composed by Don Potter.

Fracatso was born during a spontaneous weekend break away from home of four good friends, emerging from the collective desire to record together in total freedom. This remarkable album that will delight you as it did us, is made of two distinct sessions recorded in Laura Lippie's Lyon apartment, composed on site using various acoustic and electronic instruments by Lippie, Iueke, Lowjack and Zaltan, fueled by wine, laughter and song and an honest need for aimless creation and poetical collaboration .

During an impromptu meeting in Amsterdam, Zaltan played to Gilb'R these unrevised original recordings lead by the powerful and whimsical words and voice of Lippie, and the known talent of the band creating bucolic arrangements in unformatted musical identities. Gilb'R instantly proposed to release the sessions on Versatile Records on the spot! And hear you have it , Fracatso lives.