Cerca:the actor

Rare is the soundtrack that as time passes overshadows the film of which it was a part, but that’s what has happened in the years since the 1992 release of The Last of the Mohicans. Not that the film is any slouch; Michael Mann’s epic retelling of James Fenimore Cooper’s frontier tale is a cable TV fixture and more evidence that Daniel Day-Lewis is one of the great actors of our time. But the film’s music has emerged as easily one of the most popular scores of ‘90s cinema, with the “Main Title” in particular having become a part of our popular culture the same way as, say, the signature themes from Titanic, Star Wars, and other blockbusters. What makes it even more extraordinary is that the movie’s score emerged from postproduction turmoil as the work of two different composers, Trevor Jones and Randy Edelman. Jones’ work is more of the traditional orchestral soundtrack ilk, Edelman’s has a more contemporary feel, but somehow it all fits, with the closing credit song “I Will Find You” by Clannad an added bonus. Long a bestselling soundtrack CD, we at Real Gone Music are releasing this revered soundtrack on double LP peach vinyl, inside a gatefold festooned with production stills. Guaranteed to get your blood stirring!

"It may surprise some that, after two decades of silent films, when Alam Ara broke the silence in 1931, it and every South Asian talkie that followed was what we in the West think of as a "musical." Music had been integral to the culture's staged drama going back to the Gupta Dynasty — sometime between the 4 th and 6 th Century CE. Since its inception, South Asian cinema drew heavily from Marathi, Parsi, and Bengali musical theatre and silent film screenings were often accompanied by live music to mimic a live staged experience.

When sound films arrived, actors with serious singing skills became the next wave of stars. Songs were performed live while shooting, with musicians hidden off-camera, to the side or sometimes even in trees. Playback singing — the practice of dubbing a real singer's voice over a lip-syncing actor — didn't become standard until the 1940s.

Thus, the biggest stars of the 1930s were also the greatest singers, with some, like Govindrao Tembe and Pankaj Mullick, excelling as both composers and vocalists. None, however, were more beloved than K.L. Saigal, whose emotional, untrained crooning captivated audiences across the subcontinent. Saigal's voice inspired a young Lata Mangeshkar, who vowed to become India's greatest filmi singer to win his heart. Sadly, Saigal grew increasingly addicted to alcohol, unable to perform without it, and passed away at age 42, seven months before the Partition. Lata never married.

This collection features some of the earliest songs from South Asian cinema, sourced from CDs and LPs found in Jackson Heights, Queens, Coney Island Avenue in Brooklyn, Lexington Avenue in Manhattan, and Oak Tree Road in Iselin, New Jersey — areas home to vibrant immigrant communities. South Asian immigration to New York and New Jersey surged after the 1965 Immigration and Nationality Act, which lifted non-European quotas. By the 1990s and 2000s, the region's Indian, Pakistani, and Bangladeshi media outlets flourished, especially in Jackson Heights, where such stores outnumbered the total number of regular record shops throughout the five boroughs.

The nascent period of sound film featured a limited palette of musical styles, predominantly Marathi Bhagveet, like the Ghazal, but with greater flexibility of subject matter and rhythm, and Rabindra Sangeet, the approximately 2,000 songs and poems composed by Bengali Nobel laureate Rabindranath Tagore. But there was some evolution as well, with the success of South Asian cinema's first woman composer, the classically trained Saraswati Devi, and the introduction of Western instruments including the piano and Hawaiian guitar.

While much of the music was dark and brooding, perhaps exemplified best by Devika Rani's interpretation of Saraswati Devi's "Udi Hawa Mein" from 1936's Achhut Kannya (Untouchable Maiden), there were moments of brightness, such as R.C. Boral's "Lachhmi Murat Daras Dikhaye" sung by Kanan Devi in Street Singer, an otherwise thoroughly depressing film from 1938 that cemented Devi's and co-star K.L. Saigal's superstardom.

This selection was chosen to emphasise a range of expressivity, instrumentation and style achieved even within the decade's relatively limited scope, setting the listener up for the relative explosion of possibility in the 1940s, to be covered in the next installment of this series."

Los Angeles-based duo LUCKYANDLOVE are back with their third album, evoking a new sense of art school originality, following their critically acclaimed “Transitions” album. The duo defines 'Humaura' as the atmosphere that emanates from the feelings of the human spirit void of technological control.

Blending raw analog synth sounds with driving punctuated percussion and punchy analogue bass, LUCKYANDLOVE’s music is shaped by the embers of Siouxsie and The Banshees and Bauhaus, resonant spectres carry over from synth-laden galaxies, where the needle hits the vinyl groove and Doc Martens marched to basement dance floors.

LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose music transcends genres. Their live analogue synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.

“‘Humaura’ is an action-packed, cinematic, entertaining and soulful electro-dance record full of fresh air and wide-open roads where there is more freedom to party, to be in nature, and to be our wild selves,” says April Love.

Fusing together pulsating molten kicks, abrasive fuzz-laden analog synths and sensual vocals, the anti-tech angst anthem ‘I Am Human’ is a call to take back our lives, underlining the need to reconnect with being Human before it’s too late. ‘Lonely at Night’ is a "last call" bar track about the desperate, frantic desire for human connection, building from a haunting sense of isolation to a fast-paced, climactic reunion with a crush. Elsewhere, this album features enchanting lyrics rooted in emotions from melancholy and sorrowful glom to a state of blissful trance.

This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Twin Tribes, Boy Harsher) at Balboa Studio and Catwater for the digital music, and mastered for vinyl and lathe-cut by Grammy-nominated engineer Nicholas Townsend (Weezer, Grimes) at Townsend Mastering.

Their 'Lucky + Love' and 'Transitions' albums having earning them a global fan following, US and UK tours, multiple tracks featured in the indie hit film 'Tiger Within' (Ed Asner's final performance), and wide acclaim, noting their “soulful, synthesized sound" (LA Weekly), “spectral synths and dazed-dreamy feeling” (Big Takeover Magazine), not to mention their "uncompromising and inventive sonic experiment” (The Spill Magazine) and sound that “oscillates between the asphalt synth streets & interstellar outer realms” (Impose Magazine).

LUCKYANDLOVE’s visceral, dark electro-pop appeal continues to stretch through time and space. Praise for the album’s lead track ‘I am Human’ have poured in from over a dozen countries. ‘Humaura’ promises to cement the duo’s reputation as one of America’s most vivacious electronic / synthwave acts, positioning them firmly within the lineage of artists like Phantogram, Ladytron, The Soft Moon, Twin Tribes and ACTORS.


‘Humaura’ Press:

“...In contrast to its synth-laden darkwave and electropunk sound, the song presents lyrical themes of championing the human spirit and emotions over the technological void" ~ Regen Magazine

“Moog textures and distorted synth tones weaving together like electric currents. An industrial edge that carries a dreamy undercurrent, nodding to darkwave, punk rock and post-punk influences without sounding dated" ~ Myth of Rock

"Every second and note is a meld of lava-esque incitement and beguiling melodic fixation and a breath to unpredictability and stirring fuzz hued uniqueness… a thrilling encounter" ~ The Ringmaster Review

"Layers fall into place and give rise to soaring vocals. The beautiful timbre of her voice sits over the landscapes of sound and reveal poignant lines that hit home." ~ Sound Read Six

„All is love and pain in the mouse parade“ ist das lang erwartete vierte Album der Band. Es ist eine Sammlung von Geschichten darüber, wie Liebe und Schmerz miteinander verwoben sind. Gefühle, die auf den ersten Blick unvereinbar scheinen, aber gleichzeitig existieren und einander brauchen. Das Album wurde im Heimstudio der Band in Island geschrieben, aufgenommen und produziert, mit Unterstützung ihres Kindheitsfreundes, dem Toningenieur Bjarni Þór Jensson.

Mit ihrem 2011 erschienenen Durchbruchalbum „My Head Is An Animal“ schafften Of Monsters and Men den Sprung von Reykjavík auf die Weltbühne und wurden von isländischen Indie-Lieblingen zu internationalen Chartstürmern.

Inmitten ihres kometenhaften Aufstiegs veröffentlichte die Band 2015 ihr zweites Album „Beneath the Skin“, das auf Platz 3 der Billboard 200 debütierte. Begleitet wurde die Veröffentlichung von einem Überraschungsauftritt in der HBO-Erfolgsserie „Game of Thrones“. Ihr cineastischer Sound tauchte überall auf, von „The Hunger Games“ bis „The Secret Life of Walter Mitty“.

Nach über einem Jahrzehnt hat sich die Band von folkigen Newcomern zu einer festen Größe des digitalen Zeitalters entwickelt. Sie hat 9 Millionen monatliche Hörer:innen auf Spotify und erreicht eine neue Generation, die entdeckt, dass die Schönheit Islands über Fjorde und Thermalbäder hinausgeht.

Zurück zu den Anfängen. Sharp Pins' Nummer-1-Hit und Wendepunkt in der Jugendrevolution-Propaganda. Ein klarer Aufruf an alle Mods, die noch zu jung waren, um sich in der Quadrophenia Alley die Knie aufzuschürfen: Robinsons Garten auf dem Weg der neuen Welle.

Mutant, in partnership with WaterTower Music, are proud to present the premiere physical release of Hrishikesh Hirway's score to COMPANION. Hrishikesh Hirway's (creator of the award-winning podcast Song Exploder) score begins by earnestly paying tribute to the plucky romance at the center. It invites you, lovingly into its rose-colored world just long enough to lower your guard before deftly switching gears into the twisted genre score buried underneath. Chaotic as that may sound, the score is continually grounded with an incredible melodic hook incorporating lead actor Sophie Thatcher's voice ("Iris' Theme"), that pays homage to another fractured fairy tale, Rosemary's Baby. But don't read too much into that comparison. The twists and turns of COMPANION are uniquely their own, and best avoided for the optimal experience. Featuring artwork by Greg Ruth, and pressed on 140 gram pink marble vinyl.

Universo Vives proudly presents the 30th Anniversary Special Edition of La Tierra del Olvido (1995), the groundbreaking album by global icon and multiple GRAMMYr winner Carlos Vives. This collector's edition is pressed on 180-gram translucent clear vinyl and available in limited quantities - a must have for fans and vinyl lovers alike. Carlos Vives, the legendary Colombian singer, producer, and actor, revolutionized the sound of Latin music by bringing vallenato to the world stage. With 2 GRAMMYr Awards, 18 Latin GRAMMYsr, and the title of Latin GRAMMY Person of the Year 2024, Vives is one of the most celebrated artists of our time. His legacy has also been recognized by Billboard, the Latin Songwriters Hall of Fame, and major institutions across Spain and Latin America. Celebrate the 30th anniversary of "La Tierra del Olvido" with this special remastered vinyl edition - a timeless tribute to the album that redefined Latin music on the global stage. Originally released in 1995, Carlos Vives created a new sound by reimagining Colombian vallenato with pop and rock influences, inventing a groundbreaking sound that reshaped Latin Music and inspired a new generation of artists worldwide. Now, beautifully remastered for vinyl, this collector's edition invites music lovers around the world to rediscover a landmark recording that brought the heart of Colombia to the ears of the world.

Fred Armisen, long known as one of the most curious actor/comedian/musician/ producer/ author/all-round good guys in the business, likes unusual ways of entertaining people. Like this one: 100 Sound Effects is an album that can be used as a library, an industrial tool for your own entertainment projects, or simply for brain-stimulating deep listening. From basic sounds to more abstract scenarios, 100 Sound Effects is an album like no other!

Limited Edition of 200 copies incl. Dolphins Remix (DALO, Benedikt Frey and Menqui).

Hot seducers. Two of them. On one 7inch. A/B Side business, hard to choose a fav, as both so fab. The A-Side is called "Happen". It comes from prolific Tokyo based DJ and producer Hoshina Anniversary. A simple drum machine groove, a manic melody, witching siren sounds, psychedelic voices, some soft chords, and soulful high-pitched singing, somewhere between Dam-Funk coolness and Ian Svenonius-The-Make-Up sixties pop longing. One for warm sexy nights under neon lights. Out there in psychic realms. The flip brings a Dolphins interpretation. Yes, that feverish trio behind R.i.O., consisting of Nadia D'Alò, Benedikt Frey and Menqui. Their freshly recorded version comes with haunting nonchalant singing, displaying the tunes core melody as a more prominent actor of the play. Michael-Mann-Pop-Nostalgia with a baroque touch, that waves dark-ish. Even some Jon Hassle feeling is in there. Hoshina Anniversary disclosed, that the original song is inspired by jazz musicians like Chet Baker, Miles Davis, Sonny Rollins, Chick Corea, Herbie Hancock, Jaco Pastorius and Keith Jarrett. None of them is directly stylistically audible. But their kind of blue is all over. On the A as well as on the B. Twice soul music for the free.

From Long Beach, California, “A Lil Lovin Sometimes” became a significant northern soul release, and in 2004 came to the UK to perform the song live. The UK Capitol released original has sold for close to £500. The record was produced by Jimmy Mack also worked with Otis Redding before becoming an actor. “True Love” was not issued at the tape and was only part of a limited and now much sought after reissue.

In truth, singing is not all that different from acting. Performing a song is very similar to playing a role in a theatrical production. A singer's delivery — the way they interpret and emphasize certain parts of a song — is much like what an actor does with their character.

That's why we often find singers who go on to gain popularity as performers — some on stage, but more often on the silver screen (film).

These are called 'singing stars' — vocalists who are also featured actors, usually given roles specially created to suit their primary strength: singing.

Among them, a few have become even more famous for their acting talents, which sometimes surpass their singing ability. However, the number who manage to do this successfully is very small. Oslan Husein is lucky enough to be counted among that small number. As his fame as a singer began to rise sharply, he also began his film career as an actor. It's true that he had previously appeared in a film, but only as an extra, alongside the orchestra he performed with.

Following that, he appeared in several other films, including Detik-detik Berbahaya, 1000 Langkah, Kasih Tak Sampai, Hadiah 2.000.000,-, Maut Menjelang Magrib, and Antara Timur dan Barat. Six films over a span of just about 2.5 years — quite an impressive achievement.

Over time, a number of songs that Oslan had performed in his films began to accumulate. Together with a few additional songs — also from films — there were eventually enough to compile into one long-playing (LP) record.

And so, accompanied by Jack Lemmers — who, for this project, created special arrangements and musical treatments unlike the usual (for example, the use of four guitars at once) — Oslan carried out the recordings at Irama studios.

By releasing this LP of songs from the silver screen, Irama took an exciting step forward and opened many new possibilities in its history. Because the world of recorded music and the world of film, wherever they are in the world, are like siblings — and they work best when they collaborate, shoulder to shoulder, in harmony.

Folk-Musik hat die schlechte Angewohnheit, als eine todernste Angelegenheit dargestellt zu werden. Sie ist etwas, zu dem man weint, sie ist übermäßig heilig, sie ist feierlich von Kritikern und Historikern betrachtet. Aber das Folk Bitch Trio, die ehemaligen Highschool-Freundinnen Heide Peverelle (,they/them"), Jeanie Pilkington (,she/her") und Gracie Sinclair (,she/her"), haben einen gemeinsamen Sinn für Humor , der tief in ihre Musik eingebettet ist und sie zum Leuchten bringt, sicher vor den selbsternsten Fallen des Genres. Now Would Be A Good Time, ihr Debütalbum, erzählt lebendige, viszerale Geschichten und ist witzig und dunkel-ironisch in der Art von Schriftstellerinnen wie Mary Gaitskill oder Otessa Moshfegh. Ihre Musik klingt vertraut, aber die Songs sind modern, jugendlich, singen akut durch dissoziative Tagträume und ärgerliche Trennungen, sexuelle Fantasien und Medienüberflutung, all die belanglosen Ressentiments und kleinen Demütigungen, die Anfang zwanzig in den 2020ern sind. ,Cathode Ray" beginnt mit Vorsicht, seine ersten Harmonien kommen in großen, schleifenden Seufzern an. Es ist verletzlich, aber auch ein wenig bedrohlich, mit , einem weit offenen Refrain und einem geräumigen, luftigen Beat, der alles verankert. ,Moth Song", ein Song über unerwiderte Liebe und ,von so durchgedreht zu sein, dass man sich wie im Wahn fühlt und verrückte Dinge halluziniert", bildet das sparsame Herzstück des Albums, wobei Anita Clarks wogende Geigenstimme wie in einem Traum in den Fokus hinein- und wieder herausdriftet. Andere Songs sind nicht so schräg, sondern schildern brutal vertraute Momente am Ende von Beziehungen: Der spannungsgeladene, emotional flüchtige Torch-Song ,The Actor" handelt laut Peverelle davon, ,zur One-Woman-Show deines Partners zu gehen und dann Schluss zu machen". In ,Hotel TV", einer hypnotischen, nächtlichen Träumerei, geht es darum, ,einen Sextraum über zu haben, während man neben seinem Partner sitzt, und der Partner ist ein Lügner", erklärt Pilkington. Die stärkste Verbindung zwischen dem Trio, abgesehen von der Freundschaft, ist Musik. ,Wir haben alle darüber gesprochen, dass wir Musik liebten, als wir aufwuchsen, , und dass wir wussten, dass Musik ein großer Teil unseres Lebens sein sollte", sagt Pilkington. Dieses Gefühl, dass Musik eine angeborene Berufung ist, im Gegensatz zu Hobby oder Torheit, war berechtigt: Das Folk Bitch Trio tourte bereits auf durch Australien, Europa und die USA und unterstützte dabei so unterschiedliche Bands wie King Gizzard, Alex G und Julia Jacklin. Sie haben bei Jagjaguwar unterschrieben, einer Heimat für einzigartige Ikonen und Ikonoklasten (Bon Iver, Angel Olsen, Sharon Van Etten, UMO und andere), und sie haben ihre ersten eingefleischten Fans mit schillernden Harmonien und bissiger Lyrik gefunden, die über Genreerwartungen und Publikumsgrenzen hinausgehen. Das sind die Herausforderungen: Es geht darum zu lernen, wie man ein Leben ohne Liebeskummer und Verlierer-Ex lebt, wann man im zeitgenössischen Nihilismus versinkt und wann man mit seinen Freunden lacht, und warum sich das Leben so flüchtig und unwirklich anfühlen kann. In diesem Sinne fühlt sich Now Would Be A Good Time wie ein Handbuch für das moderne Leben an: eine Botschaft dreier stolzer Folk Bitches, die gemeinsam Schönheit und Weisheit finden, wo sie können.

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present |The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

Unreleased electronic / jazz / madness from two titans of jazz and experimentation: JOHN SURMAN and KARIN KROG.

I could now write a load of blown up puffery about how amazing this is, but everyone does that, and a lot of the time it’s all a load of bollocks. But basically this was sent to me by Karin / John when I asked if they had anything hanging about that had not been released. This came through and blew my tiny mind. Like something from prime Annette Peacock “Pony” period. Here is what John Surman said…

John Surman writes:

Back in 2012/13 there had been some talk about a big futuristic open air urban dance/theatre production for about 80/100 actors/dancers with lasers and all kinds of lighting effects on different stages. I was invited to get involved and, together with Ben and Karin, we eventually decided to get to work on some ideas. I think that the original plan was that in performance there would be a mixture of live music and electronica.

Not altogether surprisingly, bearing in mind the complexity of the project, it never moved forward and developed into anything more than an interesting idea. It was probably over ambitious & I guess the funding never came through.

The only information I that I can find relating to the production refers to two silent movies made in 1927/1928 by the filmmaker Eugene Deslaw, entitled `La Marche Des Machines´ and `Les Nuits Électriques.These were clearly intended to act as inspiration for the project.

After months turned into years it became obvious that the project was going nowhere, and so the recorded music laid around gathering dust until Johnny Trunk asked Karin if she had any interesting music that he might be interested in releasing. One thing led to another and so, finally, Electric Element found a home!

For anyone interested in the equipment used this will have to be an approximation since the memory might be playing tricks. Karin was probably using a Yamaha Rex50 f/x unit, a Roland VT-3 Voice Transformer and an Oberheim Ring Modulator. I was playing Bass Clarinet and Contrabass Clarinet through various f/x units together with a Yamaha WX5 wind synth. All the instruments and voice were also processed through Ben´s equipment. After writing this I asked Ben for his recollections and he came up with the following:

John, Karin and I created this music in 2 or 3 days in the winter of 2013 at their studio in Oslo, Norway. I followed up with another 2 or 3 days of mixing, editing and post-processing . We kept a collaborative, improvisational and free-form approach to the sessions. I grew up immersed in music such as Cloudline Blue, the 1979 duo album of Krog/Surman, and this felt like a similar approach. I have mixed sound for many of their live duo concerts and I would use effects and electronics as an

accompaniment and counterpoint to the performed music. The relation of organic and artificial sound sources in music has always fascinated. In this case, I used some contemporary digital signal processing to introduce my own aesthetic into the conversation, in particular using granular synthesis to recombine small 'clouds' of sound into alternate forms. Some of the software tools I used included Ableton Live, Max/MSP and Reaktor.

Impressed is proud to present Brenton Thwaites—renowned actor, writer, and now accomplished songwriter—with his debut Album Searching For The Man. The announcement follows his recent iconic role in the Paul Kelly-inspired film How to Make Gravy. While filming Titans in Toronto, Brenton dove into music, recording Searching For The Man with producer Justin Abedin. The album weaves together styles from blues and folk to singer-songwriter and country. Brenton’s songs offer an intimate glimpse into his journey to and from Hollywood, life on the road with his family, and the rollercoaster of highs and lows that define it.

Enjoy The Ride Records and Enjoy The Toons Records in partnership with WaterTower Music proudly present The Day the Earth Blew Up: A Looney Tunes Movie (Original Motion Picture Soundtrack) by Emmy-nominated composer Joshua Moshier (Baskets, The Shrink Next Door). Pressed on limited edition colored vinyl, this pressing is limited to 1,000 copies.

That’s not all folks! From Ketchup Entertainment, Warner Bros. Animation, director Pete Browngardt, and the creative team behind the award-winning “Looney Tunes Cartoons” comes The Day the Earth Blew Up: A Looney Tunes Movie, a brand-new buddy comedy starring one of the greatest comedic duos in history - Porky Pig and Daffy Duck! This richly crafted, hand-drawn 2D animated adventure marks the first fully animated feature-length film in Looney Tunes history, told on a scope and scale that’s truly out of this world.

Porky Pig and Daffy Duck venture to the big screen as unlikely heroes and Earth’s only hope when their antics at the local bubble gum factory uncover a secret alien mind control plot. Faced with cosmic odds, the two are determined to save their town (and the world!)... that is if they don’t drive each other totally looney in the process. Featuring the voices of acclaimed actors Eric Bauza, Candi Milo, Peter MacNicol, Wayne Knight, and Laraine Newman with the laugh-out-loud gags, vibrant visuals, and beloved characters that make the Looney Tunes so timeless and iconic. The Day the Earth Blew Up: A Looney Tunes Movie arrives in theaters on March 14, 2025.