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The Original 1990 Motion Picture Music by Danny Elfman 180 Gram “Ice Sculpture Blue” Colored Vinyl New Artwork by Ruiz Burgos Deluxe Packaging Old Style Tip-On Gatefold Jackets w/ Satin Coating 11”x11” Art Print Insert Waxwork Records is excited to present the 30th Anniversary deluxe release of Tim Burton’s Edward Scissorhands Original Motion Picture Soundtrack, composed by Danny Elfman. Starring Johnny Depp, Winona Ryder, and Vincent Price, Edward Scissorhands is a dark-fantasy romance film that follows the story of a humanoid (Depp) that is taken in by a suburban family as a young man. Edward soon comes to be the talk of the town as his curious neighbors become intrigued by his mysterious behavior and by his hands, which are comprised entirely of scissor blades.

The soundtrack by four-time Oscar-nominated composer Danny Elfman is a fairytale-esque composition of beautiful choral arrangements over orchestral melodies. With each track, the tale of Edward and Kim unfolds through whimsical strings and sprawling vocal lines. The soundtrack to Edward Scissorhands evokes an array of emotions but leaves you feeling hopeful.

This special anniversary album features 180 gram “Ice Sculpture Blue” colored vinyl, new artwork by Ruiz Burgos, deluxe packaging, old-style tip-on gatefold jackets with satin coating, an 11”x11” art print insert, and re-mastered audio for vinyl from the original masters.

Cologne - based composer and multi - instrumentalist Ozan Tekin’s second studio album “Anarya” will be released via Gülbaba Records on May 27 th . Tekin winds his musical journey back from Cologne to Adana with a long layover in Istanbul in “Anarya”. A triangle of migration drawn by musical notation and performance. The album is composed of 14 tracks and each one of them is a sound story that echoes Tekin’s distinct memories from these three cities. “Anarya” is the end product of a process in which Tekin and his upright piano co - tuned each other. It is an artistic representation of the idiosyncratic phenomenon called stimmung in German; a spectrum of tones, moods and atmospheres expressed in personal and instrumental terms. Tekin concludes the piano conversations from his previously released EPs in 2021 (“Anarya I” and “Anarya Ii”). The remarkably catchy melodies and immersive melancholic arpeggios fl ow throughout. The transposed narrative of “Anarya” sprung up from its roots when Tekin came across with a 66 - years old worn out piano in Cologne. Mesmerized by its unique sound, he felt the urge to make recordings with this piano before it fell apart. Aft er spending months learning its mechanics, Tekin recorded his second album with the old upright piano he repaired and brought back to life. The uneasy changes in time signatures and ambient ornamentations with gloomy synths of 80’s, lush strings and room tones set up the atmospheric stage of “Anarya I” in the first five tracks. Following six tracks of the album attempts to revisit Tekin’s emotional and episodic memories in Istanbul. His unaffected absorption into piano music in the first two parts of “Anar ya” are followed by his coyishly joyful tracks later in the album: an idle “ode”, a lost “lament” and a colorful “jam”. These three tracks blend the neoclassical, jazz and ambient sounds of Cologne and Istanbul with sentiments of childhood and rascality in Adana. The piano conversations of Tekin throughout “Anarya” are accompanied by his analogue synthesizers, vocals, bass guitar, Hanitra Wagner’s violin and Berke Can Özcan’s drums , percussions and vibraphone, and Emre Malikler’s mix and mastering. The sou nds of collaboration go deeper and louder as the album’s tracks move forward and Tekin’s memories go backwards simultaneously. Anarya gitmek (“to go back”) is a vernacular saying from Tekin’s hometown Adana and Tekin makes a figurative attempt to migrate b ackwards via the compositions that came into being in his most recent home, Cologne. Having been born out of an upright piano, Tekin’s compositions have instrumental origins, however, due to his constantly mutating sense of belonging, his melodies can’t be pinpointed to any specific heimat . Tekin’s continuously transforming music is an invitation to his listeners to explore and experience his music in their own terms. Tekin’s personal memories that shape “Anarya” is open to new forms of sonic exploration and rearrangement. This openness lies in Tekin’s determined faith in not to be entrenched in any single genre. The immersive intimacy radiating from the collaborative piano conversations in “Anarya” is an invitation signature to his music’s current and fut ure followers. Text by Mehmet Ekinci

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Reflections is a recording of Sufjan Stevens' sixth collaboration with acclaimed ballet and dance choreographer Justin Peck. Originally composed for World Premiere and performances (May 17-26, 2019) by Houston Ballet, the piano duet was recorded at Oktaven Studios by Ryan Streber and performed by pianists Timo Andres and Conor Hanick. Reflections is imbued with Stevens' memorable and emotionally resonant melodies and arrangements and continues to establish Stevens as a contemporary composer.

Composer David Julyan has until now existed just beyond the image — soundtracking celluloid stories on film and television. Best known for his work with cinema auteur Christopher Nolan, his atmospheric and achingly beautiful scores have time again perfectly melded subtle orchestra with electronics — conjuring music in the post-classical genre.

More recently, away from the deadlines and drama of others, it was time to reflect and reconnect with his own musical voice. The result of this introspection is the album Hireth.

In film, the music is defined before you even find a note or melody. As David puts it: “I realised that film music is written back to front. When scoring a scene I know the length of the cue to the exact second; I know the emotions and journey of the piece. All this before I've played a single note.” With Hireth the approach is different: allowing the music to lead and evolve into a journey across this album landscape to somewhere new or unknown.

A swirl of drones, pulses and piano greets us with ‘Wires’ — setting the tone and framework for what is to follow. ‘Labyrinth of the Night’ continues with a palette of synthesisers before blending into the string quartet which features throughout the album — an unexpected but welcome transformation. When beginning the project, David decided to start with two recently-bought vintage analogue synthesisers: Roland Sh-2000 and Roland Vp-330. Like Brian Eno’s idea of working with limitations, the rule he gave himself was to only write using these two keyboards. Of course, as it was his own rule, he was free to stretch and bend it, and the project evolved into what you now hear: those synthesisers, plus a few others, along with piano and a string quartet.

‘Hireth’ is a Cornish word that has no direct translation, yet could describe a feeling of homesickness, of nostalgia, of longing. Or, perhaps, a beautiful melancholy — which perfectly describes David’s music. With this title track you hear the piano being woven into the fragile strings, resulting in his trademark tapestry of emotive melancholia.\

As the album continues, we ponder questions of science, physics and quantum mechanics in ‘An Uncertainty’; while ‘Forever Beyond Our Reach’ references the limits of our knowledge about the nature of the universe — the title coming from a line in the short film which accompanies the piece by writer and director Barbara Stapansky.

This album will not be confined to its studio origins and David will be performing it live accompanied by a string ensemble. As well as the album, performances will feature a new version of David’s score to Nolan's Memento: taking the original electronic score and reworking it with the quartet — a work that has already been performed at London's Union Chapel as part of the Daylight Music series.

The word Hireth has no direct translation, and the language or voice of the composer, likewise, can’t be placed in a box: it has its own timbre, depth - its own emotional weight - which is why this extraordinary album further reveals itself with repeated listens.

The Art of Surrender marks a return to life, sown from primalimpulses and hard-won emotional truths. Unrestrained melodicrapture soars above a relentless kick drum, speaking a needto move, to dance, to love. The music is as ambitious as itsorigins are personal. Tignor plays with scale, craftingmulti-movement epics along side one-miniute minita...

4xCD (111 tracks) housed in a clamshell box which also includes an illustrated 32 page booklet featuring detailed liner notes by James Nice and Stephen Whittington.

Les Disques du Crepuscule presents a comprehensive 4 disc CD boxed anthology by visionary French avant-garde composer Erik Satie, collecting together works associated with the Dada, Cubist and Surrealist art movements, as well as his celebrated musique d'ameublement (furniture music) written between 1917 and 1923.

Disc 1 offers Satie's extraordinary Vexations, the score for which is just three lines long, yet a complete performance (840 repetitions) may last for anything between 14 and 28 hours. First performed under the supervision of John Cage in 1963, this radical, enigmatic, proto-Surrealist work is now recognised as a significant milestone in the avant-garde canon. This meditative 70 minute recording features 40 repetitions of the motif, performed by Alan Marks on piano.

Disc 2 is a collection of Dada-related works, including music used by Francis Picabia, Tristan Tzara, Kurt Schwitters and Rene Clair. An enthusiastic Dada activist in Paris between 1920 and 1924, Satie collaborated extensively with Tzara, Man Ray, Pablo Picasso and Jean Cocteau. Performed on piano by Bojan Gorisek, this disc includes Trois morceaux en forme de poire, performed by Satie in 1923 at Tzara's notorious Soiree du Coeur a Barbe, as well as Ragtime Dada, an extract from the ballet Parade performed at Dada events staged by Kurt Schwitters and Theo van Doesburg in 1922. Also included is Satie's score for Entr'acte, Picabia's dazzling multi-media 'instantaneist' ballet. Relache dates from 1924, while Cinema is Satie's music for an intermission film by Rene Clair.

Cubist Works on Disc 3 offers four works composed by Satie between 1913 and 1924 for his collaborations with Pablo Picasso. These include piano and orchestral versions of his scores for the celebrated 'Cubist' ballets Parade (1917) and Mercure (1924), as well as a seldom-heard organ 'diversion', The Statue Found (1923). This third disc also includes The Puppets Are Dancing, written for the French Futurist dancer/poet Valentine de Saint-Point in 1913, and the ludic Trois valses distinguees du precieux degoute ('Three Disgustingly Precious Waltzes'), a barbed swipe at rival Maurice Ravel, premiered at an exhibition of works by Picasso, Matisse and others in 1916. Solo piano performed by Bojan Gorisek.

Disc 4 leads with Satie's often referenced (but seldom heard) musique d'ameublement (furniture

music), written to order for various benefactors between 1917 and 1923. Intended to be heard in the background, rather than actually listened to, these five disparate pieces have been cited as a conceptual precursor to the ambient, minimal, functional and serial works of Brian Eno, Paul Hindemith, Steve Reich and Philip Glass.

Also included are the experimental pieces Descriptions automatiques and Sports et divertissements, the latter a collection of 21 miniatures from 1914 published with illustrations by Charles Martin. Disc 4 also finds space for Satie's single-act, neo-Dada lyric comedy Le Piege de Medusa, comprising 'seven tiny dances for Jonah the Monkey', illustrated by Cubist painter Georges Braque., as well as his 'Christian ballet' Uspud from 1892.

The 4 full length CDs are housed in a clamshell box, which also includes an illustrated 32 page booklet featuring detailed liner notes by James Nice and Stephen Whittington.

Peter Culshaw was described by Malcolm Mclaren as “the Indiana Jones of World Music” and has tracked down music from the Amazon to Siberia and lived with Pygmies in Central Africa and dervishes in Istanbul. Culshaw interviewed many of the greats including Fela Kuti, Nusrat Fateh Ali Khan, Caetano Veloso and Ibrahim Ferrer. His book Clandestino, now published in ten languages, was a biography/ travelogue on the road with Manu Chao. The result of decades of research is this, his first solo album. As a composer, his East-West group West India Company’s album New Demons, which featured Bollywood diva Asha Bhosle, was released by Editions EG , a label set up by Brian Eno. He has composed award - winning music for assorted dance companies and animated films. He wrote an “opera” recorded in Havana, to be released soon. Music From The Temple of Light was recorded mainly in Half Step Audio, in Mumbai with some of the most vital contemporary Indian musicians including Paras Nath on bansuri flute and Chandana Bala Kalyan on enchanting vocals. The music is a mysterious mix of East and West, ancient and modern, led by minimal tantric piano, objective, meditative music for a chaotic age. Other recordings took place in pre-war Odesa and it was mixed in London. It is the first part of a trilogy. The project was funded by the sale of Malcolm Mclaren’s classic Mercedes, which he left to Culshaw and some successful bets on Leicester City Football Club. The next release on Iskra in 2023 will be Aeroclube - an anglo-Brazilian fever dream. recorded in Salvador, Bahia. Music From THE Temple OF Light will be released on Vinyl, CD and digitally in March 2023, preceded by a trio of “singles”……

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.