To celebrate the 10th anniversary of beloved classic Bloodborne, Sony Interactive Entertainment and Laced Records have heeded the Beckoning Bell and joined forces to offer fans the expanded soundtrack for Bloodborne on vinyl.

The Laced Exclusive Edition Vol. I & II collection includes the original Bloodborne double LP set first released in 2019, alongside a new Vol. 2 LP that comprises nine remastered tracks: four from the base soundtrack not previously on vinyl; and five boss cues from The Old Hunters DLC, including “Ludwig, The Holy Blade” by Nobuyoshi Suzuki and “Lady Maria of the Astral Clocktower” by Yuka Kitamura.

The full set is housed in a deluxe lift-off lid collector’s box with gold foiling and obi strip, and also includes a Caryll Runes slipmat. The collector’s box with slipmat will also be available separately.

Bloodborne was released in 2015 as a new PlayStation IP from director Hidetaka Miyazaki and FromSoftware, with The Old Hunters DLC dropping later that year. Its taut action gameplay, Gothic horror, and Lovecraftian themes saw Bloodborne become one of the most revered video games of all time.

The Bloodborne soundtrack is a masterclass in choral-orchestral writing and horror textures. Sadness, fury, creeping dread, and faded grandiosity are all conveyed through boss music cues that are all the more impactful given that a significant amount of a player’s playtime is spent without underscore. Multiple composers from America and Japan collaborated to score the darkest corners of Yharnam and the nightmares beyond, including Ryan Amon, Yuka Kitamura, Tsukasa Saitoh, Nobuyoshi Suzuki, Cris Velasco, and Michael Wandmacher.

TRACK LISTING

1. Omen
2. The Night Unfurls
3. Hunter's Dream
4. The Hunter
5. Cleric Beast
6. Blood-Starved Beast
7. Watchers
8. Hail The Nightmare
9. Darkbeast
10. The Witch Of Hemwick
11. Rom, The Vacuous Spider
12. Moonlit Melody
13. The One Reborn
14. Micolash, Nightmare Host
15. Queen Of The Vilebloods
16. Soothing Hymn
17. Celestial Emissary
18. Ebrietas, Daughter Of The Cosmos
19. The First Hunter
20. Moon Presence
21. Bloodborne
22. Terror
23. Amygdala
24. Of The Pthumerian Line
25. Lullaby For Mergo
26. Ludwig, The Holy Blade
27. Laurence, The First Vicar
28. Living Failures
29. Lady Maria Of The Astral Clocktower
30. Orphan Of Kos

To celebrate the 10th anniversary of beloved classic Bloodborne, Sony Interactive Entertainment and Laced Records have heeded the Beckoning Bell and joined forces to offer fans the original soundtrack for Bloodborne on vinyl.

First released in 2019, this Laced-exclusive variant features Standard Edition black vinyl, housed in a deluxe gatefold sleeve, with a 12” insert.

Bloodborne was released in 2015 as a new PlayStation IP from director Hidetaka Miyazaki and FromSoftware, with The Old Hunters DLC dropping later that year. Its taut action gameplay, Gothic horror, and Lovecraftian themes saw Bloodborne become one of the most revered video games of all time.

The Bloodborne soundtrack is a masterclass in choral-orchestral writing and horror textures. Sadness, fury, creeping dread, and faded grandiosity are all conveyed through boss music cues that are all the more impactful given that a significant amount of a player’s playtime is spent without underscore. Multiple composers from America and Japan collaborated to score the darkest corners of Yharnam and the nightmares beyond, including Ryan Amon, Yuka Kitamura, Tsukasa Saitoh, Nobuyoshi Suzuki and Michael Wandmacher.

TRACK LISTING

1. Omen
2. The Night Unfurls
3. Hunter's Dream
4. The Hunter
5. Cleric Beast
6. Blood-Starved Beast
7. Watchers
8. Hail The Nightmare
9. Darkbeast
10. The Witch Of Hemwick
11. Rom, The Vacuous Spider
12. Moonlit Melody
13. The One Reborn
14. Micolash, Nightmare Host
15. Queen Of The Vilebloods
16. Soothing Hymn
17. Celestial Emissary
18. Ebrietas, Daughter Of The Cosmos
19. The First Hunter
20. Moon Presence
21. Bloodborne

To celebrate the 10th anniversary of beloved classic Bloodborne, Sony Interactive Entertainment and Laced Records have heeded the Beckoning Bell and joined forces to offer fans the expanded soundtrack for Bloodborne on vinyl.

A companion piece to the original Bloodborne double LP released 2019, this additional album comprises nine remastered tracks: four from the base soundtrack not previously on vinyl; and five boss cues from The Old Hunters DLC, including “Ludwig, The Holy Blade” by Nobuyoshi Suzuki and “Lady Maria of the Astral Clocktower” by Yuka Kitamura. The single LP features a gatefold Sleeve with gold foiling and 12” insert.

Bloodborne was released in 2015 as a new PlayStation IP from director Hidetaka Miyazaki and FromSoftware, with The Old Hunters DLC dropping later that year. Its taut action gameplay, Gothic horror, and Lovecraftian themes saw Bloodborne become one of the most revered video games of all time.

The Bloodborne soundtrack is a masterclass in choral-orchestral writing and horror textures. Sadness, fury, creeping dread, and faded grandiosity are all conveyed through boss music cues that are all the more impactful given that a significant amount of a player’s playtime is spent without underscore. Multiple composers from America and Japan collaborated to score the darkest corners of Yharnam and the nightmares beyond, including Ryan Amon, Yuka Kitamura, Tsukasa Saitoh, Nobuyoshi Suzuki, Cris Velasco, and Michael Wandmacher.

TRACK LISTING

1. Terror
2. Amygdala
3. Of The Pthumerian Line
4. Lullaby For Mergo
5. Ludwig, The Holy Blade
6. Laurence, The First Vicar
7. Living Failures
8. Lady Maria Of The Astral Clocktower
9. Orphan Of Kos

Presenting the remarkable second album by the Chinese musician, DJ and creative chef Yu Su. An evolution from her 2021 debut LP and two track single released last year, Foundry radiates a fresh, fully-fledged and far-reaching sound.

The nucleus of Foundry began with material penned for live performance at MUTEK in 2025, alongside a move to London which brought about new shifts in perspective. Searching for a style that was true both to her roots and progression as an artist, Yu ventured in a post-orientalist direction, and came upon a language of ‘in-between music’.

Mixing the eclectic influence of her DJ sets with genre-defying collaborators and newfound taste for minimal and ambient techno, a dusky, dub-inflected character began to emerge. This broad palette reiterates Yu’s prior form in making connections across disciplines, which have not only consisted of music, but also multisensory endeavors which incorporate taste and smell.

With cover art featuring hammered metalwork by the artist Brendan Ratzlaff, for Yu the foundry represents a nexus of creation; a shared workspace where collaborators combined their materials and skills. With the input of Seefeel, Dip In The Pool, and Memotone, together their broad spectrum of aural elements underwent a chemical transformation, and were forged into something new.

Well-designed, ergonomic yet occasionally amorphous, the effect is that of meticulous freedom, both controlled and free flowing. Using immersive sound design, Yu creates inspiring spaces to revel in, which are warm yet steeped in shadow, with flashes of silvery light.

Featuring Yu in with duet Miyako Koda of cult Japanese art pop duo Dip In The Pool, the record kicks off in swirling but poised fashion with ‘A Jewel’. The dusky, reverberant underwater minimalism of ‘Sunless’ follows, which features British composer Memotone, and was influenced by Chris Marker’s 1983 film Sans Soleil.

The dubby, sunkissed affirmation on ‘Cul De Sac’ leads to the thumping acid stomp of ‘Foundry’, and onto the hazy glow of ‘One Place After Another’, featuring lauded soundheads Seefeel, where Yu’s voice is joined by Sarah Peacock’s, alongside Mark Clifford’s seductively gauzy fuzz guitar.

Venturing into more ominous territory is the liminal ambient dub of ‘Wanli’, followed by the rich textured flutter of ‘Os Cionn’, which translates from Gaelic as ‘above’. The album ends with the reflective, processional pulse of ‘Ripe Fruits’, which was inspired by Frederic Leighton’s 1892 oil painting The Garden of the Hesperides.

The LP’s visual was art directed by Lucas Dupuy, whose approach perfectly encapsulates Yu’s spatial sonics: “We both think in layers”, she comments. “Not linear layering, but horizontal layering, like weaving metallic threads, where a bigger picture of a grainy sphere will occur at the end.”

Mastered by Miles

Art by Lucas Dupuy & Brendan Ratzlaff

TRACK LISTING

A1. A Jewel (ft. Dip In The Pool)
A2. Sunless (ft. Memotone)
A3. Cul De Sac
A4. Foundry
B1. One Place After Another (ft. Seefeel)
B2. Wanli
B3. Os Cionn
B4. Ripe Fruits

Yuno’s full-length debut 'Blest' finds the enigmatic indie-pop visionary transforming the emo-tinged suburban malaise of his 2018 'Moodie' EP into more expansive, widescreen pop drama — suited for big moves and bigger stages. The kaleidoscopic sound he devised as a millennial hermit in his childhood bedroom in Florida has since broadened his horizons, taking him on tour with Unknown Mortal Orchestra and Superorganism, and soundtracking various series for Netflix and HBO. Imbued with elements of dream-pop, rock, trap, and psychedelia, his eclectic songs serve as bids for love and connection, which especially in the fractured era of social media, have resonated with many listeners who find solace in his vulnerability.

Yuno's superpower lies in the way he mines a multitude of genres for their pop potential and surfaces with a tapestry that feels novel and fresh. Take, for instance, 'Blest', the immediate, blissful, and bright title track, which is inspired by Rich Harrison-breakbeats and Neptunes-esque jangle. Or the breezy single, 'True', in which Yuno moderates a lover's quarrel with slick, trap percussion. Amid the breakbeated dream-rock of 'Gimme Ocean', he introduces his guitar solo with a searing emo scream, run through an EarthQuaker Devices pedal. Don't let his sanguine aura or his sherbet pink wardrobe fool you; he can shred as hard as he wants to when he wants to.

All songs on 'Blest' were written and performed by Yuno, co-produced by Yuno and Frank Corr (Morning Silk), who also contributed keyboards, drums, and guitar throughout the record, with additional production and instrumentation by Patrick Wimberly (Chairlift) at The CRC in Brooklyn, and Nick Sanborn (Sylvan Esso) at Betty’s in Durham, NC. 'Blest' was mixed by Steve Vealey and mastered by Joe La Porta.

TRACK LISTING

1. Blest
2. We Belong
3. Massive
4. Unfair
5. Perfect Pear
6. Fall Apart
7. Worst Of Times
8. True
9. Gimme Ocean
10. Blitz!

Super Rhythm Trax kicks off 2025 with a really special project. It’s a split release between Yuri Suzuki and Pearl River Sound. They’ve both contributed outstanding tracks that go way beyond the normal ‘Acid’ cliches.

Yuri’s are extra deep and twisted, drenched in a foreboding atmosphere that conjures images of strobe lit smoke filled basements with people lost in the music while Pearl River Sound provides two of the most quirky breakbeat Acid excursions you’ll ever hear, full of personality and instantly loveable.
The sleeves have been individually hand stencilled with spray paint in a variety of colours so no two are the same.

This release is limited to 200 copies for the world so don’t sleep and grab a truly one off piece of vinyl.

STAFF COMMENTS

Matt says: Released the same week as 303 day, new acid techniques flexed and poised for the infamous Super Rhythm Trax. Raw-ass warehouse trax strictly for the fierce!

TRACK LISTING

A1. Yuri Suzuki - Hype
A2.Pearl River Sound - Smiley
B1.Pearl River Sound - MPC Beat
B2. Yuri Suzuki - Baby Cup

Wewantsounds is delighted to announce the release of "TOUCH," a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of Jazz, Space Funk and Disco have long been highly sought-after by DJs around the world and we've been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his 70s body of work, all bearing his uniquely recognisable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata and Ken Tanaka alongside tracks from his cult anime soundtracks for "Lupin III" and "Captain Future." Approved by Yuji Ohno himself, "Touch" was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda.

Born in Atami in 1941, Yuji Ohno started learning the piano at a young age and formed his own band during his teenage years, getting into Jazz in the process. After high school, he entered the prestigious Keio University in Tokyo and played in the revered university big band alongside two other pianists, Masahiko Sato and Hirosama Suzuki, who would have an illustrious career in their own right. After University, Ohno became a professional musician and started playing with the new wave of Japanese Jazz musicians forming his own trio and recording with the likes of Hideo Shiraki, Terumasa Hino and Masahiko Togashi from 1967 onwards.

At the turn of the 60s, Ohno started to veer away from the Jazz scene as he realised, as told to Nick Luscombe that "the jazz music being played by the Japanese at the time was only chasing the cutting edge, and was ignoring the roots and origins of jazz." Ohno therefore shifted his efforts to film and TV and also to producing artists for various Japanese labels, becoming one of the most in-demand composers, arrangers and producers in Japan. This is when Ohno developed his unique sound across a wide variety of styles. More than anything else, he got renowned for his anime soundtracks, particularly with the Lupin III series - represented here by the superbly funky "Silhouette" - which made his fame in Japan

Whether it's jazz, funk, disco or Pop, the "Ohno Sound" is unmissable both in terms of melodies and arrangements, on a par with those of such legends as Quincy Jones and Michel Legrand. Ohno's melodies are sophisticated yet accessible and there's a great sense of space in his productions especially when it comes to slow-burning grooves as heard on "Kirameku Inner Space" from the cult anime soundtrack "Captain Future" or "The Soaring Seagull" from the sought-after 1975 album "Electro Keyboard Orchestra." This album was recorded with seven fellow musicians including Kentaro Haneda and Ohno's old friend, Masahiko Sato and using twenty Korg synths to create a unique blend of futuristic jazz funk. "The Soaring Seagull" could be the perfect embodiment of Ohno's signature sound when it comes to instrumentals. The producer was however equally at ease with producing lush disco extravaganzas such as "Subterranean Futari Botchi" by Nanako Sato or "I Wish You Love" by Hatsumi Shibata, a revamp of Charles Trenet classic, both colourful and glitzy.

Ohno's versatility is on display here with a couple of jazz vocal tracks, "Speak Low" by Ann Young accompanied by the Yuji Ohno Trio and Mieko Hirota's fast and furious "I Want to Be Happy" while he also excelled at crafting gorgeous mellow songs such as Ken Tanaka's "Lilac-gai No Aki" and Hatsumi Shibata's "Mouichido Kikasete" closing the selection on a perfect note. "Touch" is just a tiny selection from Yuji Ohno's immense body of work and it will hopefully open the ears of Japanese music lovers to one of the most important musician, producer and arrangers of his generation.

TRACK LISTING

1. Nanako Sato - Subterraean Futari Botchi
2. You & The Explosion Band - Silhouette
3. Hatsumi Shibata - I Wish You Love
4. Yuji Ohno & Galaxy - Kirameku Inner Space
5. Ann Young & Yuji Ohno Trio - Speak Low
6. Ken Tanaki - Lilac-Gai No Aki
7. Mieko Hirota - I Want To Be Happy
8. Electric Keyboard Orchestra - The Soaring Seagull
9. Hatusmi Shibata - Mouchido Kikasete

Yuno – aka 27-year-old Carlton Joseph Moodie – is in a New York state of mind. He was born there in the Bronx, but from the age of nine months spent his entire life in Florida, and particularly Jacksonville. He's dreamed of returning to New York to live ever since. New York is what inspires his creative streak, even though he's only visited the big city four times. “I plan to move here one day,” he says defiantly, from a cafe in New York. The exotic lure of bright lights, brighter city, is one of the most relatable of tales, and it certainly makes a lot of sense once you've wrapped your ears around Moodie – Yuno's first EP, released via Sub Pop. Moodie is such a New York record. It veers from Tame Impala psych-pop to wonky Vampire Weekend college rock via backpacker hip-hop and, well, Len's “Steal My Sunshine.” It's a collection of songs that chimes with pop's increasing lack of concern for genre. It's the opposite of tribal, as multi-cultural and diverse as a ride on the New York City subway, across all five boroughs. It can't be attributed to one particular origin of sound or vision.  Yuno writes all his music alone at home, self-producing and engineering, playing all the instruments. “I don't really go anywhere in Jacksonville,” he says, drowsily. “I don't drive. I spend a lot of time in my bedroom.” The six-song collection thus sounds like a collage of bedroom posters. “So Slow,” for instance, would be a Washed Out flyer sat next to a piece of Kid Cudi artwork, whereas “Why For” with its squealing Wavves guitars would probably be represented by a big weed sticker or some Sleigh Bells ticket stubs. It's deeply creative and visual.

Sub Pop found Yuno via Ish Butler of Shabazz Palaces, who A&Rs for the label. He stumbled on Yuno on Soundcloud and kept a keen eye on him. Like Ish, Yuno is encouraged by the genre-bending age we're in, citing Lil Uzi Vert and Young Thug as sources of influence. The EP's title clearly relates to his surname, but it's also channeling the emotional variety of the tracks. “It covers all the different feelings you have at the end of a relationship,” he notes. “Sometimes you're really happy to be moving on, other times you're really upset to see something go.”  New York, however, was the major muse. “Being here really changed things for me,” he says. “It feels like my pace here. All these things are in one place in New York. There's so much to experience.” Moodie is written from the perspective of being back in Jacksonville, missing the Big Apple. And while it plays out like longing, it's not all doom and gloom. Yuno's major hope is to make music that fills people with happiness. “That will make me happy,” he says, with a light laugh.

STAFF COMMENTS

Laura says: Genre bending pop collages that meld left field hip hop beats with mellow guitars and reverbed vocals that bring to mind the likes of the debut Panda Bear album and early Grizzly Bear.

TRACK LISTING

Amber
No Going Back
Fall In Love
Why For
So Slow
Galapagos