Most of our music is digitally available from our Bandcamp page.

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Latest release

Frontcover of The Festival
H.P. Lovecraft’s The Festival. Read by Andrew Leman, score by Anima Morte

Detailed Discography


Frontcover of The Festival

Hand poured while and black splatter over clear vinyl – Edition of 40x
Metallic silver vinyl with black swirl

H. P. Lovecraft’s The Festival LP – Read by Andrew Leman, score by Anima Morte 

  • Limited pressing on 150 gram vinyl
  • Printed on a deluxe heavy weight tip-on jacket
  • Includes insert with liner notes by Anima Morte
  • New essay by weird fiction scholar S. T. Joshi
  • 24″ x 36″ promotional poster
  • Newly commissioned art by Karmazid


In 2020, Cadabra Records released a reading of H.P. Lovecraft’s “The Festival,” a Yuletide tale which includes a homecoming, lights, and a gathering – although all of these are quite different than what one might get from Charles Dickens’ A Christmas Carol or Clement Clarke Moore’s “A Visit from St. Nicholas.” As one might expect from Lovecraft, the short story is one of horrible incursions to places where few humans might ever have trod.

Were one to think that there is nothing less conducive to the spirit of the season than the writing of Howard Phillips Lovecraft, they would be correct, but this inversion of the usual hoary Yuletide tropes results in a delightful story which takes the only-too-common Chrimastide themes of coming together with one’s family and engaging in traditions and renders it a damp and peculiarly odorous tale, viscous and foetid in the telling.

That original release was read by Andrew Leman and scored by Fabio Frizzi, and for this new edition, Swedish progressive rockers Anima Morte have taken a turn at the music which underscores Leman’s words. As did the original release, the music which begins the tale is one of beauty and peace, akin to a snowy winter evening spent snug in the parlor, with piano and violin playing gently in the background. This slowly changes until, once inside the home of the narrator’s people, the music begins to darken and descend, much as the narrator does.

Andrew Leman’s narration and recitation of the words of this nameless narrator begin just as bright and spritely as the music which accompanies his voice, but as the music changes, so does the telling which it accompanies. One can hear the indecision and regret in Leman’s voice as he relates the story of “The Festival,” and by the time “a horror unthinkable and unexpected” is revealed, we can hear the agony and dismay in his delivery. It is a journey into madness, all began with new-fallen snow and the twinkling of stars.

Anima Morte’s new score delves into the sonic landscape of Lovecraft’s tale. It is one of aspects both musical and of sound design. As he begins reading “Olaus Wormius’ forbidden Latin translation” of “the unmentionable Necronomicon,” our narrator can “hear the creaking of signs in the wind outside,” and so do we, as Anima Morte’s music takes on a faint creaking aspect within its depths. Similarly, there will be a gentle chiming which mirrors “the lurid shimmering of pale light,” and a flutter when presented with the “membraneous wings” of a “horde of tame, trained, hybrid winged things that no sound eye could ever wholly grasp, or sound brain ever wholly remember.” When the creatures in the underground locale begin appearing and moving, the score takes on aspects of fluttering wings, as though these unholy beings were wherever one might be listening, near the ceiling and attempting to find their way outside.

It is at once horrible and beautiful, this score, and Anima Morte’s music will cause the hairs on one’s arms to stand at full attention as goosebumps run up and down. Combined with Leman’s skill at conveying the ever-increasing sense of unease at what the narrator is experiencing, the end result is a story which fairly leaps out of the speakers and becomes something fully visible in the mind’s eye.


Serpents in the Fields of Sleep - Frontcover
  1. Leaving Redemption Behind
  2. Pathogenesis
  3. Seeds Of Trepidation
  4. A Perfect Void
  5. Blood Of The Iconoclast
  6. Colors Of Incrimination
  7. Serpents In The Fields Of Sleep
  8. The Underworld Beckons
  9. Night Of The Final Act

2022-10-28 Digital Download
2022 – CD (Cadabra) – 200x Limited edition Digipack
2022 – Vinyl (Cadabra)
– Metallic gold vinyl variant – 100x copies available
– Hand poured gold and black splatter over clear vinyl – 10x copies available

Serpents In The Fields Of Sleep was produced by David Castillo and Anima Morte, engineered and mixed by David Castillo with engineering assistance from Iñaki Marconi at Studio Gröndahl in Stockholm between October 2018 and May 2021, with additional recordings handled at Roth-Händle and Uninvited Studios. The record was mastered by Thomas ‘Plec’ Johansson at The Panic Room and completed with striking cover artwork by Randy Ortiz, design by Eric Adrian Lee, and photography by Martin Gustafsson.

While Swedish instrumental cinematic horror band Anima Morte has been scoring several of Cadabra’s H.P. Lovecraft adaptations the past few years – Dagon/The Cats of Ulthar/The Music of Erich Zann, The Call of Cthulhu, and The Statement of Randolph Carter & The Unnamable, to be precise – it’s been a full five years since their last proper solo release, the 2017 EP, Inertia of the Risen. Therefore, it only seems fitting that Cadabra would bring to vinyl Anima Morte’s first full-length LP in almost eight years, Serpents in the Fields of Sleep.

As the band themselves state, “with their roots in classic progressive rock they make perfect use of Hammond organs, Mellotrons and Moogs to create a creepy and haunting atmospheres.” The core trio of Fredrik Klingwall (keys), Daniel Cannerfelt (guitar), and Teddy Möller (drums) augment their Goblin-meets-Frizzi sound with multiple musicians to craft soundscapes which stand wholly on their own, even as they evoke the possibilities of films which exist only in their mind. Think of them as the Trans-Siberian Orchestra for Halloween, but oh so much more.

Opening the album with “Leaving Redemption Behind” is a master stroke. At first listen, one wonders just how it will be possible for the following eight tracks to live up to the dizzying heights reached over the course of its runtime. However, that’s what makes it so clever: every aspect of the song, from synthesized moans and cries to spy-rock guitar, from frantic progressive rock bass to intense keys, will crop up over the course of Serpents in the Fields of Sleep.

And yet, there are elements of Anima Morte’s sound which will still surprise. “Pathogenesis” brings in strings and cavernous drums to march on toward oblivion. The strings and brass on “Seeds of Trepidation” pair soaring electric guitar solos with a subtle use of violin and saxophone to make for an epic sense of impending doom. Then, just when you think you’ve got a handle on what Anima Morte does, they throw a curveball with the wah-wah driven “Colors of Incrimination,” which could easily be the theme song for a 1970s Umberto Lenzi poliziotteschi film, replete with big, insistent horns as it is.

Even if you’ve never before heard of Anima Morte, by the end of the aptly-titled “Night of the Final Act” which concludes Serpents in the Field of Sleep, you’ll find yourself readily taking this album out of its jacket to play and share with any like-minded individual you possibly can. Should you find yourself alone, you’ll flip the record over again and again and again, reveling in its hypnotic grooves.  


2022 – Vinyl (Cadabra)

H. P. Lovecraft’s, The Statement of Randolph Carter & The Unnamable LP – Read by Andrew Leman, Score by Anima Morte

* Limited pressing on 150 gram vinyl

* Printed on a deluxe heavy weight gatefold tip-on jacket

* Includes liner notes by S. T. Joshi

* Newly commissioned art by Jesse Jacobi

* Hand calligraphy by Josh Yelle

For their latest selection of H.P. Lovecraft tales, Cadabra Records presents two stories featuring the recurring character Randolph Carter. Carter, usually assumed to be an avatar for the author himself, featured as the main character in five of Lovecraft’s works, appears briefly in a sixth, and is mentioned in The Case of Charles Dexter Ward.

Given the adventures which Carter experiences in the tales related by Lovecraft, one must wonder just how the character makes it through an ordinary day, given that he’s experienced so much terror that one hopes he can open a locked door without suffering from an all-consuming fear at what lies behind it. This is especially true in the two stories which make up this record, “The Statement of Randolph Carter” and “The Unnamable,” which are incidentally the first two tales which feature the character.

Read here by by Andrew Leman and scored by Anima Morte, the two incidents are related first-person by Carter himself, and Leman’s delivery ably coveys the panic which Carter obviously felt at the time these incidents took place, but also the immense sense of world-weary exhaustion which has set in afterward. The recitation of the written lines themselves will surprise no one who has previously listened to Leman’s work on The Call of Cthulhu, The Shadow Over Innsmouth, and other of Lovecraft’s stories, but here, certain incidences of improvisation lend the readings a new verisimilitude. At once point in “The Statement of Randolph Carter,” Leman lets loose an exhausted sigh which conveys so much, it hits like an emotional punch to the abdomen.

The score, as written and performed by Anima Morte, is uniquely-suited to each tale. For “The Statement of Randolph Carter,” the musician drops in sudden noises which will cause the listener to turn around, panicked at what might behind them, so unexpected are they. Additionally, much as Carter returns to certain phrases in his titular statement, so does Anima Morte return to certain musical themes in his composition, resulting in a brilliant series of parallels. Utilizing low bassoons and flanging lines when Crater is speaking with his friend, the occultist Harley Warren, as the latter character descends into the depths of a hidden stair, the tones themselves readily mimic what is being related by Carter. There is also a delightful combination of dirgey synthesizers and twanged guitars which evoke nothing so much as the introduction to Pink Floyd’s “Time,” minus of course the ticking and clanging clocks.

On the flipside, we have “The Unnamable,” where one can feel the sun setting and darkness falling, before turning to pitch-black night in the cemetery. The story begins rather humorously, especially when listened to immediately following the record’s first side, as Carter’s friend, Joel Manton, chides Caryer for his “constant talk about ‘unnamable’ and ‘unmentionable’ things” as “a very puerile device,” quite in keeping with [his] lowly standing as an author.”

However, as the sun descends, so does the score, becoming replete with chimes and echoing hollowness, once again mirroring that which goes on the story, in this case the very sepulcher on which Carter and Manton are reclining. While “The Statement of Randolph Carter” begins at a very highly tense place and ends with heart rate and terror sky-high, “The Unnamable” eases the listener into fear, but is no less effective for it.


2021 – Vinyl (Cadabra)

The Call of Cthulhu 2x LP – Read by Andrew Leman – Score by Anima Morte – Definitive Edition

“The Call of Cthulhu” is the seminal story in H. P. Lovecraft’s literary output, and perhaps the seminal story in the entire history of twentieth-century weird fiction. It of course initiated the Cthulhu Mythos (a term devised not by Lovecraft but by August Derleth), and it heralded a remarkable burst of creativity that would belatedly establish Lovecraft as one of the premier writers in the history of supernatural fiction.

From the introduction notes by weird fiction scholar S. T. Joshi


Andrew Leman’s reading of H.P. Lovecraft’s short story “The Call of Cthulu” is accompanied by the music of Swedish progessive rock act Anima Morte, and the pairing of voice and score results in an audio experience which serves to increase the tension which imbues every word from the writer’s pen.

As Lovecraft describes, so does the musical score from Anima Morte go: “the malevolent tom-tom” with “its incessant beating,” “insane shouts and harrowing screams, soul-chilling chants” – “nightmare itself” within a “voodoo orgy.” As Leman reads the words, “It may have been only imagination and it may have been only echoes which induced one of the men, an excitable Spaniard, to fancy he heard antiphonal responses to the ritual from some far and unillumined spot deeper within the wood of ancient legendry and horror,” the music provides that cry of the distantly glimpsed creature, as though the Old Ones had once again come down from the sky.

The opening music features faint, distant and wordless vocals which foreshadow the swamp cult which we will later encounter. When describing the Cthulu statue encountered by Inspector Legrasse, there is also jangling sounds and rhythmic pulses to again hint at the celebratory worship of that cult, replete with hints of chants and shakers, as though “the swamp and lagoon country to the south” of New Orleans had come north to the American Archaeological Society’s annual meeting in St. Louis.

The sonorous notes which echo throughout every moment of “The Call of Cthulu” are portentous, as well, reflecting the vast oceanic depths from which “The Madness from the Sea” will rise and be encountered by the crew of the Vigilant. The mellotronic tones, coupled with the ever-growing intensity of the drums, recall Fabio Frizzi’s immortal themes for Zombie Flesh Eaters and The Beyond, eerie in their unnatural reproduction of acoustic sounds.

The slow, sweeping chords which accompany the tale of R’lyeh are interstellar in their scope, further demonstrating the skills of Anima Morte to convey the many aspects of this globe- and galaxy-spanning work of Lovecraft’s. Once the crew enters the “sea-soaked perversion” of non-Euclidian geometry, the music becomes as grand and mythic as the environment in which the sailors find themselves. It’s chiming while grinding, two sounds which causes one’s nerves to twinge as though they were there in R’lyeh themselves.


Dagon front cover


  1. Dagon
  2. Cats of Ulthar


  1. The Music of Erich Zann

2019 – Vinyl (Cadabra)

Subscription edition – 225x natural white and black swirl vinyl
Mondo edition – 200x clear vinyl
25x wax mage slipcase
50x white and black splatter over clear vinyl
Retail edition (standard sleeve) – 100x random color, 200x clear with black swirl

Isolated score – 208x handnumbered, random colors.

H. P. Lovecraft’s, Dagon, The Cats of Ulthar & The Music of Erich Zann LP – Read by Andrew Leman, Score by Anima Morte LP

Vinyl spoken arts label Cadabra Records presents an audio adaption H. P. Lovecraft’s classics Dagon, The Cats of Ulthar & The Music of Erich Zann, read by renown Lovecraftian scholar and narrator Andrew Leman, with an original score by cinematic instrumentalists Anima Morte.

Told from the perspective of a drug-addled mariner, Dagon is H.P. Lovecraft at his scaly and slimy best. First published in 1919, the short story has become one of Lovecraft’s most well known and adapted works, notably by horror director Stuart Gordon and referenced by many other games and novels. Read by Andrew Leman with a synth-driven score by Anima Morte, Dagon moves at an unrelenting pace, challenging you to question everything you think you know about our place in the natural world.

The Cats of Ulthar finishes Side 1, giving Anima Morte a wonderful tale to grow their haunting and melodic score. With Cats, the music takes a decidedly European tone, filled with gentle acoustic guitar offset by bells, chimes, and droning strings. Side 2 contains The Music of Erich Zann, where the score becomes much more immediate and paranoid; the dripping synth sounds and effects enveloping Leman’s masterful reading. As a thrilling bonus, accomplished cellist Leo Svensson Sander gives life to Zann’s mythical instrument, providing a tangible fury you won’t soon forget.
Statues will shine, oceans will rise, and even you may get lost in time and space while listening to this terrifying collection, only available from your friends at Cadabra Records!

• Colored 160 gram vinyl
• Insert with liner notes by Anima Morte 
• New essay by weird fiction scholar S. T. Joshi
* Hand calligraphy by Josh Yelle
* Newly commissioned art by Karmazid
• Includes a 24″ x 36″ promotional poster 

Swedish cinematic instrumental band ANIMA MORTE (est. 2004) plays music inspired by classic horror and giallo cinema. With roots in progressive rock create a brilliant use of Hammond organs, Mellotrons and analogue synthesizers to create a creepy and haunting atmosphere.

Lovecraft’s Dagon is Anima Morte’s 4th studio album along side of several singles and EP’s including a 2017 a collaboration with the legendary horror-composer Fabio Frizzi for a single called Inertia of the Risen.

Andrew Leman is a partner of the H.P. LOVECRAFT historical society, a professional actor with years of stage, screen, and audio performances, his voice faithfully captures the proper terror, dread, suspense, and madness of LOVECRAFT’s stories.



  1. Inertia of the Risen

SIDE B – Engraving

More detail available at Discogs

2017 – 7″ (Giallo music) – Engraved vinyl. 100 copies green, 400 copies black.

Giallo Music is proud to announce its second release: ANIMA MORTE & FABIO FRIZZI “Inertia Of The Risen”. A special song collaboration to be release as a one sided collectors edition 7” EP with an engraving on the flipside and artwork by Costin Chioreanu. Included is also a postcard and a sticker.

ANIMA MORTE is a Swedish cinematic instrumental horror group established in 2004. Their music is progressive rock / horror soundtrack / instrumental, continuing the legacy of bands and artists like Goblin, Fabio Frizzi, Bruno Nicolai, Stelvio Cipriani, Rick Wakeman, Ennio Morricone and the likes. With three full albums, two 7″ EPs, a split 12” LP w/ Polish Antigama and contributions to various compilations “Inertia Of The Risen” is another outstanding release in the band’s discography.

FABIO FRIZZI is one of the most famous Italian musicians and composers known for his film scores for classics such as City Of The Living Dead, The Beyond, Manhattan Baby, The Psychic and the likes.

Here is Fabio’s comment regarding the upcoming release:

“I believe that music is the strongest tool for sharing experiences and emotions, to break down boundaries and prejudices in our wonderful and strange world. Making music together with others, in my opinion, is an incredible experience. The members of the group Anima Morte are good musicians, nice guys that the network has helped me to meet. And their proposal to jointly write a song I met with enthusiasm.

Everyone has put his own, I got the support, for the recording of the “Roman” tracks, of some of my most trusted musicians, members of the Frizzi 2 Fulci band. In short, my old and late friend, Lucio Fulci, has indirectly begun to create this collaboration. And this friendship.”

This is what the ANIMA MORTE members says about this special release:

“The very idea of Anima Morte would probably not been conceived at all, had it not been for the legendary movies of director Lucio Fulci and the masterful and iconic scores of Fabio Frizzi. The classic trilogy of Zombie, City of the Living and The Beyond was a great influence on our younger selves and served as an entry point for us when we were trying to recreate what we felt was the lost atmosphere from an era of horror movies we loved. Fabio Frizzi did not only create ominous atmospheres but also melancholic and beautiful themes that stick to your mind long after the movie finished.

An idea formed when we were writing songs for our third album ‘Upon Darkened Stains’ that we should reach out to Mr. Frizzi to see if he would like to be a guest on the album. After some discussions we went instead with the idea to write a new and unique song.
It was a great experience composing this work together with Fabio and it took several recording sessions in different parts of Europe before it was finally finished and mixed in Rome last year. Now we can finally uncover Inertia Of The Risen. A title inspired by our favourite undead creatures!

We want to thank Maestro Frizzi, the F2F guys, Daniele De Gemini and everyone involved in this journey for making it happen. For us it is a dream come true and in a way a tribute to the memory of the man bringing us together through his movies, Lucio Fulci.”



  1. Malcontento Popolare
  2. Brothers


  1. Il Gatto Dagli Occhi Di Giada
  2. Night of Kerostasia

More details available at Discogs

2016 – 12″ EP (Selfmadegod Records) – 100 red vinyl / 400 black vinyl including postcards and poster (buy from Selfmadegod)

The long awaited split LP between Polish progressive grinders ANTIGAMA and Swedish horror/prog rock masters ANIMA MORTE is unleashed!

The Polish quartet offers one new song and “Malcontento Popolare” cover song by Alessandro Alessandroni, famous multi-instrumentalist and film score maker from Italy. For those who are familiar with prolific discography of ANTIGAMA know it’s not the first time they pay homage to horror music. Nearly ten years ago the band recorded “Zombi” cover song by Italian progressive rock band GOBLIN. ANTIGAMA’s side was recorded and mixed at JNS Studio, Warsaw, Poland with Paweł Grabowski late 2015/early 2016. Mastered by James Plotkin (O.L.D., REGURGITATION, ATOMSMASHER, KHANATE).

Here is what the guitarist Sebastian Rokicki says about this release: “Being the worshippers of the old Italian giallo/horror/library soundtracks, Karol/Selfmadegod Records and myself are proud to share new Antigama release with one of the most outstanding bands nowadays cultivating the old tradition of the genre: Anima Morte! Our side of the split will include the cover of Maestro Alessandro Alessandroni’s “Malconento Popolare” and a brand new Antigama song “Brothers.”

ANIMA MORTE is a Swedish cinematic instrumental horror group established in 2004. Their music is progressive rock / horror soundtrack / instrumental, continuing the legacy of bands and artists like Goblin, Fabio Frizzi, Bruno Nicolai, Stelvio Cipriani, Rick Wakeman, Ennio Morricone and the likes. With three full albums, two 7″EPs and contributions to various compilations this is going to be the first split 12″LP in the band’s discography. The band recorded two songs especially for this release: one new original song and a cover of the theme from the 1977 movie ‘Il Gatto Dagli Occhi Di Giada’ (aka Watch Me When I Kill) by Trans Europa Express.

Here is what the Anima Morte founder Fredrik says about this release: “We have always loved to do unexpected collaborations and this one is no exception! It is a great example of how two seemingly different musical acts can come together and make cinematic sense. Anima Morte is very honored to be a part of this exclusive release with Antigama made reality on vinyl by Selfmadegod Records.”

The split is released in regular LP jacket with 5 postcards, flyer reproduction, sticker, and huge A1 poster! Strictly limited to 500 copies only, 100 on red wax and 400 on black wax. This unique record is supposed to be vinyl-only release and in the old fashioned way, this means no digital download included nor streaming available!


  1. Blessing Of The Dead
  2. Illusion Is The Catalyst
  3. Ephemeris
  4. Fear Will Pass Over Your Mind
  5. Wakeless
  6. Interruption
  7. The Darkest Pattern
  8. The Carrion Crow
  9. Echoing The Red
  10. Isomorphia
  11. First Snow On The Last Ashes
  12. Halls Of Death

More details available at Discogs.

2014 – CD (Transubstans) – Digipack (buy from Record heaven)
2014 – 2 x LP (Transubstans) – 300 copies black or clear vinyl (Sold out)

The third album by Swedish ANIMA MORTE sees the band evolving their moody instrumental songs one step further into the cinematic realm. Rooted in 70’s rock music with symphonic and experimental elements. Following deeper and more complex compositions the tense and melancholic atmosphere contrasts strong and thrilling musical motifs. Using real vintage and rare instruments like the Mellotron, Electric Pianos, Organs and different stringed instruments they create a thick wall of sound that is very much alive!

Featuring guests: Mattias Olsson (Änglagård, Necromonkey, Kaukasus), David Lundberg (Gösta Berlings Saga, Necromonkey) Ketil Einarsen (Kaukasus, White Willow), Jerk Wååg, Thomas Ohlsson, Johan Klingwall.


  1. Voices From Beyond
  2. Corridor of Blood
  3. The Revenant
  4. Contamination
  5. Passage of Darkness
  6. Solemn Graves
  7. Delirious
  8. Feast of Feralia
  9. The Nightmare Becomes Reality
  10. Things To Come
  11. The Dead Will Walk The Earth

More details available at Discogs.

2011 – CD (Transubstans) – Digipack (Sold out)
2011 – LP (Horror Records) – 250 red vinyl / 250 black vinyl (Sold out)

Swedish instrumental quartet ANIMA MORTE plays music inspired by the classic Italian horror and giallo soundtracks made famous by Goblin, Fabio Frizzi, Ennio Morricone and many more. With their roots in classic progressive rock they make perfect use of Hammond organs, Mellotrons and Moogs to create a creepy and haunting atmosphere. Anima Morte is finally back with the follow-up to the cultclassic album ‘Face The Sea Of Darkness’, This time they take their 70’ies inspired progressive horror rock one step further. Together with producer Mattias Olsson (Änglagård, White Willow) they delve deep into dark atmospheres and intricate experimental arrangements without loosing the track of strong musical themes. Highly recommended if you enjoy the music of horror movies past, but also classic prog acts such as King Crimson, ELP and Rick Wakeman.



  1. A Decay of Mind and Flesh (Anima Morte cover)


  1. Grasp of the Beastwoman (Hooded Menace cover)

More details available at Discogs.

2010 – 7″ (Doomentia) – Limited Edition 500 copies (Sold out)


  1. Intro
  2. He Who Dwells In Darkness
  3. Rise Again
  4. Devoid of a Soul
  5. Wandering
  6. In The Dead of Night
  7. The Hunt
  8. A Decay of Mind and Flesh
  9. Are We Dreaming
  10. Twilight of the Dead
  11. Funeral March

More details available at Discogs.

2007 – CD (Deadbeat Media) – Jewelcase (Sold out)
2010 – LP (Horror Records) – 250 black vinyl / 250 bronze vinyl (Sold out)
2011 – CD (Transubstans Records) – Digipack with bonustracks (buy from Record heaven)

This is pure Italian horror-soundtrack worship at its very best! Incredibly talented, creepy, dark, and haunting. This 11 song debut album is a MUST for fans of Goblin, Fabio Frizzi, and Morte Macabre. These zombies from Sweden have crafted a wonderfully mesmerizing and diabolic piece of work and we are very proud to bring it to you.

VIVA MORTE! (2007)


  1. The Graveyard Plague
  2. End of the Scourge


  1. Are They Dead Yet?
  2. Viva Morte!

More details available at Discogs.

2007 – 7″ (Last Entertainment) – 500x black vinyl (Sold out)
2007 – Promo-CD (Last Entertainment – 200x (Out of print)