Alien: Covenant

 

Alien: Covenant

(Original Motion Picture Soundtrack)

Music by

Jed Kurzel

To commemorate this year's Alien Day, Renovatio Records proudly presents the score for the 2017 film Alien: Covenant. Directed by Ridley Scott and featuring a stellar cast including Michael Fassbender, Katherine Waterston, Billy Crudup, Danny McBride, and Demián Bichir, the film serves as a direct sequel to the 2012 hit Prometheus. The film follows the crew of the colony ship Covenant as they journey to a remote planet, only to confront perilous encounters with hostile life-forms, including the enigmatic android David, survivor of the ill-fated Prometheus expedition. While the film received mixed reactions from critics and audiences alike, its undeniable strengths lie in its breathtaking set pieces, impeccable production design, and heart-pounding suspense.

The music of the Alien franchise has always been a topic of discussion among film music enthusiasts. From Jerry Goldsmith's iconic score for the original Alien to the varied approaches of subsequent composers, including James Horner, Elliot Goldenthal, John Frizzell, and Marc Streitenfeld, each installment has brought its own sonic identity to the table. The significant variation of musical styles has elicited mixed reactions from audiences with some fans embacing the evolution of the music, while others feeling that certain scores deviated too far from the tone established by Goldsmith's original. 

The music Alien: Covenant was no stranger to controversies. Initially, Scott’s regular collaborator Harry Gregson-Williams was set to compose the score. However, the composer departed due to scheduling difficulties and creative differences. Scott then turned to Australian composer Jed Kurzel for the score. Initially met with skepticism due to this indie rock background, Kurzel defied expectations and managed to deliver a very accomplished piece of work.

In the score for Alien: Covenant, three distinct aspects stand out, each contributing to the film's immersive atmosphere and emotional depth. The first involves the interpolations of Goldsmith’s original Alien theme. Kurzel skillfully makes several hints and references to the classic woodwind, flute and trumpet ideas making standout performances in cues like "Covenant", "Planet No. 4" and "Launcher Landing", evoking a sense of familiarity and nostalgia for longtime fans while seamlessly blending with Kurzel's contemporary vision. The second aspect is Kurzel’s contemplative material that underscore the personal and existential struggles of the colony ship crew. Katherine Waterston’s character is treated with a lamentful piano melody in "A Cabin on the Lake", while a somber motif, often carried by a French horn, appears in cues such as "Neutrino Burst", "Sails", and the opening of "Terraforming Bay".  These themes effectively convey the characters' sense of loss and the weight of their mission, while also providing surprisingly warm tones. The third aspect is expectedly the horror element, and here is where Kurzel exploits his electronic textures, with ambient suspense and pounding rhythms to build tension and suspense. A two-note theme for the hostile life-forms adds an ominous layer, heightening the sense of danger and dread in cues like "Med Bay", Cargo Lift" and "Terraforming Bay". Kurzel also keeps the string section quite busy during suspenseful sequences. Cues like "Perfect Organism" include chilling bursts of high-pitched string mayhem that will certainly catch you off-guard and give you quite the fright.

Kurzel's execution throughout the score is also commendable, blending orchestral richness with innovative sound design to navigate familiar terrain with both personality and conviction. Moments like those heard in the latter half of "David Appears," as well as in cues such as "Derelict Ship" and "Creation," showcase a juxtaposition of traditional orchestration and modern soundscapes, evoking a captivating sense of both terror and wonder, a feeling that any fan of the Alien franchise can relate to.

Kurzel's score for Alien: Covenant was released as an album by Milan Records in 2017. While presented in chronological form, a number of the cues added to this album were fillers that disrupted the narrative arc of the film. Renovatio Records’ release addresses that issue; while much of the original program is retained, some cues were removed, unreleased material was incorporated, and many cues have been merged together to enhance narrative coherence and musical flow. Whether you're a die-hard fan of the franchise or a newcomer to the world of Xenomorphs, this album certainly promises to captivate.

Join us in celebrating Alien Day by immersing yourself in the spine-tingling soundscape of Alien: Covenant and revisiting our previous releases of the iconic scores that have defined the Alien franchise for generations. Today, we pay homage to the enduring legacy of Ridley Scott's visionary universe. Happy Alien Day!

Track List:

1. Covenant (3:18)

2. Neutrino Burst (2:42)

3. A Cabin on the Lake (2:49)

4. Sails (3:28)

5. Planet No. 4 (3:06)

6. Launcher Landing (2:33)

7. Derelict Ship (2:09)

8. Med Bay (5:55)

9. David Appears (5:09)

10. Survivors (2:03)

11. Payload Deployment (1:37)

12. Command Override (2:34)

13. Bestiary (3:48)

14. Creation (1:55)

15. Perfect Organism (2:54)

16. Cargo Lift Rescue (5:12)

17. Terraforming Bay (4:28)

18. A Kind World (1:38)

Total Running Time: 57:18

Download Link

Size: 276.3 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music by Jed Kurzel

Score Produced by Peter Cobbin & Kirsty Whalley

Executive in Charge of Music for Twentieth Century Fox: Danielle Diego

Music Supervised for Twentieth Century Fox: Patrick Houlihan

Music Production Supervised for Twentieth Century Fox: Rebecca Morellato

Business Affairs for Twentieth Century Fox: Tom Cavanaugh

Music Clearance for Twentieth Century Fox: Ellen Ginsburg

Music Programmer/Engineer: Matt Lovell

Score Orchestrated by Hugh Brunt, Adam Langston, James Brett & John Ashton Thomas

Music Preparation: David Hage for Dakota Music Service

Orchestra Contractor: Isobel Griffiths

Assistant Orchestra Contractor: Lucy Whalley

Conducted by Cliff Masterson and Robert Ames

Performed by London Contemporary Orchestra

Orchestra Leader: Thomas Bowes

Trumpet Solos: Phil Cobb

French Horn Solos: Richard Watkins

Cello Solo: Caroline Dale

Chamber Improvisation: Galya Bisengalieva, Mayah Kadish, Robert Ames, Gregor Riddell & David Brown

Solo Improvisation: Robert Ames

Pre-Record Flute Solos by Helen Greenwood

Score Recorded by Peter Cobbin

Score Mixed by Peter Cobbin & Kirsty Whalley

Score Editors: Cécile Tournesac & Fiona Cruickshank

Scoring Preparation: Cécile Tournesac

Score Recordists: Fiona Cruickshank & John Barrett

Assistant Engineers: John Prestage, Alex Fergurson & Matt Jones

Additional MIDI Programming: David Menke & Jean-Gabriel Raynaud

Score Recorded at Abbey Road Studios & Air Lyndhurst Studios

Score Mixed at Henry Light Studio, London

Music Editors: Tony Lewis & Arabella Winter

"Theme from Alien"

Composed by Jerry Goldsmith

Original Film Score Published by T C F Music Publishing, Inc. (ASCAP)

Cue Assembly:

Track Title	Slate & Cue Title
1. Covenant	1m3 Covenant
2. Neutrino Burst	1m4A Neutrino Burst
3. A Cabin on the Woods	1m4B Packing 1m5B Cabin on the Lake
4. Sails	2m6a Space Funeral 2m6b Sails
5. Planet No. 4	1m5a Team Meeting 2m7 Planet No. 4
6. Launcher Landing	2m9 Launcher Landing 2m10 Wheat Field
7. Derelict Ship	3m11 Spores (Edited)
8. Med Bay	3m13 Med Bay Creature (Edited)
9. David Appears	3m14 Tall Grass Attack 3m15 Dead Civilization
10. Survivors	4m17 80KM 3m16 Survivors of Prometheus
11. Payload Deployment	4m20a Payload Deployment
12. Command Override	4m21 Rosenthal’s Death 4m22 Command Override 4m24 Cargo Lift (Edited)
13. Bestiary	5m25 My Beautiful Bestiary 5m26 Facehugger
14. Creation	5m27 Chestbuster
15. Perfect Organism	5m28 Lonely Perfection (Edited) 5m29 Facehugger Second Attack (Edited)
16. Cargo Lift Rescue	5m30 David vs. Walter – Cargo Lift Rescue (Part 1) (Edited)
17. Terraforming Bay	6m32 I’m Here to Serve 6m36 Terraforming Bay (Edited) 6m36A Daniels Appears
18. A Kind World	6m38 Closing (Alien Covenant Theme) (Edited)

Motion picture artwork, photos and Fox Trademarks and © 2017 Twentieth Century Fox Film Corporation.

Cover artwork ©2024 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws.

For promotional use only.

Renovatio Records [0-01702-19061]

Ghostbusters

Ghostbusters

(Original Motion Picture Score)

Music Composed and Conducted by

Elmer Bernstein

Do you believe in UFOs, astral projections, mental telepathy, ESP, clairvoyance, spirit photography, telekinetic movement, full trance mediums, the Loch Ness monster and the theory of Atlantis? If so, prepare to immerse yourself in the otherworldly universe of New York's spectral inhabitants with Renovatio Records' latest release: Elmer Bernstein's score for the 1984 blockbuster film Ghostbusters. Directed by Ivan Reitman and written by Dan Aykroyd and Harold Ramis, Ghostbusters follows the misadventures of a group of eccentric parapsychologists who embark on a ghost-catching enterprise in the heart of New York City. Starring Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson, and Sigourney Weaver, with Rick Moranis, Annie Potts, and William Atherton in supporting roles, the film quickly captivated audiences with its unique blend of humor, action, and supernatural intrigue.

While Ghostbusters soared to cultural phenomenon status, spawning a multi-billion dollar multimedia franchise, including sequels, reboots, animated series, and more, Elmer Bernstein's score often found itself overshadowed by the film's chart-topping songs, notably Ray Parker Jr.'s iconic title song. However, a closer examination reveals a score that deserves recognition for its own charm and creativity. Bernstein seamlessly blends elements of comedy and horror to complement the film's narrative, effectively underscoring the quirky antics of the Ghostbusters as they navigate the paranormal landscape of 1980s New York City.

At the heart of the score lies its main theme, introduced in the cue "Ghostbusters Main Theme." A whimsical and infectious melody, primarily carried by jazzy playful piano arrangements, effectively sets the comedic and fantastical tone of the film. Throughout the score, Bernstein masterfully adapts this theme, ensuring thematic coherence while infusing each rendition with its own unique flair. From the rock-inflected energy in the latter half of "The Library Ghost" to the disco-inspired instrumentation of "We Got One!," Bernstein's versatility shines through, enhancing the film's comedic and action-packed sequences.

Yet, it is in the darker, more foreboding moments of the film that Bernstein's score truly excels. Employing a full orchestra, Bernstein crafts haunting compositions that underscore the malevolent presence of entities like Zuul and Gozer. A menacing brass fanfare, often back by organ accompaniments towards the end of the score, evoke a sense of grandeur, mystery and foreboding, as heard in cues like "Dana's Apartment" and the superb "Gozer The Gozerian." For the ghosts themselves, Bernstein resorts to a haunting leitmotif for wavering high strings and ondes martenot, which plays under most of the ghostly encounters, such as in the cue “Opening”, the middle portions of “The Library Ghost”, and during “Zuul”, which also showcases impressive orchestration techniques. Bernstein also incorporates a love theme for the characters played by Murray and Weaver. This heartfelt theme is presented in full during “Peter & Dana”, reaching an effective climax in “Finish”.

When it comes to its commercial release, Bernstein's score for Ghostbusters has faced significant challenges throughout the years. Various album versions have been plagued by inconsistencies and omissions, leaving fans longing for a definitive representation of the score. In 1984, Arista released an LP with nearly all the songs in the film and only two of Bernstein’s cues. Several bootlegs followed with inferior sound quality, until 2006, when Varèse Sarabande released an extensive limited edition of the score. However, this album was missing a handful of cues. The score received another album release in 2019 by Sony Classical that incorporated new cues but had a questionable track order. With Renovatio Records' latest release, however, fans can finally experience Bernstein's work in all its glory. Presented in chronological order with a cohesive narrative arc and including all of the highlights of the score, this album honors Bernstein's legacy and ensures that his contribution to the Ghostbusters phenomenon receives the recognition it deserves.

Track List:

1. Opening (2:19)

2. Ghostbusters Main Theme (3:01)

3. The Library Ghost (2:49)

4. Meet Dana (1:44)

5. Dana's Apartment (2:41)

6. We Got One! (1:51)

7. Sedgewick Hotel (3:03)

8. Peter & Dana (1:28)

9. Spook Central (2:31)

10. Who Brought the Dog? (2:58)

11. Zuul (3:50)

12. Judgment Day (1:19)

13. Gozer the Gozerian (5:10)

14. Final Battle (3:02)

15. Finish (2:14)

16. Ghostbusters (4:05) - Performed by Ray Parker Jr.

Total Running Time: 44:05

Download Link

Size: 236.5 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by Elmer Berstein

Produced by Elmer Bernstein

Orchestrations by Peter Bernstein, David Spear and Patrick K. Russ

Orchestra Contractor: Nathan Kaproff

Performed by The Hollywood Studio Symphony

Ondes Martenot: Cynthia Millar

Scoring Mixer: Robert Fernandez

Supervising Music Editor: Kathy Durning

Score Published by Golden Torch Music Corp. (ASCAP)

"Ghostbusters"

Performed by Ray Parker Jr.

Written by Ray Parker Jr.

Published by Golden Torch Music Corp. (ASCAP) and Raydiola Music (ASCAP)

Produced by Ray Parker Jr.

Cue Assembly:

Track Title	Cue Title
1. Opening	The Library (Edited)
2. Ghostbusters Main Theme	Ghostbusters Theme
3. The Library Ghost	Hello (Edited) Get Her! (Edited)
4. Meet Dana	Plan (Edited) Taken (Edited)
5. Dana’s Apartment	Fridge (Edited) Sign (Edited) Dana’s Apartment (Edited) Same Problem (Edited)
6. We Got One!	We Got One (Edited) We Got One Alternate (Edited)
7. Sedgewick Hotel	Halls (Edited) Ballroom (Edited) Trap (Edited)
8. Peter & Dana	Meeting 1 I Respect You
9. Spook Central	Cross Rip Attack
10. Who Brought the Dog?	Dogs (Edited) Ghosts!
11. Zuul	Zuul Part 1 Zuul Part 2 Alternate
12. Judgment Day	Judgment Day
13. Gozer the Gozerian	Meeting 2 Stairwell Gozer (Edited)
14. Final Battle	We’re Going to Save the World (Edited) Mr. Stay Puft (Edited) Final Battle
15. Finish	Finish
16. Ghostbusters (Ray Parker Jr.)	Ghostbusters

Motion picture artwork, photos, TM and copyright © 1984 Columbia Pictures Industries, Inc. This compilation and cover artwork © 2024 Renovatio Records.

All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19088]

Constantine

Constantine

(Original Motion Picture Score)

Music Composed by

Brian Tyler

and

Klaus Badelt

Embark on a journey into the supernatural realms with Renovatio Records' latest release, the spellbinding score for the 2005 superhero horror film Constantine, composed by Brian Tyler and Klaus Badelt. Directed by Francis Lawrence, the movie draws inspiration from DC Comics/Vertigo Comics Hellblazer graphic novels and introduces Keanu Reeves as John Constantine, a cynical exorcist gifted with the ability to perceive and communicate with celestial and demonic entities. The stellar cast also includes Rachel Weisz, Tilda Swinton, Pruitt Taylor Vince, Djimon Hounsou, Shia LaBeouf, Gavin Rossdale, and Peter Stormare. In spite of achieving financial success at the time of its release, the film received a mixed reception from critics initially. However, over the years, it has garnered a cult following, not only solidifying its status as a noteworthy entry in the superhero horror genre, but also paving the way for the development of a sequel that was announced in 2022.

While criticisms primarily targeted the film's intricate plot and abundance of characters, director Francis Lawrence undeniably succeeded in crafting an atmospheric film that delivers thrills, scares, and unforgettable visuals, thanks to Philippe Rousselot's fine cinematography, and memorable creature designs by Stan Winston Studio.

The score was also a significant matter of discussion. Initially conceived as a solo project by Brian Tyler, the score was poised to be a monumental entry into the genre, with powerful orchestral and choral passages, dissonance and a diverse array of ethnic and percussive soloists. However, Tyler’s original work was met with skepticism from the studio, which considered that it lacked the contemporary flair needed for widespread appeal. As a result, Klaus Badelt was brought in to collaborate with Tyler, infusing the existing large-scale orchestral foundation with a modern electronic approach. The end result, a harmonious amalgamation of both compositional styles, stirred debates among film score enthusiasts, with some considering it an unbalanced fusion.

Despite the divided opinions, the score maintains a consistent use of bass-heavy orchestral and choral elements, creating a staggering soundscape for the demon world. Simultaneously, it introduces beautiful thematic identities on a smaller scale for the main characters, perfectly reflecting the idea of a solo battle against the monumental forces of evil. Noteworthy among these themes is the main motif for John Constantine, unveiled in the cue "Meet John Constantine." This theme, played on an electric cello over synthesized rhythms and bass guitar, effectively encapsulates the character's gritty personality. The theme undergoes various renditions, including poignant piano solos in cues like "John’s Theme" and "John’s Solitude," offering glimpses into the character's more humane side and inner struggles. Similarly, Rachel Weisz's character is adorned with a piano theme introduced in "Confession/Suicide" and explored further in "Encountering a Twin" and the first half of "Angela Crosses Over." Without a doubt, the dynamic application of these themes are the most accomplished aspects of the score for Constantine, effectively providing authentic character development through the use of music. For the evil menace of the demons, Tyler and Badelt provide a basic but fitting six-note phrase mostly on bass strings. This theme is revealed in the opening cue “Spear of Destiny” and is later explored with great effect during cues like "Circle of Hell," "Counterweight," and “The Road to Salvation”.

The score's standout moments are abundant, ranging from action-packed cues like "The Cross Over" and the relentless "Into the Light," to excellent choral passages like the inspiring “Ascension”, to intriguing compositions like the atmospheric chorus in "Deo et Patria" and the waltz-like "Humanity." These moments showcase Brian Tyler's original vision of orchestral and choral power, incorporating complex orchestral dissonance reminiscent of composers like Elliot Goldenthal and Don Davis.

The score for Constantine, initially released in 2005 by Varèse Sarabande, has been considered by many enthusiasts a dichotomy of brilliance and concession, with Tyler's dynamic orchestral and choral masterpiece clashing with Badelt's more electronic inclinations as per studio requirements. Renovatio Records' treatment of the score aims to strike a balance, leaning more heavily on Tyler’s original compositions while retaining some of Badelt’s synthetic elements, particularly in the opening and closing segments. Throughout the album, listeners will also encounter snippets of the themes initially conceived by Tyler for the film, including a duduk theme for John in the latter part of "Spear of Destiny" and a distinct piano identity for Weisz's character in "A Sister Story," an early iteration of the final theme for the character. With a duration of approximately 70 minutes, this new release offers plenty of unreleased material, retaining as much chronological order as possible. We hope you enjoy it.

Track List:

1. Spear of Destiny (2:24)

2. Meet John Constantine (2:38)

3. The Cross Over (2:42)

4. John's Theme (1:28)

5. Confession/Suicide (2:33)

6. Encountering a Twin (1:04)

7. Deo et Patria (1:13)

8. Hennessy in the Ether (3:49)

9. John's Solitude (1:23)

10. Seplavite Attack (2:04)

11. Trip to Hell (3:28)

12. John Discovers the Symbol (3:18)

13. A Sisters Story (2:58)

14. Circle of Hell (5:37)

15. Angela Crosses Over (4:07)

16. Someone Was Here (1:43)

17. Counterweight (4:17)

18. Flight to Ravenscar (4:16)

19. Into the Light (3:09)

20. The Road to Salvation (2:00)

21. Gabriel Fantastique (2:40)

22. Lucifer (3:41)

23. Ascension (2:19)

24. Humanity (2:58)

25. Rooftop (1:15)

26. Constantine End Titles (2:38)

Total Running Time: 71:42

Download Link

Size: 376.2 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed by Brian Tyler and Klaus Badelt

Produced by Brian Tyler and Klaus Badelt

Co-Produced by Christopher Brooks

Score Conducted by Brian Tyler

Score Recorded and Mixed by Joel Iwataki and Alan Meyerson

Orchestrations by Robert Elhai, Dana Niu and Brad Warnaar

Additional Arrangements by Wolfram De Marco, Ian Honeyman and Andrew Raiher

Sound Programming: Robert Williams

Music Contractor: Sandy DeCrescent

Vocal Contractor: Sally Stevens

Music Preparation: Erick Stonerook

Featured Electric Cellist: Martin Tillman

World Woodwinds: Christopher Bleth

Performed by The Hollywood Studio Symphony

Choir: The Hollywood Film Chorale

Orchestra Recorded at Todd-AO Studios

Music Editors: Joe Lisanti, Gary L. Krause and Daryl Kell

Assistant to Brian Tyler: Dante Dauz

Assistants to Klaus Badelt: Leslie Stevens and Matthew Margeson

Score Production Coordination: Sinead V. Hartmann

Mastered by Erick Labson

Cue Assembly:

Track Title	Slate & Cue Title
1. Spear of Destiny	1m1 Spear of Destiny 1m1Alt Spear of Destiny Alternate (Edited)
2. Meet John Constantine	1m3 Possession – Meet john
3. The Cross Over	1m4 Exorcism (Alternate)
4. John’s Theme	1m5a John at Home
5. Confession/Suicide	1m6Alt Confession – Suicide Alternate (Edited) 1m6 Rites of the Son (Edited)
6. Encountering a Twin	1m9 Encountering Twin (Edited)
7. Deo et Patria	2m10 Deo et Patri
8. Hennessy in the Ether	2m12-13Alt1 Rifling Through Papers Alternate I (Edited) 2m12-13 Rifling Through Papers (Edited) 2m12-13Alt3 Rifling Through Papers Alternate III (Edited)
9. John’s Solitude	2m15aAlt Welcome to My Life Alternate
10. Seplavite Attack	2m17 Seplevite Attack (Edited) 4m31Alt Balthazar Alternate (Edited) 2m14aAlt Vermin Man Alternate (Edited)
11. Trip to Hell	3m18 Trip to Hell (Edited) 3m19 Bracelet
12. John Discovers the Symbol	3m21 Flashback Part I 3m21a Flashback Part II 3m21Alt Flashback Part I Alternate (Edited) 3m23 John Discovers Symbol (Edited)
13. A Sisters Story	3m24 Isabel’s Room (Edited)
14. Circle of Hell	3m26Alt2 Finding Beeman Alternate II
15. Angela Crosses Over	4m27a I Left Her Alone 4m27bAlt Bathtub Alternate (Edited)
16. Someone Was Here	4m29 Someone Was Here 4m29Alt1 Someone Was Here Alternate I (Edited)
17. Counterweight	4m30 Counterweight 4m31 Balthazar (Edited) 4m31Alt Balthazar Alternate (Edited) 4m33 Pieces – Angela Taken (Edited) 4m32 Last Rites
18. Flight to Ravenscar	5m36 Angela Flown 2m12-13Alt1 Rifling Through Papers Alternate I (Edited) 5m34bAlt After Midnight Part 2 Alternate (Edited) 5m40Alt Angela In Hell Alternate
19. Into the Light	5m42 Into the Light (Edited) 5m42Alt Into the Light Alternate (Edited) 0m0 Black Smoke (Edited)
20. The Road to Salvation	5m43 Gabriel Confronts John
21. Gabriel Fantastique	5m43Alt Gabriel Confronts John Alternate (Edited) 5m44 Piety (Edited)
22. Lucifer	6m45 Lucifer Arrives (Edited) 6m45Alt Lucifer Arrives Alternate (Edited)
23. Ascension	6m46 Ascension
24. Humanity	6m47 Humanity
25. Rooftop	6m48Alt1 Rooftop Alternate I
26. Constantine End Titles	6m49 End Credits

Motion picture artwork and photos ©2005 Warner Bros Ent. Inc. Cover artwork ©2024 Renovatio Records.

All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19054]