• Music by Jerskin Fendrix (Poor Things, Kinds Of Kindness)
• 2xLP pressed on 180-Gram Black Vinyl
• 2xLP pressed on 180-Gram Silver and Gold Metallic Vinyl
• Design by Vasilis Maramtakis
• Old-Style Tip-On Gatefold Jackets with Built-In Pages

In collaboration with Milan Records and Sony Music, Waxwork Records is proud to present the premier vinyl release of BUGONIA Original Motion Picture Soundtrack by Jerskin Fendrix. The album is the latest in an ongoing creative partnership between Fendrix and Bugonia director Yorgos Lanthimos, following their work together on the director’s previous two films, POOR THINGS and KINDS OF KINDNESS. For Bugonia, Fendrix has crafted a soundscape brimming with sweeping strings, bold brass, thundering percussion, and dramatic crescendos, culminating in a grandiose and, at times, bombastic sonic companion to the high-stakes mission at the heart of the film from Focus Features.

Waxwork Records presents the deluxe vinyl release of BUGONIA Original Motion Picture Sountrack by Jerskin Fendrix on 180-Gram Black, old-style tip on gatefold jackets with built-in pages, and artwork and design by Vasilis Marmatakis.

Similar to their workflow on Poor Things and Kinds of Kindness, Fendrix and Lanthimos began their third collaboration prior to the film’s production, with Fendrix recording much of the music based solely on conversations with the director as a guide. “For Bugonia, Yorgos did not allow me to see the script, or know anything about the film apart from the three words ‘Bees,’ ‘Basement’ & ‘Spaceship,’” recalls Fendrix of the process. “All of the music is derived from my research on these three areas and seeing how much connective tissue they might have, mainly in a structural/systemic/geometric sense and in regard to some ideas about altitudes.

”Decided early on, however, was the idea to utilize a symphony orchestra throughout the score, prompting a two-day recording session with the London Contemporary Orchestra at the legendary Air Studios with Fendrix conducting. “It was a 90-piece orchestra in one room, which is a very big sound,” Fendrix says. “And they're up for playing around, they're up for experimenting, they're up for embarrassing themselves musically, which not a lot of orchestras are. So being able to play with an orchestra that has that standard, but also that flexibility, which I was able to draw some more unusual, more provocative sounds out of, was an absolute joy.”