Read the title of Grapefruit Sound Lab’s album aloud and it sounds like a date stamped on a calendar page. Tonight that page has finally turned. On October 31, the night when porch lights flicker and the veil between worlds is said to grow thin, there is no better moment to slip on headphones, kill the lamps and press play on 1031, the newly re-edited and remastered collection from Grapefruit Sound Lab.
Released October 1, 2026, the six-track album arrived just in time to soundtrack an entire month of shadows, offering a welcome alternative for listeners who are tired of hearing the same seasonal novelty tunes on repeat.
Produced by RACC, the professional moniker of award-winning music editor, composer and electronic producer Robert Anthoyne Chrétien Cotnoir, 1031 showcases Grapefruit Sound Lab’s experimental electronic sound and its fascination with the darker corners of musical storytelling.
Anyone hoping for a monster-mash singalong should look elsewhere. 1031 lives in a moodier, more grown-up corner of the holiday, where darkwave pulses meet gothic textures, club-ready electronic rhythms and the sweep of a film score. The thrills here are psychological rather than cartoonish. This is music for the hour after the trick-or-treaters have gone home, when the candles are burning low and the house begins to creak.
What makes the record so compelling is its architecture. Grapefruit Sound Lab’s 1031 unfolds as a six-track concept album, with each composition representing a different facet of human nature. Listened to in order, the tracks unfold like chapters in a gothic novel, leading the listener from seduction through sin and suffering before finally arriving somewhere close to grace.
The descent opens with “Big Top Carousel,” a meditation on enticement. Picture the gaudy lights of a traveling midway glowing against a black October sky, the calliope spinning a little too fast, and the uneasy sense that the smiling barker at the gate knows something you do not. It is the perfect invitation, alluring enough to draw you in and just sinister enough to make you wonder whether you should have stayed outside.
From there, the album crosses a line with “Pazuzu,” a track that borrows its name from the ancient Mesopotamian demon that generations of horror fans know from the big screen. The composition explores transgression, the pull toward forbidden territory and the price that comes due once you step across.
“Asylum” follows with a turn toward punishment and confinement, conjuring the cold corridors of institutional horror and suggesting that the most frightening monster of all may be the one locked inside our own minds.
The journey then turns toward appetite. “Horseman (RACC Mix)” takes on indulgence, while “Good Times Roll,” featuring Cajun Bob, leans into temptation and the irresistible lure of pleasure, carrying a hint of a masquerade that has gone on long past midnight.
Then, as the night burns down to embers, the closing piece, “All Souls,” offers salvation. Its title evokes the religious observance that follows Halloween, serving as a spiritual exhale after so much darkness, a reminder that every long night eventually gives way to dawn.
It is no accident that 1031 plays like a movie for the ears. Producer RACC brings extensive experience in television music editing and composition to the project. Cotnoir is a two-time winner of the Motion Picture Sound Editors Golden Reel Award for Outstanding Achievement in Music Editing, and his credits span Gossip Girl, Damages, Medium, Smash, Quantico, Instinct, Borgia and the Netflix political drama The Diplomat.
Anyone who has ever jumped at a scary scene knows that the fright usually arrives in the music first. A low electronic throb, a chord that bends the wrong way or a rhythm that refuses to resolve can put an audience on edge long before anything appears on screen. That understanding of musical tension helps shape the cinematic atmosphere of 1031.
Cotnoir’s sense of drama runs deeper than television. He holds an MFA from the Yale School of Drama and a bachelor’s degree in Theatre from the State University of New York at Binghamton. His musical interests stretch from classic rock and classical composition to electro, freestyle, house and synth-pop.
Those diverse influences find a home in Grapefruit Sound Lab’s recordings, where electronic experimentation, theatrical atmosphere and rhythmic energy come together in music that can haunt a darkened living room one minute and fill a dance floor the next.
That versatility is exactly why 1031 works so well on a night like this one. Put it on for a Halloween party and it will keep bodies moving. Put it on for a late drive past empty fields and shuttered storefronts and it will raise the hair on the back of your neck. Either way, it gives the holiday something it rarely gets: a soundtrack that treats fear, desire and redemption as serious art.
So tonight, after the last doorbell rings and the costumes come off, step into Grapefruit Sound Lab’s dark musical universe and take the ride all the way to “All Souls.”
Grapefruit Sound Lab’s 1031, produced by RACC, is available now. And there is no more fitting date on the calendar to experience it than the one it is named for.
Happy Halloween.
Stream Grapefruit Sound Lab’s 1031 Below:
Grapefruit Sound Lab – 1031 (HALLOWEEN album re-edit/ re-master/ re-release, out 10/1/26)