Back catalogue: Coldwave/Synth

Review: Depeche Mode's standout album Violator (1989) produced the landmark song 'Personal Jesus', and with its catchy bluesy riff and innovative but rare use of guitar by the otherwise great synthpop act, the song would upend and expand at the edges of an already well-varied sound. With lyrics inspired by 'Elvis And Me' by Priscilla Presley, exploring themes of devotion and stardom, while the record's controversial promotions saw the band take out personal ads, as well as advertise a phone number through which fans could hear the song. Now Matt Early (aka. Funky Wogan and Hardbag), DJ, producer and remixer extraordinaire of Far Horizon and Sub London fame, lays down an ingenious edit backed by the original number on the flip. Limited numbers on this furtive output, so keep your shopping cart fingers poised...

Review: Blkmarket Underground Music Party Edits is a sub-label to the influential Blkmarket, an esteemed label and event series in New York. Contrary to what that catalogue number might indicate, this is actaully their second release and has Facets at the controls. First up is 'Computers' with its raw and snappy analogue drum sounds and late-night synth details. 'Time Of War' is another full-fat blend of analogue drum thump and driving synth motifs, 'Talk To Me' has crashing cold-wave synths and deadpan vocals and 'Paranoia' has loopy vocals and moody atmospheres for freaky dancing. 'Lies' and 'Dub To Destruct' shut down this varied and retro-tinged EP with jerking rhythms that will do plenty of damage.

Review: Few tracks capture the icy allure of early 80s electronic experimentation quite like this underground classic. Originally released in 1981, this Swiss post-punk/coldwave classic has transcended its era, becoming a cult favorite across underground scenes and DJ sets of various genres. Now reissued on limited blue vinyl, its influence remains undeniable. 'Eisbaer' is a track that bridges stark, minimalist electronics with the raw energy of post-punk. The hypnotic bassline and cold, robotic drum programming lay a foundation for jagged guitar stabs and eerie synth flourishes, creating an urgent, mechanical pulse. The disaffected, almost mantra-like vocalsideclaring "Ich mochte ein Eisbar sein" ("I want to be a polar bear")iheighten its existential detachment. Echoes of Throbbing Gristle's industrial edge and Cabaret Voltaire's abstract electronics blend seamlessly with the emerging synth-pop movement, helping to push new wave into more danceable, electronic territory. Side B's 'Film 2' takes a more abrasive approach, a pounding, near-industrial instrumental that pulses with motorik intensity. 'Ich Lieb Sie' is more restrained but equally unsettling, its sparse arrangement and ghostly atmosphere reinforcing Grauzone's unique ability to evoke emotion through minimalism. Timeless and still chillingly modern, this reissue ensures that Eisbar and its B-sides continue to inspire. A crucial document of coldwave's evolution, reaffirming why this track remains a DJ favourite decades later.

Review: The always excellent Minimal Wave presents a rare EP from Greek electronic pioneers In Trance 95 here. Alex Machairas and Nik Veliotis formed the duo in 1988 and very much helped define Greece's early electronic scene with their minimal synth and EBM-inspired sound, all of it usually marked by analogue warmth, hypnotic melodies and a futuristic sensibility. This release captures their innovative spirit and cult legacy across six unreleased tracks recorded between the late 80s and early 90s in Athens. It sounds magnificent and is a long-overdue glimpse into their visionary archive for new fans, or a fine reminder of their roots for those who have always been tuned in.

Review: DFA Records prime mysterious new Brighton signees Proper Monday Number with a sure start, flicking the proverbial Rube Goldberg machine into gear with a banging remix of their otherwise unreleased debut track 'High Horse'. Here, of course, it's LCD Soundsystem / DFA's very own James Murphy at the remix controls, together with resident DFA DJ and "decent human" Matt Cash. Toolroom dance moods extend over a lusciously simple seven minutes, bringing home FM stabs and LinnDrum faceslaps aplenty. And the lyrics: "stop what you're doing now... you ain't got no crown! get off your high horse! turn this ship around!" In our day and age, we need more anti-stagnation, ego-teardown anthems like this, so we welcome the sentiment by the masked duo.

Review: Back by popular demand comes this four track revisitation of the famous 80s synthpop classic, which emerged in December 2024 with the kind of slightly Euro twist in the vocal department you might expect from the Netherlands-based Random Vinyl stable. The Master Mix is perhaos the most poignant, given that its airy, lush pads were put together by the late producer Marc Hartman who very sadly passed away in August 2024 at the far too young age of 58. But all four show due reverence to this monolithic moment in electronic music history, without resisting the temptation to add a little new. Grey-t stuff.

Review: Breakcore don DJ Balli and tropical electro purveyor Sindaco team up on the aptly titled Mutant Goth Italo. True to its name, the Italian duo deliver a batch of oddball, high-energy Euro dance filtered through a nocturnal lens, with affecting vocals from Ossydiana. The twisted pop sensibilities of opener 'Pizzeria Brigada Rossa' set the tone i a feverish pace, shimmering synths, and a searing vocal top-line. The gorgeously sleazy 'Febbre' is a standout, driving yet restrained, while 'Ricatto' impresses with its sinister synths, crisp drums and undulating bass. Closer 'Fedeli Alle Linee' lets it all hang out, pairing singalong melodies with snappy rhythms and snarling bass arps.

Review: Crossing between V/A comp and split 12", Unusual Systems present the tenth edition in their series celebrating the work of local Italian producers. Glossing xenon flashes of Italo disco and electro-disco-synth, we've here the tasering talents of duo Two Opposites and then solo artist Corp on the A, backed up by Catalan producers Torrent and Adria on the B side. The opening productions are slick, adumbrate bops, outlining the barest, darkest contours of Italo in its most abstract form. Adria's 'Bakaloo' is the highlight of the B, indulging the weirdest of buildups and most party-crashing of progressions.