Review: Earlier this year Minimal Wave offshoot provided one of this year's most visceral dancefloor weapons in Kino-I, the debut from Doug Lee's new An-I project. Taking inspiration from techno, jack, industrial and punk, An-I successfully drew a line under some of the Berlin-based artist's previous disco-flavoured endeavours. And then some! If you like the Kino-I 12" you will love the new triplet of An-I productions housed on this appropriately titled Gutz 12". The title track alone should come with a health warning; such is the furious onslaught of machine funk it contains, whilst the unnerving "Rut" is the most schizophrenic production you will hear this year. Best of all id closing track "Save Us" sounds like a cross between in Aeternam Vale and Silent Servant. Pressed on a rather thick and dashing slab of magenta orange vinyl!
Review: Ahead of an oncoming Tbilisi party set to be thrown by the Sameheads crew, their latest 7" appears ahead of time as the latest offering by fellow friends, Andrea & Alexander. With just 300 copies available, this dreamy duo share a juxtaposed space with a more esoteric, gritty B-side, occupied by TINA's 'Vacation', which breaks from the usual Sameheads sound, almost entirely, to indulge a massively wonky inhumation. The A's own 'Olias', by contrast, is light and sixteen-thy, dotting along with detuned Italo saws and descending cadences of relief. Once performed live at the fabled Sameheads festival, City Of A Thousand Suns, the label here celebrate its recorded version for the world to hear on repeat.
Review: Berlin's renowned Iptamenos Discos its back with more great musical enchant in the form of this new white vinyl 12" in hand-numbered hand-stamped sleeve from Boys' Shorts. This dynamic queer duo comes from Greece and is made up of Vangelis (formerly of LAGASTA) and London-based Tareq. Their Something To Forget EP is a dazzling mix of disco with a whole world of subtle influences from other genres. Two originals come accompanied by innovative remixes from Gabe Gurnsey and Whitesquare to make this an effective outing that will likely win Boys' Shorts many new followers.
Fmsquared (Epiloggy) (Beauvine bonus Perc version) (3:17)
Lansqape4 (Short_onetake) (5:57)
Review: Royal Wavetable Mellodies & Old TDKs by Mexico baed artist Brainwaltzera is a perfect coming totters of the symphonic, the synthetic, the organic and the electronic. It's a record that could be a lost 70s classic as much as a new school homage to minimalism, experimental ambient and vintage synths. In fact, this is a selection of archive recordings in the artist's characteristically idiosyncratic style that we cannot get enough of. The collection of tracks are gorgeously native and innocent, with wispy melodies and retro keys all smeared and smudged into moving pieces of ambient that are beatless but dynamic.
Review: When Cabaret Voltaire returned to the release schedule in 2020 as the one-man Richard H Kirk show, fans were relieved to find that mind-bending meld of 1970s Kosmische, techno, dub, house and space-age experimental electro was as pure as it ever has been - the results being a typically fresh and forward-thinking record the man in question summed up as "no nostalgia... normal rules do not apply. Something for the 21st Century. No old material."
Less than six months later and the big CV has more next level business to offer us, coming in the form of Shadow of Funk, a new EP that offers something of a counterpoint or extension to last year's full-length, Shadow of Fear. Based on 'Billion Dollar' alone - an acid-driven big, dark room banger that closes this EP -this release looks set to make an equally heavy impact, but as with anything this man touches, the joy is in discovery. So, let's leave it at that.
Die Klapperschlange (Escape From New York) (vocal)
Die Klapperschlange (Escape From New York) (instrumental)
Die Klapperschlange (Escape From New York) (edit)
Die Klapperschlange (Escape From New York) (Nomoo remix)
Review: One of legendary filmmaker John Carpenter's few forays into electro-disco proper, 'Die Klapperschlange' is an instant throwback, the title theme from the 1981 sci-fi film Escape From New York. Everyone knows this melody, yet few could point to its origin, and that's likely due to the German release of the John Carpenter film being titled 'Die Klapperschlange' ('The Rattlesnake'). And yes, you heard us right: John Carpenter himself made this piece of music. A multi-talented man indeed, though he did work with fellow composer and sound designer Alan Howarth to add the finishing touches here. It's as if this track were made for the anarcho-discos of the future, its inherent darkness rendering it seemingly unassailable by the crumbling of society or public breakouts of violence depicted in the film. Plus, there's *that* unmistakable four-bar extension, in which a three-note hook has permanently wedged itself in our minds - wowee. And on this new release via ZYX, we've got two new alt-mixes and an outrun techno remix from Nomoo. Sweet!
Review: Cetu Javu's 'Por Que?' gets a fresh release on vinyl from Blanco Y Negro and it's a proper nod to classic dance nostalgia. Side 1 kicks off with the extended mix of 'Por Que?,' a melodic, synth-heavy track packed with infectious grooves, followed by 'Don't Leave Me,' which keeps the energy high with its pulsating basslines and emotive vocals. Side 2 brings a remix of 'Por Que?' that adds a modern twist, alongside the original album version, perfect for fans craving that irresistible late 80s/early 90s dance vibe.
Deborah Sasson & MCL - "(Carmen) Danger In Her Eyes" (Curses Revamp) (6:38)
Philadelphia Five - "Not Leaving Without Jerry" (Andi Revamp) (5:11)
JWB Hits The Beat - "House Fatale" (Curses Revamp) (7:01)
Voyou - "Houseman" (Stockholm Syndrome AU Revamp) (5:51)
Review: An EP that takes you through elevated 80s-inspired coldwave and synth soundscapes, matching nostalgia with modern production and featuring a seamless fusion of proto-techno, EBM and synth-pop. Side-1 opens with Deborah Sasson & MCL's 'Danger In Her Eyes' (Curses Revamp), a thrilling reimagination of new beat and synth-pop. The addition of vocal samples elevates its vintage essence, delivering a futuristic gem that's both haunting and danceable. Next, Andi's rework of 'Philadelphia Five's Not Leaving Without Jerry' injects energy with its uptempo groove, merging EBM rhythms with a dash of disco flair for an infectious, club-ready cut. Side-2 starts with 'House Fatale' (Curses Revamp) by JWB Hits The Beat, an ode to late 80s synth-pop akin to My Life with the Thrill Kill Kult. Chopped vocals and melodic synths create a hypnotic, era-defining vibe. Finally, Stockholm Syndrome AU's revamp of 'Voyou's Houseman' leans into heavier industrial and EBM tones, blending them for a powerful conclusion. This collection is a great example in reviving and reinventing vintage sounds, offering a fresh perspective on timeless styles.
Before We Drown (Chris Avantgarde extended remix) (5:43)
Before We Drown (AC Wet remix) (3:59)
People Are Good (Indira Paganotto Psy remix) (9:29)
People Are Good (AC Fool remix) (6:45)
Review: The fifth edition of Depeche Mode's Memento Mori white label remixes series hears four new remixes added to the post-hoc vinyl selection, offered to the world after the release of the synthpop pioneers' most recent eponymous album. Beginning with the demure atmospherics of Chris Avantgarde's 'Before We Drown', then into two propulsive, audio-brut experimental downtempo versions by AC, but not before a brilliant pystrance B1 by Indira Paganotto, which makes for a squarely sagacious sendoff.
Review: Enjoy The Silence, Depeche Mode's standout single from Violator, marked a significant moment in the band's career, becoming their most successful UK single since 'Master & Servant' in 1984. 'Enjoy The Silence' captured both critical and public acclaim, peaking at number six in the UK charts and achieving top spots in Denmark and Spain, as well as reaching number eight in the US. The 12" version is beloved by fans with the myriad of great remixes the song provided. This new yellow vinyl version helps meet the demand of an always desirable dance record. The single's success earned Depeche Mode their first Brit Award for Best Single of 1990. This newfound positivity extended to the subsequent reception of Violator, solidifying 'Enjoy The Silence' as an iconic track in Depeche Mode's discography. The song continues to be celebrated for its brooding, tender qualities, and its ability to resonate with audiences globally as well as the iconic video.
Review: You might well have caught two thirds of Dina Summer lurking around modern minimal wave circles as Local Suicide, but now they're pressing on into further sinister synthscapes as Dina Summer. Following their standout debut LP Rimini in 2022, the trio are back with a seductive new EP that sees them strutting into 2024 with some of their best material to date. The synth hooks on 'Unter Strom' are towering triumphs of pop-minded sound design, with some discernible Italo throb happening in the low end. 'All Or Nothing' is a fierce and formidable peak time slammer, while 'Excess' is the kind of supersized electro-goth workout you'd equally expect from Miss Kittin & The Hacker.
Five Times Of Dust - "Computer Bank" (The Floor mix) (7:12)
Five Times Of Dust - "Armoured Car" (6:57)
Unovidual & Tara Cross - "Like I Am, Comme Je Suis" (The Floor mix) (7:11)
Unovidual & Tara Cross - "Imponative" (3:28)
Review: Thanks to the eternally revered Minimal Wave imprint, out of NYC, Mark Phillips and Robert Lawrence's Five Times Of Dust project is going through a bit of a revival. The duo had first released some post-punk cassettes back in the 80s, and they clearly have not been forgotten. On this new remix EP, "Computer Bank" is given a makeover in the form of a The Floor remix, who proceeds to add all sorts of quirkiness over the tune's tough, heavy bass and driving rhythm; "Armoured Car" breaks the 4/4 in favour of something much closer to the band's original drum machine style. Once again, on the flip, we have a remix of "Like I Am, Comme Je Suis" by The Floor, who throws up a gnarly electro bass onto shady, neo-romantic vocals, and the whole things is finished off by "Imponative" from Unovodual and Tara Cross, who produce a slow, heady industrial groove for the dancefloor.
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.
Los Ninos Del Parque (Bionda E Lupo Neumisch) (7:16)
African Beat (Andrei Rusu dub) (7:46)
Review: Platform 23 platform the Italian 80s avant-garde and anarcho music scene on a fresh 12" compilation, kicking things off with an unreleased cover, by the band Nengue, of Los NiNos Del Parque's electro-pop-wave track 'African Beat'. Amid the political unrest of the Anni di Piombo (Years of Lead) - which saw the autonomist Marxist movement, and backdrops of government-mafiosi collusion, labour strife, and terrorist splinter group formations - underground artists found themselves transducing the radical energy of the time into rapidfire releases, put out through DIY networks. Rome's Nengue embodied this, blending industrial, jazz, and futurist influences. Initially, the release aimed to highlight their Kraftwerk-inspired African Beat, but the discovery of their cover of 'Los NiNos Del Parque', described as "powerful anarchic nonsense", became the focal point. Berlin's Bionda e Lupo contribute a remix, with Sneaker's sharp production and Sano's vocals adding a fresh dimension. Andrei Rusu (Khidja) delivers a deep, dub-heavy reinterpretation of African Beat, perfect for modern dancefloors while honoring its raw origins. A vital document of Italy's underground electronic resistance.
Review: Despite the title sounding like an archive collection, 1994 is actually the debut album from OKRAA. It has an emphasis on live performance and makes for a gorgeously immersive and even evolving listen from the aways excellent A Strangely Isolated Place label. All four pieces are over with minutes but they are worthy of their playing time for the way so much unfolds in such engaging fashion. Synths are cold and innocent on 'Ola De Luz' while 'Heartless' is more textural, dark, heavy in its mood. The title track is another heavy and introspective one while 'Plasma' has a more optimistic feel that lifts the spirts.
Review: Minimal Wave has put together a special 18th-anniversary reissue of its first release, namely Oppenheimer Analysis's self-titled EP. It now comes on limited and hand-numbered 180-gram vinyl with a poster and makes just as much of an indelible mark as it did almost two decades ago. It has been rather elusive since then and features the original remastered version of 'The Devil's Dancers', some tracks from the pair's 1982 cassette 'New Mexico' and two previously unreleased tracks that are all presented as a tribute to the late Martin Lloyd, one half of Oppenheimer Analysis, who passed away back in 2013.
Matra Murena (feat Local Suicide - Rafael Cerato remix) (5:41)
Review: Plenty of dark disco's finest practitioners come together on this new 12" on Iptamenos Discos, with Psycho Weazel serving up the original tune. They are two producers from Switzerland who mix up indie-dance, cold wave, breakbeat and EBM. Here they offer 'Mains D'Argile' featuring Curses which has sweeping, widescreen synths bring a retro feel to a stiff, kinetic beat. The wonderful Marvin & Guy offer an extended mix for extra long club fun and then it is Local Suicide who guests on 'Matra Murena' which brings a perfect mix of light and dark to stark grooves, and Rafael Cerato remixes to close out the package.
Review: Q Lazzarus was always going to be a good fit for the cult synth and cold wave crew, Dark Entries, and so it proves here with this overdue debut. Diane Luckey was born in 1960 in New Jersey and created her iconic moniker while living in NYC's East Village. Her breakout moment came after meeting director Jonathan Demme during a 1986 snowstorm; he was captivated by her demo playing in her taxi. Their encounter led to the unforgettable inclusion of 'Goodbye Horses' in Silence of the Lambs. Despite its cult status, Luckey and collaborator William Garvey remained largely overlooked but surely that will change now as they offer up five unreleased tracks that have been newly mixed from original master tapes.
Review: Nothing but gorgeousness seems to characterise the work of the Minimal Wave imprint over the recent years. It's a label that is both unpredictable and continuously elegant in its choice of reissues. This time, it's a wonderful unearthing of Soma Holidays cult-hit, Shake Your Molecules. The Franco-American duo was part of Brooklyn's clique of artists throughout the 1980's, and although their sound is firmly representative of that era, the tracks are still ridiculously fresh and seductive both in their melodies and vocals. The title track is a sort of synth-pop tune gone wrong in a good way, where drugged-up lyrics meets morphing synths and metallic drum machines, whereas the Dub cut could easily be played in most techno DJ sets these days. On the B-side, we have the charming, atmospheric glow of "Too Many People" and "Art Dimension", the top pick in our opinion and one which is screaming to be be remixed into a contemporary house tune.
Review: In typical Music From Memory fashion, their latest archival release shines a light on one of the UK's lesser-known bands of the early 1980s. The System released a lone single in 1981, followed by a now incredibly rare debut album, Logic, in 1983. Three of the cuts here are taken from that set, including the dreamy, downbeat Balearic-pop opener "Almost Grown" - a wonderfully evocative six minutes, all told - and the far-sighted, spacey, proto-techno shuffler "Vampirella". This EP also includes one previously unreleased track, "Find It In Your Eyes", which was rescued from long-forgotten master tapes during the licensing process.
Review: One-off masterpiece release of German minimal synthpop from Gutersloh, Germany in 1984. Recorded in a DIY recording studio in a former prison for the mentally ill, located on the outskirts of a forest near the artists' homes, aptly named Prison Studio, in 1984, the release was privately pressed on 7" by the band itself, distributed in limited quantities and has changed hands only a few times on public marketplaces since its original release. Wave Shape's Transmission has always been as rare as it is good, to quote Basso. Now, the release is made available again to collectors and DJs as the first release on Average. Included in this 12" repress are two stunning new remixes by virtuoso producers and friends Alexander Arpeggio and Aradea Barandana, each bringing their own flavour to the table.
Review: Zarkoff taps into myriad different sources for inspiration here - there are swirling vocals that remind of Bowie, chilly synths from Depeche Mode and lithe beats from the contemporary underground. It's all crafted from melancholic synths as the heavenly voices soar up top and hypnotic drum machine beats lock in the groove. It makes for music that is both suited to more cultured club sets but also home listening sessions. 'Bureau Degradation' is our favourite for the slightly speedier beats and more pained vibes of the synths. A brilliantly original EP, wherever you look.
Review: Bedford-based trio Zenana never made much of an impact when they were first active in the 1980s but have become the toast of the world's media following the rediscovery of their excellent, Italo and Hi-NRG-influenced 1986 synth-pop single, 'Witches', by crate diggers a couple of years back. Here that fine track, originally produced in terraced house in Cornwall by the brother of bandmember Anita Tedder, gets the reissue treatment on Rush Hour's RSS series - thanks, in no small part, to a new (but authentically 80s sounding) extended remix from long-established Bristol DJ/production duo Bedmo Disco. Their flipside 'Spell of Love' version strips back and stretches out the track, taking cues from NYC proto-house, Martin Rushent dubs and mid-80s Shep Pettibone remixes. It's the 12" dance mix the song never had first time round.
Review: Into The Light's latest deep dive into the world of obscure Greek electronic music focuses on 2 Katara, a previously virtually unknown collaboration between George Theodorakis and Dimitris Papangelidis. The pair first joined forces in 1978 and continued to record together until going their separate ways in 1991. The 14 tracks showcased here are surprisingly eclectic but never less than superb, variously touching on delay-laden fusions of progressive rock and early electronic pop, new age ambience, drum-heavy dancefloor workouts, eccentric disco-not-disco and intergalactic synth-scapes. There's far more use of traditional Greek instrumentation and electric guitars than you might expect, but this only enhances the enjoyable quirkiness of the whole package.
Review: 7FO's Ryu no Nukegara (meaning "dragon's husk") is a warm, inviting trip through ambient, dub and chill-out soundscapes. The Osaka-based producer blends sparse electronic percussion with dub-style synth bass and pentatonic melodies, while also using steel pan tones that bring an Okinawan or Southeast Asian touch. Fans of Haruomi Hosono and Equiknoxx will find much to love in this record's trans-oceanic textures with sparkling dub processing and thoughtful mixing throughout. A magical record that embodies strength, fluidity and meditative depth.
Review: A Certain Ratio's core trio of drummer Donald Johnson, bassist/vocalist Jez Kerr, and multi-instrumentalist Martin Moscrop make ACR Loco a perfectly fluid and funk album. In fact, on this, their first album in more than ten years, the Manchester post-punk outfit are as funky as they have ever been. Their tried and tested sound gets nicely updated with modern beat driven sounds and plenty of redefines to today's political strife in the lyrics. There are plenty of smooth and cool synth led grooves like 'Get A Grip' and messages of unity on 'Family' that we can all relate to.
J'ai Dormi Sous L'eau (BBC live Session - bonus track)
Sexy Boy (BBC live Session - bonus track)
Kelly Watch The Stars (BBC live Session - bonus track)
Kelly Watch The Stars (extended - bonus track)
Remember (Davis Whitaker version - bonus track)
Review: When Air's Moon Safari first landed on terra firma in 1997, it was a revelation that flipped the French touch boom on its head. Swapping discoid thrust for sensual lounge, Nicolas Jean Godin and Jean-Benoit Dunckel kept a certain sophisticated nostalgia in their sound which tracked with their compatriots, but they absolutely weaved their own spell with it. The hits caught on for good reason, from the dirty grind of 'Sexy Boy' to the swooning romanticism of 'All I Need' featuring Beth Hirsch on vocals, but the moments in between merely added to the spectacle, lodging Air in the hearts and minds of a whole generation. This special anniversary edition adds a second disc of B-sides, remixes and session tracks, plus a Blu-ray disc featuring the iconic videos and a documentary from the Moon Safari era.
Review: Who, or perhaps what, was Tomo Akikawabaya? In truth, nobody really seems to sure on the answer, other than the fact this mysterious Japanese artists decided to release a serious of incredible synth-driven singles during the 1980s, before vanishing back into the dry ice of whatever smoke machine they escaped from. A musical genie, here only to bestow a limited number of gems on us, and then disappear forever. Swerving interviews and photos doesn't help the search, but The Castle II at least allows us to explore his work in depth, across several tracks. These range from the twisted cabaret weirds of 'Objet D'Amour', to the driving electro-punk of 'Le Voleur', grand and decidedly 1980s-sounding synth rock on 'The April', and New Romantic-esque pop on The Castle (II). Essential stuff.
Her Seylerin Arasindan Gorundu Bana Bir Ceylan (2:35)
Gurbet Bekcisi (2:27)
Zengin Olur Giderim (2:02)
Orman Yangini (2:37)
Ya Benimsin Ya Onlarin (1:59)
Gel Elimi Tut (2:09)
Hatiralar (2:52)
Kiralik Ask (3:16)
Sekiz Sutuna Sekiz Manset (4:16)
Tahta Sucuk (4:21)
Sazliklardan Havalanan Havada Asili Kalan (3:05)
Review: Instrumental synth pop producer Gozen Atila, AKA Anadol - named after an old Turkish car company - has been building a stellar reputation for herself as a purveyor of 1970s and 1980s influenced electronic soundscapes since her first full length, curuyen Yillar (Rotting Years), turned heads among press and public alike in 2012. Plenty has come between then and now, but finally we're given Hatiralar, a record that was made around the same time as her debut but has never before seen the light of day. Informed by the experimental European and Eurasian movie scores of decades past, fans of Bruce Haack and The Space Lady will find much to fall head over heels for here, touching on naive keyboard chart hits from outside the Western music industry, kosmische, science fiction sounds and obscure electro forms, it's a strange but enticing trip into another world.
Review: Cititrax proudly presents the debut LP from Another Body Found here, which is the latest moniker of A// who is well known for his pioneering work as Le Syndicat Electronique. Emerging from the French underground with a dark electro, industrial, minimal synth and wave style, he has a stark and visceral take on raw energy and haunting atmospheres. There are plenty of mechanical, hypnotic beats here with heft bass and hints of dystopian fears. The title track reimagines Bronski Beat's 'Smalltown Boy' and strips it to its emotional core, 'Lost In The Northern Lights' has a cold, urgent sound and 'Murderous Earth' is brilliantly unsettling and melancholic.
Review: Arte Moderno was a short-lived outfit from the Canary Islands who scored an underground dancefloor hit in 1982 with the spaced-out punk-funk/new wave/dub disco grooves of "Ninette En New York" before all but disappearing. Here, we finally get a chance to hear what else they were up to, as Musica Cabeza - the debut album they recorded but then shelved in 1982, finally gets a release. It's a quietly impressive set, all told, offering up tracks that doff a cap to the likes of Talking Heads, Woo, Konk and Bauhaus, while also offering a fresh take on electric/electronic post-punk fusion. Had it been released when it was recorded there's no doubt it would have become an underground classic; now that it's finally seen the light of day, we can confirm it's every bit as good as we'd hoped for.
Review: Lewis' gentle and bewitching L'Amour, which came complete with a bizarre backstory involving the disappearance of the blonde-haired would-be-matinee-idol on its sleeve, was one of the surprise delights of the year. Yet the release of the hitherto unsuspected follow-up Romantic Times, which was originally recorded in 1985, only adds to the mystique surrounding this off-kilter auteur. The abstract croon and expressionistic mood may remain, yet the pastel shades and beachside calm of his earlier effort are gone, replaced by brooding atmosphere and vocals that betray a troubled soul beneath the luxurious veneer. Residing somewhere between lounge lizard thrills and outsider art chills, Romantic Times is a portrait of a true one-off.
Review: Italian composer and modular synth wizard Caterina Barbieri makes a debut on the Light-Years label here with a profound work of ambient beauty. Known for her musical vortexes, she warps space and time with her compositions and has done ever since breaking through with 2017's double-album Patterns Of Consciousness. Spirit Exit again finds her start up her modal rug and get to work in her home studio amidst Milan's two-month pandemic lockdown in 2020. It's a personal work that "takes inspiration from female philosophers, mystics and poets spread across time." The transportational sounds are as complex as they are emotive from front to back.
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