Back catalogue: Coldwave/Synth

Review: Originally released in April 2017, this is a reissue that reaffirms the album's pivotal role in modern darkwave. Crafted by Sydney-based Marc Dwyer, Chroma pulses with a brooding energy that fuses stark minimalism with unexpected pop leanings. Across its runtime, jagged synths and relentless drum programming frame a series of emotionally charged compositions, each one dissecting states of isolation, longing, and inner turbulence. Far from being just a genre exercise, Chroma pushes the boundaries of synth wave and post-punk, threading glimmers of melody through layers of tension and shadow. Dwyer's delivery is cold and commanding, yet there's an underlying vulnerability in how he constructs each track, always rooted in personal reflection but never static. The production is raw but intentional, giving it an immediacy that still hits with force today. Since its release, Chroma has gained a cult following, inspiring peers in the darker corners of electronic music. With two additional albums and several international tours under his belt, Dwyer has grown into a spectral mainstay of the global goth underground. The long-awaited reissue brings Chroma back into circulation where it belongs. Restored, relevant and just as magnetic as it was eight years ago.

Review: The hugely prolific and endlessly touring Australian rock band King Gizzard & The Lizard Wizard's latest is Rave Gizzard: Live in San Francisco 2024 via Reverberation Appreciation Society, a hefty triple-LP capturing their legendary first-ever full synth set. It was recorded live at The Regency Ballroom on November 6, 2024, and is a nine-track set with technicolour performances of tracks like 'Theia,' 'Gilgamesh' and 'Extinction' all reimagined with razor-sharp synth textures. It was an epic show lapped up by fans who revelled in the overwhelming bass and immersive, rave-like energy, all of which is conveyed when listening back. This limited-edition bootleg is a document of the band's adventurous leap into synth-driven psychedelia that is sure to swiftly sell out.

Review: Futurespective is a carefully remastered compilation showcasing the finest work of Les Animaux Sauvages, the legendary Bulgarian band known for their blazing blend of post-punk, new wave and dark wave. For the first time, these classic tracks are available on vinyl, which is literally music to the ears of fans of Eastern European underground sounds. The band is a trio of artistic kindred spirits who united in 2014 with Ivo Stoyadinov Charlie on guitar, synths and programming alongside Sibylla Seraphim, who brings her haunting vocals and synth work to the mix. Together, they craft a moody, atmospheric sound that is distantly lo-fi, with prowling and sleazy guitars that Andrew Weatherall would love, chugging dark disco groves and tripped-out machine soul and wiry electronics.

Review: The band's companion piece to their debut album, with MDMA-slanted remixes (they were among the first E-dopters) and one new track, was always a strange, thrilling detour that delved deeper into the band's darker side. Reissued now and pressed on pink and blue vinyl, it leans into the playful and hedonistic spirit that fueled the duo's early years. 'Memorabilia' still slams with that proto-industrial funk, drenched in echo and attitude. Their version of 'What?' is gloriously off-kilter, part cabaret, part warehouse rave. Marc Almond's vocals are as dramatic and sly as ever, while Dave Ball keeps the synth lines rubbery and raw. There's a sense of controlled chaos here, where the line between irony and sincerity blurs beautifully. 'Sex Dwarf' is one of the band's most intense moments. A club hit that works today just as good as back in 1982. Even in its more minimal moments, there's a sweaty urgency to these tracks. The whole thing feels like a snapshot of a night that got way out of hand, in the best way possible. While the original album was darker and more introspective, this one lets loose, offering up a lean set of tracks built for movement and attitude. A record that was never afraid to get weird, which suits us down to the ground.