Back catalogue: Coldwave/Synth

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: Mansfield new wave band B Movie unearth their long-lost 1982 album Hidden Treasures, more than forty years after they first recorded it for Phonogram, an imprint of Universal. The band were on the same management and signed to the same label as Soft Cell, but their career turned out to be a damp squib by comparison and they split up in the mid-eighties, without ever releasing this great album of synth pop for goths. Taking influences from the likes of Ultravox and The Human League, they cloak it in a more brooding atmosphere, reminiscent of The Chameleons and Joy Divsion - hitting all the right notes along the way, we think.

Review: Depeche Mode's Playing The Angel tour was a major milestone following their 2005 album release of the same name. It was produced by Ben Hillier and topped charts in 18 countries with the hit 'Precious'' the most standout. The nine-month tour across Europe and North America included festival headlining slots like Coachella and O2 Wireless but a real standout moment from it was their performance at KROQ-FM's Almost Acoustic Christmas concert, which was captured in full and now gets pressed up to this fine double album. This superb Christmas show is the sound of the band at their best during one of their many fine eras.

Review: 2002's Hooverphonic Presents Jackie Cane always felt like the odd jewel in the Belgian outfit's catalogue i part concept album, part theatrical detour, wrapped in lush strings and Bond-theme bravado. The 2025 reissue brings it back into focus, and it's certainly worth revisiting. There's drama i torch songs, twisted pop, and trip-hop filtered through a cinematic lens i but also a tangible sense of melancholy beneath. Tracks like 'Sometimes' and 'Human Interest' still land with weight, while the nocturnal psychedelia of 'Jackie's Delirium' and 'Shampoo' adds hallucinogenic depth to the collection. It's all very stylised, but that's part of the charm. You can hear the ambition, the restlessness. Not quite cool, not quite kitsch, but somehow it works.

Review: The latest release from Berlin-based producer Julian Reifegerste builds on the success of his previous work, channelling a vivid spectrum of 80s electronic styles into a sleek, club-ready format. Drawing from EBM, Italo, acid, electro and dark wave, the 12-track double vinyl is packed with machine funk and neon moodsibright synth lines and rubbery basslines offset by tougher, industrial textures. 'City Sights' and 'Chasing Shadows' lean into cinematic propulsion, while 'Black Gold' and 'I Am A Creator' carry heavier, dystopian overtones. Much of the material was produced on vintage hardware, lending the record an authentic retro-futurist edge. This is bold, immersive dance music with a conceptual streak, and a clear progression in sound from the artist's earlier output.

Review: Hyperspace Communications drop a fresh remix package of cult US new wave trio Los Microwaves' debut LP, What's That Got To Do (With Loving You). Remixed by Kit Watson from the original 24-track analogue tapes, the release features two discs. Disc One is a 45 RPM dancefloor-ready EP with six reimagined cuts from Life After Breakfast, including 'deadpan vocals and punchy cold wave grooves Time To Get Up' and 'TV in My Eye.' Disc Two runs at 33 RPM and adds four instrumental versions tailored for film/TV sync and live remixing. It's a great addition for collectors or an introduction for anyone new to these California synth and techno-punk disrupters.

Review: To mark their tenth anniversary, Discom presents Return to the Future 1984-1994, a special edition long player celebrating the influential Belgrade synth-pop duo Max & Intro. The compilation features 12 remastered tracks sourced directly from the original master tapes and the collection highlights the group's distinctive blend of melodic synth lines and pop sensibilities that very much shaped the Yugoslav electronic scene. Rare extras include a 1985 interview, full lyrics sheet and previously unseen photographs by Goran Basari?, plus artwork from Max's Poster. This is a wonderful trip back to the future with cold, angular drum rhythms and deadpan vocals.

Review: Walhalla Records reissues Underground Wave Volume 4 from its exciting series that helps collect and release minimal synth gems from the 1980. Belgian acts dominate this expertly curated edition, including M Bryo, Schicksal, Ratbau and Bene Gesserit, each contributing tracks that pulse with analogue nostalgia and DIY grit. Schicksal opens the record with 'Power Hate Destruction', an exclusive track that sets a dark and brooding tone. M Bryo's entry is particularly arresting with Mark Burghgraeve's knack for eerie atmospheres. The Arch delivers 'Ice In Your Eyes',, a swirling track said to be their live concert closer in 1988, oozing with gothic tension. Side-B has 'Genetic Factor', a haunting 1982 cut by Richard Zeilstra that evokes early Klinik. Elektronische Maschine adds a refreshing 90s synth pop twist, while 'No Honey From These' stuns with a raw, Suicide-like energy. Paschen's Law channels YMO and Logic with intricate programming, before Bene Gesserit closes things with the mesmerising 'Les Aliens, a track that fuses eerie piano with an Attrition-style evolution. This compilation is a passionate preservation of underground history, led by Walhalla's curator Lieven De Ridder's deep archival instincts and unmatched dedication.

Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.