Back catalogue: Coldwave/Synth

Review: Don't believe the hype - we certainly don't. Halloween Ends, 2022's trilogy-concluding horror flick that brought the story of evil Michael Myers to a bone chilling climax, is almost definitely not going to be the last time we hear the terrifying piano riff John Carpenter came up with for his original 1978 slasher classic, Halloween. Nor will it likely be the final outing for the mask-wearing, knife-wielding menace of Haddonfield, Illinois; fictional town the franchise centres on.

Let's face it, the most recent outing in the saga only represented the conclusion of the last three films, but since the first time there have been 13 movies, many comic books, one video game and tons of merchandise. All that aside, you can believe the hype surrounding the latest score, which sees synth and atmosphere master Carpenter, alongside son and regular collaborator Davies, invoke the eerie unease that first catapulted Halloween into the pantheons of all-time greatest scare fests. Don't sleep after listening, then; who knows what's out there.

Review: Is John Carpenter the most formidable force in 20th Century US moviemaking? He must certainly be in the running. Say what you will about the genres he focuses on (horror, suspense, sci fi, slasher, those details aren't significant. Instead, what's important to remember is that for decades the director has dedicated his career to creating not just vivid on-screen worlds, but atmospheres and feelings. Taking ownership of his own scores is a big part of that, and in many ways Carpenter's tunes are as memorable as his plots. Here joined by son Cody, and Lost Themes I & II sparring partner Daniel Davies, many of the most iconic tones, keys, melodies, and hooks from more than 20 years of cinematic delights are presented as new - and we couldn't be happier.

Review: Over the course of her three year solo career, London-based Australian Carla Dal Forno has steadily moved from a dark, stylish and bleak all-electronic sound to something a little warmer and more organic in tone. On "Look Up Sharp", her third album, she continues this trend, complimenting her usual lo-fi drum machines and synths with low-slung post-punk bass and the kind of pastoral, traditional instrumentation more often associated with folk music (think flutes, recorders, clarinet etc.). It's a curious blend, but one that works wonderfully well throughout the album, and especially on those songs to which she adds evocative, often melancholic vocals.

Review: Formed in Barcelona's underground scene, the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux aka Dame Area blend industrial-tribal rhythms with minimalist synths while drawing inspiration from avant-garde pioneers like Esplendor Geometrico, Suicide, and Einsturzende Neubauten. This highly anticipated fourth album, Toda la verdad sobre Dame Area ("The Whole Truth About Dame Area") marks a more aggressive, percussion-driven sound and a departure from the melody-focused album they dropped back in 2022. The dynamic live performances the pair are down for are distilled into an album that perfectly captures their experimental edge with unpredictable rhythms, metallic percussion and plenty of energy.

Review: Minimal wave pioneer Das Ding aka Danny Bosten is back after ten years on Electronic Emergencies with a nicely curated collection of archival tracks sourced from early 80s tape recordings. Working with friends in a bedroom studio in the Dutch countryside, Das Ding crafted raw, experimental music with cheap analogue equipment that drew on new wave, early EBM and proto-techno. Listening back now these sounds are unmistakably Das Ding and this clear vinyl pressing preserves the original lo-fi atmosphere with meticulous remastering by Ruud Lekx. A real triumph of the DIY spirit of the era.

Review: Yugoslavia went through unthinkable turmoil during the break up of the Soviet Union, which is why it is all the more astounding even all these years on that it had quite such a fertile and innovative music scene. In 1984, Zoran Jevtic and Zoran Vracevic were a key part of it and helped revolutionise the sound of the day by introducing synth-pop, breakbeat and hip-hop with their Data and The Master Scratch Band projects. Their releases paved the way for modern electronic sounds and this album dives deep into that era and compiles their earliest unreleased works from between 1981 and 1983. It's a daring exploration of genres including industrial, EBM, minimal synth and electro-funk. It adds up to a true digger's gem that will significantly elevate your vinyl-hunting credentials without having to do the hard work yourself.

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: This superb recording of a Live FM Broadcast captures the wonderful Depeche Mode at their dynamic peak during the Songs of Faith and Devotion tour. Recorded in San Francisco, this live set detailed their evolution as they blended dark synth-pop with raw, rock-infused energy. Classics like 'Rush' and 'World In My Eyes' shine alongside then-newer, grittier tracks that showcased Dave Gahan's electrifying vocals and Martin Gore's emotive songwriting. The high-quality audio helps immerse you in the band's onstage charisma while offering a nostalgic yet timeless revisit to a wonderful period in the band's history.

Review: Depeche Mode's performance at Hammersmith Odeon in London, 1983, captured the band at a pivotal moment in their career. This iconic live recording showcases their burgeoning synth-pop sound which blends pulsating rhythms with dark, introspective lyrics. Songs like the ever-green classic 'Just Can't Get Enough' resonate with irresistible signature sounds while Dave Gahan's charismatic vocals and Martin Gore's evocative melodies still sound like nothing else. The concert tracks Depeche Mode's evolution into global pioneers of electronic music and is an emotionally charged performance that is well worth reliving.

Review: It's hard to know whether to bother reviewing this release at all, or simply opt for the following summary: Depeche Mode, titans of synth and one of the UK's most important bands of the late-20th Century (and today), offer a vast collection of tracks from their 2005 album, Playing the Angel, remixed by a host of massive names from the dance and electronic world.

Still not convinced? OK, how about this - Depeche Mode x Jacques Le Cont, M83, Sasha, Tiefschwarz, Tiga, Michael Mayer, Metope, Alter Ego, Robag Wruhme, Goldfrapp, Telex and more. With so much happening and such variety on offer within, it's probably best to hit play on the lot and see what takes your fancy, smart money being on all of them. Either that, or just go with your gut and buy before you try.

Review: 32 years on from the release of their debut album Speak and Spell, Basildon's finest drop their 14th full length. While there are echoes of their eyeliner-wearing, synth-bothering futurist past (see the glitchy "My Little Universe" and early New Order-ish "Broken", where Dave Gahan sings about 'dreaming of the future'), for the most part Delta Machine finds them in grinchy synth-rock mode, presumably shaking their fists at passing youngsters like a gang of grumpy old men. Thankfully, they're still capable of great things - "Soothe My Soul" has echoes of "Personal Jesus" - and there's enough to suggest there's some life in the old dogs yet.

Review: Depeche Mode's 1983 performance at London's Hammersmith Odeon comes here on a special limited edition picture disc. It marked a pivotal moment in their career and listening back now is still an iconic live recording. Their burgeoning synth-pop sound with its pulsating rhythms and introspective lyrics shines through classics like 'Just Can't Get Enough.' Dave Gahan's charismatic vocals and Martin Gore's evocative melodies remain unparalleled. This concert tracks their evolution into electronic music pioneers, delivering an emotionally-charged performance that resonates with fans to this day, making it a timeless experience worth revisiting.

Review: .It's pretty much impossible not to fall in love with Desire, no matter where you arrive in their discography. Formed by Johnny 'Chromatics and Glass Candy' Jewel and vocalist Megan Louise, and formerly synth-drum maestro Nat Walker, the group debuted on Jewel's now-legendary Italians Do It Better in 2009, and their first record, II was heralded as one of the decade's finest. More than ten years later, Escape reflected how things had developed during the years betwixt. Still saturated in a kind of borrowed nostalgia, yet focused firmly on crafting innovative arrangements, few outfits can simultaneously sound so polished and yet born to play in the reddish glows of darkened rooms in grimy DIY spaces. As unique today as the record was when it landed, and the outfit were when they initially emerged.

Review: We thought they didn't make them like this anymore. Then they made four seasons like this, and we all remembered what it meant to combine fantasy, horror, coming of age, and stick the lot in the most nostalgic decade for many people aged between mid-20s and late-50s. An age that, even if memories are hazy or you weren't even born ye, still manages to reflect the way the world was and had been for some time. The culmination of half a century's progress in mechanics and engineering, the final hurrah before the tech revolution got underway and changed our lives for good.

A key part of what makes Stranger Things so evocative is the music itself. Each instalment is littered with great chart tracks from the year in which they are set - not least this time round, with Kate Bush rocketing to the top of the charts with 'Running Up That Hill' thanks to its use in the show. Nevertheless, the finest sounds on offer are the original tracks, which come in the form of these synth heavy masterpieces, which should be longer, but instead opt for a 'keep them wanting more' philosophy.

Review: In the third instalment of Whispers of an Ancient World, the legend that is DMX KREW brings his personal vision to Jorge Luis Borges's story The Library of Babel. Inspired by Borges's universe, DMX KREW explores the library as both a physical and symbolic space and one that houses the vast sum of human knowledge. This library is far from static; it's alive, buzzing with activity and guarded by librarians who are also seekers each interpreting the infinite knowledge within its endless hexagonal rooms. Outside of the concept, the tunes are superbly cinematic, with narrative-field ambient soundscapes and deft synth modulations all triggering plenty of emotional responses.

Review: Graham Lewis, Bruce Gibert, Mute label founder and all round legend Daniel Miller came together to make this Duet Emmo record way, way back in 1981. Finishing the work a year later, it would be another 12 months before fans and unexpected listeners could access their accomplishment: a landmark experimental electronic release that also set benchmarks for minimal wave.

Perhaps what's so remarkable is the way in which Or So It Seems doesn't just play with, but offers an aural essay on timbre and resonance, depth and texture. There's not a huge amount happening on any of the nine tracks, but nevertheless they suck you in so far you'll find it difficult to remember which way to swim to resurface. Up or down, sideways or diagonal, whatever route it all winds up with the delightfully weird-but-fun 'Heart of Hearts'.

Review: The Durutti Column prove just how fertile the North West England music scene was during the mid-late-1970s and through the 1980s. Taking their name from an anarchist military movement active during the Spanish Civil War, the band was formed by Vini Reilly, who brought together a bunch of players from the nascent punk and post punk scene, and managed to turn heads in the process. One of which was Tony Wilson. One of the first acts to sign to his now-legendary Factory Records, they would remain on the imprint until its demise, by which time the project had become a solo thing for Reilly, whose name was already shorthand for risk taking with bold ideas. Take this record, for example, veering from Southern Mediterranean folk to experimental indie, sample-based rock-opera and more, it still defies expectations.

Review: Southern California-based composer and improviser David Rosenboom is a figure who can't quite be aligned to one particular school, his work slipping intriguingly through the cracks. A collaboration with vocalist Jacqueline Humbert, Daytime Viewing is an extraordinary narrative poem set over a song cycle consisting of six pieces. Quietly released privately in 1983, Unseen Worlds has brought this seminal work back into view along with a full remastering. Exploring ideas of absurdist theatricality, TV soap operas, commercialism, and family, Humbert's voice and Rosenboom's production merge to create a landscape that is at once lush yet also dystopian. An entirely unique release that invites endless study.