Back in stock: Coldwave/Synth

Review: Originally released on cassette in 1984, Borghesia's Clones album now resurfaces on vinyl courtesy of the dons at Dark Entries. It's a fine glimpse into early electronic experimentation from 1980s Ljubljana, all created using borrowed gear and recorded live without overdubs. The results are an album of hypnotic proto-techno and acid-inflected instrumentals intended for video installations and performances, all of which speak to the raw, pioneering spirit of the scene in Yugoslavia at the time. The A-side has driving club energy, while the flip drifts into more immersive ambient territory. It might be four decades old, but this album still has a visceral impact on mind and body.

Review: After their first round was such a success, Gary Crowley and Jim Lahat have been tasked with pulling together another essential collection of punk and new wave from the 70s and 80s, and you can rest assured they've done it again. There are some major, familiar names here like The Clash, The Slits and Ramones, but there's also a hell of a lot of rare delights from the likes of The Limit, The Art Attacks and The Newtown Neurotics. Musically, there's plenty of range too from spiky three-chord pub rock and punk through to Linton Kewsi Johnson and Dennis Bovell's crossover dub as Poet & The Roots. That's just a tiny overview of this mammoth six-disc set, which takes you deep into the heart of a vital, thrilling period in alternative music.

Review: Alison Goldfrapp has infamously broken away from her involvement with the longtime synth duo Goldfrapp to explore new solo outings. Finally, we hear the extent of her efforts in this arena: The Love Invention, her newest album, is a dazzling dance-centric vision of electropop in technicolour, aiming to put across Goldfrapp's vocal range and stylistic versatility (not least through various collaborations across the dance music spectrum, from Richard X to Claptone and Paul Woolford). Love, lust, desire, amour... just about every variation on the feeling is conveyed on this stonker of an LP.

Review: By the time they got to their fifth album, Liverpool synth pioneers OMD were deep into their glossy, technicolor phase and this reissue of Junk Culture brings all the sharp edges and weird charms back into focus. It's a record that manages to be sleek and experimental at once, balancing pop hooks with a slightly offbeat sense of rhythm and sound. 'Tesla Girls' is manic in the best way, bursting with punchy synth stabs and that hyperactive vocal delivery. 'Locomotion' smooths things out with a more laid-back groove, still very much dancefloor-ready but built on bounce rather than rush. Then there's 'Talking Loud and Clear,' which leans softer, airy and romantic without slipping into cliche. The deeper cuts keep things interesting with 'Love & Violence' and 'White Trash' which feel darker and more cryptic, like glimpses behind the polished exterior. Even when it flirts with radio-friendliness, the record never really plays it safe. This album links the early electronic experimentalism to the polished and slick synth pop that would take OMD to a household name with the following album. Sometimes an overlooked album in their catalog but always respected for the work within. It's a snapshot of a band pulling synthpop in new directions, not afraid to get playful or strange.

Review: This posthumous release offers a fascinating glimpse into the life and music of an enigmatic artist whose haunting voice and unique sound impressed listeners in the late 80s and early 90s. The collection brings together a treasure trove of previously unreleased tracks recorded between 1985 and 1995, showcasing the artist's diverse range that spans new wave, synth-pop and even house music. Each song is infused with her distinctive, smoky vocals, delivering a powerful emotional punch whether it's a haunting ballad or a danceable groove. The album demonstrates the artist's ability to transcend genres, with some tracks offering an updated, new-wave twist on her most iconic hit, while others dive into experimental soundscapes that reflect her creative depth. The compilation is a poignant reminder of her brief but impactful career, as well as the mystery that surrounded her life after her rise to fame. Accompanying the release is a documentary that delves into the artist's journeyifrom her early days as a taxi driver to her rise to cult status, followed by her disappearance from the music scene. This music, long hidden away, offers a powerful reflection on a life marked by both brilliance and tragedy, providing fans and newcomers alike with a chance to experience the full breadth of her artistic legacy. This version is available on 'summertime' green vinyl.

Review: The truly special thing about a track like 'Tainted Love' is its malleability over time. The original elements touch on New Romanticism, New Wave, electro, and synth pop, creating a twisted and mutated version of the crooning troubadour that smacks of sticky dancefloor heat in subterranean haunts.

With that in mind a remix collection could pretty much go anywhere, and in many ways this one does. Presenting several interpretations of this timeless and iconic tune, these range from the not-so-different instrumental and the strikingly powerful but simple acapella, through to DJ Hell's typically growly stomper, and the groovier, wavier Jack Ford and Jaimieson Hill cut. Oh, and don't forget the very DIY sounding bonus track, 'The Hungry Years', which is a whole different story in its own right, so we'll leave you to discover that one.

Review: Walhalla's dive into obscure 80s synth pop and new wave has been a resounding success since the first volume 15 years ago. With this third volume, Walhalla drops the "Belgian" label from the title but keeps its roots firmly in the heartland of EBM, industrial and minimal synth. The album opens with two icy pieces from Nostalgie Eternelle. Active since the late 80s, they've finally landed on vinyl, delivering analog minimalism with 'Coup De Grace'. S.M. Nurse follows with a bizarre but compelling sound collage, layered with brittle vocals and wiry textures. Nine Circles return with the desolate and minimalist 'Here Come I, Here Is Me', while Vayne Kaye & Ignit's 'The Heat' brings a sharp post-punk sound. From the tortured electro churn of Experimental Incest's 'Desire' to the political bleakness of The Maniacs' 'Vietnam' and O.B. Minimax's 'Charming War', this volume leans heavier into dystopia. The Misz, always good for a chuckle, come with the coldly hilarious 'Spinach in Kiev'. Closing things out, Unovidual's 'Metal' ends the record in a short, sorrowful wash of synth. As always, each volume has tons of raw, lo-fi and often challenging and rare music to enjoy.