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: Throbbing Gristle co-founder and all round British experimental electronic institution, Cosey Fanni Tutti returns with 2t2, a new full-length set for release through her own Conspiracy International label. The new nine-tracker extends the tracked terrains of 2019's Tutti, blurring personal reflections on years of loss and upheaval into prosthetic electronic soundscapes. The record unfolds over two contrasting halves, one beat-driven, the other more introspective, yet it also keeps anchored to a certain ground point emphasising resilience and focus. Lead cut 'Stound' features overtone chanting, which Cosey describes as a way to channel inner strength: "allowing the sounds to permeate and soothe as well as create a sense of power."
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: One of the most underappreciated and perhaps most emotionally resonant albums from this legendary keyboard wizard gets a timely reissue. Released in 1992, it was overshadowed by the shifting tides of popular music, but time has finally begun to catch up to its brilliance. Here, Dolby reveals a matured musical identity that is melodically rich, lyrically thoughtful and sonically adventurous. 'Cruel', featuring the exquisite Eddi Reader, is one of Dolby's most stirring ballads. A lush, heartfelt piece that blends synth sophistication with intimate vocals. 'Eastern Bloc (the sequel)' cleverly reimagines 'Europa and the Pirate Twins', even borrowing rhythmic cues from Johnny Otis's 'Willie and the Hand Jive' before veering into its own layered complexity. On 'Silk Pajamas' and 'I Love You Goodbye', Dolby dips into a warm, Southeastern US sound palette, his intricate electronic textures as well as his knack for genre fusion (without ever sounding gimmicky) shining bright. Even when venturing toward mainstream pop ('Close but No Cigar') or darker territory ('Neon Sisters'), Dolby remains unpredictable yet unmistakably himself. The final track, 'Beauty of a Dream', is a moving, cinematic closer that lingers long after. While The Golden Age of Wireless remains iconic, Astronauts & Heretics is Dolby at his most personal and artistically fearless. It's great to see this album get its due.
Review: Oraculo Records, M.U.S.A Records and Ombra Festival have all come together to unveil Dr. Oso, the latest talent to emerge from the Megabreakz collective. This Argentinian producer follows in the footsteps of Candido (who was behind Megabreakz 7) to deliver his own raw and unapologetic take on the hard new beat style. His release is pure fire, with 'Hooligan Beat Edit' swinging sonic punches in every direction at once. 'Trench Flight' is jacked up and ken with a rugged low end, gun shots and fragment synths all making for a visceral groove. It is much the same on the rest of the EP with 'Lager Dance' really popping thanks to its chopped up sirens and caustic textures.
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: 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: Electronic soul innovator Liv.e followed up her acclaimed Girl In The Half Pearl with PAST FUTUR.e last year, and it's now dropping on vinyl. The surprise seven-track project was made in just 24 hours and announced via a post on X. It's a lo-fi synthwave collection that betrays her genre-defying instincts and trades neo-soul smoothness for raw, hallucinatory energy. She bellows like a dancehall toaster and delivers fragmented narration over fuzzy, pulsing synths that echo Gang Gang Dance's experimental spirit. Is it an EP, album, or mixtape? It doesn't matter-PAST FUTUR.e is an unfiltered transmission from one of r&b's most inventive voices, and it's wildly unpredictable.
What's That Got To Do (With Loving You) (Remixes) (4:16)
Time To Get Up (2:54)
TV In My Eye (3:50)
La Voix Humaine (2:45)
Is There Life After Breakfast? (3:40)
You Bet (1:57)
What's That Got To Do (With Loving You) (instrumental mixes) (4:02)
Time To Get Up (3:00)
TV In My Eye (3:50)
Home Alone (1:36)
Reckless Dialogue (2:21)
La Voix Humaine (2:41)
Is There Life After Breakfast? (3:41)
You Bet (1:56)
Forever (4:20)
If You Want It (0:59)
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.
College - "A Real Hero" (feat Electric Youth) (4:27)
Riziero Ortolani - "Oh My Love" (feat Katyna Ranieri) (2:49)
The Chromatics - "Tick Of The Clock" (4:45)
Cliff Martinez - "Rubber Head" (2:58)
Cliff Martinez - "I Drive" (2:00)
Cliff Martinez - "He Had A Good Time" (1:29)
Cliff Martinez - "They Broke His Pelvis" (1:52)
Cliff Martinez - "Kick Your Teeth" (2:30)
Cliff Martinez - "Where's The Deluxe Version?" (5:12)
Cliff Martinez - "See You In Four" (2:28)
Cliff Martinez - "After The Chase" (5:23)
Cliff Martinez - "Hammer" (4:37)
Cliff Martinez - "Wrong Floor" (1:26)
Cliff Martinez - "Skull Crushing" (6:02)
Cliff Martinez - "My Name On A Car" (2:14)
Cliff Martinez - "On The Beach" (6:42)
Cliff Martinez - "Bride Of Deluxe" (3:37)
Review: OK. Let's face some facts. The Original Motion Picture Soundtrack to Drive is up there with one of the best scores ever put together. And that goes for the compositions of Cliff Martinez as much as the guest bands and artists drafted for the other songs. Where else are you going to hear Riziro Ortolani and Katy Ranieri's operatic overture, 'Oh My Love', and The Chromatics' low sung, mood-building electro tracker 'Tick of the Clock', side by side? The answer is, of course, nowhere. And that's just skimming the surface. Deeper inspection take us to some stunning pieces of ambient and drone. 'I Drive' is a remarkable example of gong bath on record, 'Skull Crushing' is overwhelmingly heavy thanks to its use of distant sound and up front quiet. It feels like you're in a pressurised chamber. We could go on, but that wouldn't save any room to mention the trophy piece - College and Electric Youth's spectacularly emotive synth stunner, 'A Real Hero'.
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: Thanks to an early 2025 launched exhibition at the Tate Modern, which looks back at the life and work of late, great performance art legend and Minty co-founder Leigh Bowery, Minty have put out this collectible 7" featuring previously unreleased songs. The title of the first track 'This Is Like A Dream' conveys what Bowery would have felt to have held this exhibition and making his dream come true from beyond the grave is a beautiful touch. And the song is a reminder that for all Minty's bizarre performances and sensational avant garde costumes they still backed it up with great music and would have cut through the noise on their songwriting alone. Both tracks feature Bowery, recorded as they were in 1993 and 1994 respectively. True gems finally unearthed.A
Review: Preston's Polypores looks asperse at the universe with Cosmically A Shambles. Known for his immersive modular synth compositions, Buckley now submits a bold step into rhythmically harder-driving territory, blending hypnotic polyrhythms and fuzz-dinked drum machines, all while retaining the hands-on, improvisational ethos that cornerstones his work; eschewing samples and presets in favour of tactile synth play. Preceded by his debut 7" lathe cut single 'Whorl', Cosmically A Shambles marks a thrilling evolution in the Polypores sound, still cosmic, but with a heavier pulse.
Review: We've all been party to solo material by seminal UK shoegaze sorts Ride's guitarist Andy Bell, but what about their bassist? Not so much. Well, that's about to change. Enter the brooding debut solo album from Ride's low-end maestro Steve Queralt. A largely instrumental affair, there's elements of shoegaze and darkly textured soundscapes. Plus there's guest appearances from more 90s legends: Emma Anderson (formerly of Lush and Sing-Sing) and Verity Susman (Electrlane, MEMORIALS) grace the album. Anderson sings on the pummeling lead single 'Lonely Town', which was launched with an aptly monochrome meditative montage of a music video. Given the power of this debut, we suspect this nine-song collection is the first of many solo albums to come, from a musician who has nothing to prove, but plenty to express.
Witness The Change/I Don't Know What Love Is (dub) (8:22)
Review: A reissue of material that Pete Shelley originally released in 1981, not long after the Buzzcocks' first split. It may be his second solo album, but with his first album - Sky Yen - being an arty experimental record, it's this album that spawned his first ever solo single. Giving a glimpse into the ridiculous censorship at the time, the single, 'Homosapien', was banned by the BBC, who interpreted a line in the track to be a sexually explicit reference to gay sex. Sonically, the album marks a humungous shift from the punk sound that Shelley gatecrashed the mainstream with in the Buzzcocks in the mid-70s. This is a highly electro-pop record and had producer Martin Rushent, who was also working with The Human League on the epoch-defining Dare album at the time, help shape the forward-thinking sound it became.
Telephone Operator/I Just Wanna Touch/If You Ask Me (I Won't Say No)/(Millions Of People (No One Like You) (dub) (13:11)
Review: Given the sharp left-turn that Shelley took with his solo career after leaving The Buzzcocks, it's sort of irrelevant if you're a fan of his seminal punk band or not. This second solo album - now reissued - is an entirely different kettle of fish. Whilst the 80s is famed for a lot of innocuous releases, due to the industry flush with cash, this stellar electro pop album - originally released in 1983 - stands the test of time: it's more experimental and artful than the run-of-the-mill chart-botherers of the time. This is a record that conveys Shelley's ability to write timeless, direct, hard-hitting singles ('Telephone Operator') and veer into more sprawling and adventurous arrangements ('What Was Heaven?') with the fluency of a true auteur. Producer Martin Rushent is due his flowers here, too, as it was his and Shelley's evolved embrace of innovative studio techniques during these sessions that set the bar for The Human League and other classic acts around the scene at the time.
Review: Silver Tears is the new project from Berlin-based artists Luca Venezia of Curses fame, and Damian Shilman of Skelesys. After debuting in 2023 with a standout track on Next Wave Acid Punx Deux, the duo returns with their self-titled full-length album and it features eight tracks of refined, beat-driven coldwave that are all layered to perfection. Deep bass, shimmering guitars, mechanical drums, and haunting baritone vocals. Blending dancefloor energy with introspective moods, it draws influence from 90s shoegaze and grunge. Their sound pays homage to the goth subculture while proving its continued relevance through a compelling mix of elegance, darkness and emotional intensity.
Review: This 2xCD edition goes well beyond nostalgia, offering the definitive take on Soft Cell's most illicit and club-focused chapter. Originally released in 1982 their second album was a bold pivot: less of the noir cabaret that had its roots in their Leeds Poly days, more MDMA-drenched disco detachment. But what felt fleeting at the time now reads like a fully formed vision. The first disc captures the original six-track run, including a furious remake of 'Memorabilia', the twisted funk of 'Sex Dwarf' and their glam-stomp take on 'What' i a track that somehow hit Number Three in the UK while sounding like it belonged in a haunted backroom. The second disc expands the picture with extended cuts like 'Tainted Love/Where Did Our Love Go' and 'Torch', all of which showcase how Soft Cell flirted with pop but refused to smooth their edges. It's a new reissue, but more importantly, it's a reminder of just how ahead of their time they were i turning sleaze into sophistication and dancefloor detritus into poetry. Digitally remastered and packed with rarities, this is as complete a portrait of Soft Cell's ecstatic peak as you'll find.
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.
Review: One of the most legendary female producers in history of electronic music brings out her sixth solo album - not to mention her numerous seminal recordings as part of Throbbing Gristle and Chis & Cosey - and the first in three years. 2t2 is an intimate yet electrifying statement, a dualistic journey through rhythmic propulsion and meditative introspection across nine tracks entirely composed, performed and produced solely by Cosey herself. With 2t2, she expolores personal loss and global upheavalm transforming them into a defiant sonic odyssey, weaving raw energy and introspective depth together. The beat-driven tracks pulse with kinetic urgency, echoing her industrial and electronic roots, while the ambient passages invite deep contemplation. Lead single 'Stound' exemplifies this balanceiCosey's overtone chanting evokes resilience and catharsis, grounding the record in both personal and universal strength. 'Threnody' pays tribute to Delia Derbyshire and Andy Christian, weaving echoes of past creative dialogues into Cosey's present explorations. Even in its darker moments, there's a lightness, a refusal to succumb to despair, in evidende and Cosey seemingly embraces sorrow as a path to joy, a reminder that resistance and resilience are acts of creation. With 2t2, Cosey Fanni Tutti once again defies convention, crafting an album that is personal and powerful.
Review: This 2024 edition of Lament by Ultravox is a comprehensive, end-all-others 7CD + DVD deluxe edition expander including a (you won't believe) 72 tracks, with a newly remastered version of the album alongside a fresh 1980s-style extended remix. The seventh studio album by British new wave pioneers, Lament marked the final appearance of original drummer Warren Cann until the band's reunion in 2012 with Brilliant. But despite the name and the grievous context, the album was hardly lachrymose in sound, and it achieved much commercial success, owing to a prosperous prior experience with producers Conny Plank and George Martin, who drove its lush Chrysalis synthpop sound. Aforementioned remixes include contributions from Moby, Steve Wilson, Blank & Jones, and Midge Ure, while a newly mixed full concert recorded at Hammersmith Odeon in 1984 comes stapled in at the end. Mastered and cut by Phil Kinrade and Barry Grint at Air Mastering, London.
Palais Des Bauzards - "It's Disgusting" (remix) (4:31)
A Thunder Orchestra - "Shall I Do It?" (4:04)
M Bryo - "Let's Go To War" (4:18)
The Arch - "Ice In Your Eyes" (3:13)
Genetic Factor - "The Lizard King, Empty Highway" (4:55)
Elektronische Maschine - "Tanz 86" (4:07)
No Honey From These - "Dreams" (4:29)
Paschen's Law - "Magniying Transmitter" (6:17)
BeNe GeSSeRiT - "Les Aliens" (6:05)
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.
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