WRWTFWW Switzerland レコード& CD

Review: Few tracks capture the icy allure of early 80s electronic experimentation quite like this underground classic. Originally released in 1981, this Swiss post-punk/coldwave classic has transcended its era, becoming a cult favorite across underground scenes and DJ sets of various genres. Now reissued on limited blue vinyl, its influence remains undeniable. 'Eisbaer' is a track that bridges stark, minimalist electronics with the raw energy of post-punk. The hypnotic bassline and cold, robotic drum programming lay a foundation for jagged guitar stabs and eerie synth flourishes, creating an urgent, mechanical pulse. The disaffected, almost mantra-like vocalsideclaring "Ich mochte ein Eisbar sein" ("I want to be a polar bear")iheighten its existential detachment. Echoes of Throbbing Gristle's industrial edge and Cabaret Voltaire's abstract electronics blend seamlessly with the emerging synth-pop movement, helping to push new wave into more danceable, electronic territory. Side B's 'Film 2' takes a more abrasive approach, a pounding, near-industrial instrumental that pulses with motorik intensity. 'Ich Lieb Sie' is more restrained but equally unsettling, its sparse arrangement and ghostly atmosphere reinforcing Grauzone's unique ability to evoke emotion through minimalism. Timeless and still chillingly modern, this reissue ensures that Eisbar and its B-sides continue to inspire. A crucial document of coldwave's evolution, reaffirming why this track remains a DJ favourite decades later.

Review: WRWTFWW Records is back with a third collaboration with Japanese electronic, ambient and synth-pop group Interior. This time they reissue a forgotten 1989 solo gem by band member Daisuke Hinata that very much deserves more spotlight. Tarzanland captures the essence of late-'80s California with sun-soaked kanky? ongaku, minimalistic proto-chillwave and breezy synth melodies all washing over you in delightful fashion. Its lush soundscapes evoke the likes of Steve Winwood and Steely Dan as it is infused with nostalgia and serene electronic sounds. They make for a blissful journey through simple pleasures, where ocean waves and warm breezes empty your mind of all but the nicest of thoughts.

Review: The Sonatine (1993) soundtrack is an exceptional work from legendary composer Joe Hisaishi, known above all for his in-house scores for Studio Ghibli. This inviting compendium of neoclassical, synth-driven, turn-of-the-80s electronica highlights the infamous artist's contemplative, intimate side, bringing an equally sparring yet evocative experience. Not a Ghibli contribution, the score instead accompanies a signature addition to the filmography of Takeshi Kitano: Sonatine is a stylish yakuza crime thriller following a weary gangster sent to Okinawa, where violence and existential reflection intertwine. These pensive, purgatory pieces are equally capable capacity to melt and enrapt the listener's heart, with refulgent piano and Roland DJ-800 / D-50s scoring a distinctive J-chillout mood (just listen to those flourishes on 'Play On The Sands').

Review: The Expanded Edition of Alan Howarth's They Live brings new life to the cult classic 1988 film's soundtrack. Howarth is well respected, not least for his collaborations with John Carpenter, and here captures the film's eerie tension and anti-consumerist themes with moody synths, bluesy motifs and minimalist sound design that is always hugely evocative. This expanded edition offers remastered audio and additional cues that heighten the mood and deepen the atmosphere. The music's hypnotic, slow-burning energy perfectly mirrors the paranoia and grit of the movie, so it's a landmark score in sci-fi and horror soundtracks.

Review: Wipeout XL was a game changer for electronic music, video games and the marriage of the two and it no doubt, inspired legions of fans of both throughout the last 25+ years. This adrenaline-charged album - inspired by the iconic series - delivers six high-energy tracks, each contributed by two artists known for their mastery in electronic music, immersing listeners in a fast-paced, futuristic anti-gravity racing adventure. With thunderous breaks, atmospheric jungle rhythms and liquid drum & bass, the album captures the essence of 90s and Y2K video game soundtracks, while evoking the smooth vibes of artists like LTJ Bukem, Peshay and Soichi Terada. Each artist brings their own flair, contributing three tracks each to the limited-edition LP, which comes housed in a heavyweight 350gsm sleeve designed by the legendary junkboy, creative director at Mojang Studios. The vibrant artwork perfectly complements the album's energy, creating a visual and auditory experience that transports listeners to another world. Following a string of successful releases, this album offers a turbo-charged, nostalgic escape for fans of synthwave, jungle and drum & bass, while also appealing to those who cherish the golden age of video games.

Review: Swiss imprint WRWTFWW continues to do deep dives into the forgotten corners of electronic music history, returning with shining sonic pearls of genuine historic significance. Here they deliver a first ever vinyl pressing of early Japanese electronic music producer (and bona fide experimental hero) Yashio Ojima's 1983 album Club, a set that was originally only released on an exceptionally limited cassette. Given its vintage, the album has held up incredibly well, in part because its unique, unearthly blend of minimalist electro, music concrete-inspired loop experiments, off-kilter ambient soundscapes and picturesque, post new-age soundscapes remains as far-sighted and unusual in 2024 as it did 41 years ago.

Review: Check classic dance music books of the 1990s - and even some later music texts, such as Richard King's The Lark Ascending - and you'll find plenty of praise for Ultramarine's work of the early 1990s, which added pastoral and folk-rock inspired sounds to the sample-heavy pulse of dance music. What you won't find is any reference to their final album of the decade, A User's Guide. Yet it may well be their best album. A conscious exploration of techno and IDM shot through with references to Detroit, Berlin and Sheffield (well, Warp Records at least), it reportedly took the duo almost two years to record. A largely unheralded British techno classic, it has been painstakingly remastered for this first ever vinyl reissue and boasts extensive contextualising liner notes from UK techno historian (and sometime Juno writer) Matt Anniss.

Review: Shinichiro Yokota's legendary discography finally arrives on vinyl with The Pitstop Box, featuring 24 essential and exclusive tracks. Originally available only in Japan via Far East Recording, this long-awaited collection highlights Yokota's signature blend of funk, hip-hop, electronic and Japanese influences. It features house classics like 'Right Here Right Now' and 'Night Drive', plus a cover of Haruomi Hosono's 'Simoon' and a collaboration with Soichi Terada that is packed with signature melodic sugariness. Inspired by his love for sports cars, The Pitstop Box is a brilliant overview of one of house music's finest talents..