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Freakish Synthetic Oddity from pervert teenagers living in the remote countryside of our beautiful France.

Having already debuted on the Pinkman main label, Identified Patient now steps up for the Pinkman "Broken Dreams" series for your stripped back content. The whole EP is furnished with the sinister and commanding vocals of Sophie du Palais, also known as 'Vrouwe Fataal,' creating an infectious vortex of panic and scare to abort your dreams. Throughout the release, hazy percussion is carefully seasoned with the bitter synth lines and guitar riffs from Lasznkioff. The first track, 'Peaceful Panic' is in full seduction and fetish mode, setting the scene for the better corners. 'Sleep Without Rest' violently tightens up the leather and gives you your kicks for thrills. The EP ends with frenzy: messed up intermezzos with Lasznikoff, mixing up an 808 with his destructive guitar rig and, as he states, 'everything is done.' Throughout the release, hazy percussion is carefully seasoned with the bitter synth lines and guitar riffs from Lasznkioff. The first track, "Peaceful Panic" is in full seduction and fetish mode, setting the scene for the better corners. "Sleep Without Rest" violently tightens up the leather and gives you your kicks for thrills. The EP ends with frenzy: messed up intermezzos with Lasznikoff, mixing up an 808 with his destructive guitar rig and, as he states, 'everything is done.'

Moustache Records welcomes Senor Chugger to the label family! His debut EP 'One More Tune & One More Pint' (yes come on let's have it!!) aims to encompass the euphoric feeling of being on a dance floor with nothing but your mates and some good music (and pints). Honestly I'd be happy if that's what's awaiting me in the afterlife.

'Press the Flesh' is the head of our proverbial euphoric snake, making no promises other than you'll have a bloody good time listening to it. 'Midnight Scooter Cruise' is about those last few moments before the lights come on; feeling genuinely happy to have been able to live in the present for more than a few seconds throughout the night and have a laugh - followed by thoughts such as 'Goodness me I'm going to feel horrific tomorrow'. Flipping over to the B side (or the snake's ass, if you will), we have 2 tracks competing for the loudest snare award. 'Head in the Clouds of Smoke' is a nod towards the great times had in the peak of the midday sun at festivals, where otherwise non-smokers inexplicably decide to chuff their way through a 20 pack.


Last, but by no means least, 'Newton Abbot Reunion' is about going back home to see old friends - one of the more wholesome hangovers I'm sure you can relate to. Overall this EP wants you to keep on dancing - there will always be one more tune, and one more pint (unless you've had too many in which case don't do that). 'Very very good EP. Possibly the best I've heard this year.' - Count van Delicious 'Will you stop making your Italy disco or whatever it's called and take the dog for a walk please' - Senor Chugger's mum This is the unknown hit everybody is looking for played by Moustache Labelboss David Vunk at numberous parties, club and festivals!!!!

This is the 2020 HIT EP Be fast gone is gone!

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Spanning multiple styles and genres in a seamless blend of danceable music, the album reference synthwave, italo disco, fun and blissed-out synth sounds throughout a constantly evolving record, merging modern feels with rich tapestry of old 80's melodies.

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

Bunker 4016: Starting off this myriad of dream worlds with 'I wanna dance with you', perhaps the real new divine Donna Summer meets lady boy Marc Almond in a superhot-mixed new wave 80's electronic dance and supersoulseventies disco freak gospel orgasm? Plus some more funky dark whipping beats, add to all this some intense tragic portuguese poetry crying out all the pain and the love of creation, then finished off by the most self-destructive occult arcane darknesse of heavy electro bass industrial nightmare noise of 'mystic derwish or Shiva Sadhu drug-overkill dance' tracks, bringing, no, submitting and delivering all way out of the modern fake reality, yes, back to the cosmic source of all!

Odd synth music project for experienced ears including Deviant Funk, Cosmic Vibes and Upset Synthwave made at home.

“When I was asked to put my hands on the original tracks of Blancmange I was instantly excited. They were one of my favourite Bands when I grew up as a teenager in the 80’s. Listening to their music walking around with my Walkman back then was adventurous. Mainly because I was already in love with the aesthetics of synthesisers and drum machines. But also because it was unusual pop music with an extraordinary energy that made it in the charts. Remixing a favorite Band is challenging but I’ve tried to keep the free spirits and playfulness in my mix that makes Blancmange still so special after all these years” – Roman Flügel

Roman Flügel remixes the cult 1980s classic that is ‘Living On The Ceiling’, and the result is a killer, off-kilter slice of club-focussed machine funk that contains the same wonderfully bizarre cocktail of traits, that Blancmange always boasted in spades. Eerie and schizophrenic but also both bright and triumphant. Also features the original and sought after extended mix.

The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.

Music From Memory are delighted to present Fools’ debut album ‘Fools’ Harp Vol. I’ and the first
solo release of American musician Christopher Bear. Drummer and multi-instrumentalist of cult
Indie band ’Grizzly Bear’, ‘Fools’ is a pseudonym that Christopher has been using while working
on his independent music making for some time now.

Often finding the structure and form of a more traditional ‘song’ and the concept of an album too
restrictive, Christopher finally set aside a six week period in the summer of 2019 to explore the
possibilities of jamming alone and seeing where it took him: recording each instrument himself
and then responding through improvisation to his own recordings, Whilst doing most of the
recording in a digital set up, he also set out to capture some of the same mental and sonic
space from his time recording on 4-track.

The results of these Fools’ sessions, he explains, feel “almost more like a mixtape than an
‘album’ per se” to him. With a sense of the dichotomy between nostalgia and the future, ‘Fools’
Harp Vol. I’ seeks to transport the listener to a world both familiar and comforting, exploring
something undiscovered while maintaining a deep sense of openness and curiosity.
The album will be released in vinyl and digital formats with a cassette release to follow including
additional bonus tracks.

Synth-pop pioners OMD return with their dazzling 13th studio album 'The Punishment of Luxury' which sees them combine the wistful nostalgia and idealised romance of their previous work while stepping out of their comfort zone. The LP is out September 1st on 100% Records.

The follow up to the critically acclaimed 'English Electric' (released in 2013) 'The Punishment Of Luxury' is a daring collection of stylish synth pop and masterful songwriting which will certainly rank alongside their very best.

Written, recorded, produced and mixed by OMD - Andy McCluskey and Paul Humphreys - the album is the sound of a band in their prime. 'On this album we have managed to make beautiful things out of noises and repetitive patterns', explains Andy. 'The trouble is, we just cant help but write a catchy melody!'

The album takes its name from an 1891 painting by the Italian Giovani Segantini and contains everything from the Kraftwerkian 'Isotype' and 'Robot Man' to the blue eyed soul ballads of 'One More Time' and 'The View From Here' as well as more traditional OMD songs like 'Kiss Kiss Kiss Bang Bang Bang' and the synth heavy title track.

Described by The Quietus as not just one of the best synth bands ever - they are one of the best bands ever', OMD's influence has become ubiquitous. The xx, the Killers and LCD Soundsystem's James Murphy have cited OMD as an inspiration, and the likes of Future Islands and Chvrches show traces of OMD's DNA.

IN THIS MORBID ECSTASY A RELEASE IS NEEDED is the never commercially released 1987 album by THIS ETERNAL WAITING. A mixed bag of minimal synth, experimental, industrial and electronic body music. The project reached the vinyl test pressing status only, 50 white label copies were pressed and used for promotion amongst djs and distributors. Full artwork was prepared for the album but it remained unused and unseen as the commercial release on the band’s own ‘I Live In Hell Records’ label was cancelled.

For more than 30 years the album has slept a giant’s sleep, highly sought after by collectors looking for a copy of the white label 12” but being absolutely impossible to find. Luckily, the 1⁄4” master tapes and original photoliths for the artwork were salvaged so we were able to work with them and offer you the fully finished, carefully remastered album for the first time ever. An additional track called “Don’t Stop” has been included, a 1988 live session that Frank O’Neill did with Ronan Harris (yes the guy behind VNV Nation). An incredibly powerful EBM killer to round up this awesome album.

We are extremely excited to FINALLY bring you this highly sought after record on a limited, hand numbered

Edition of 120 copies on standard black, housed in a heavyweight matt finish sleeve with black inner sleeve, including a double sided insert with pics and credits and a download code.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

The fourth part of the Wave Earplug series trying to support the underground wave scene across Europe. Released on vinyl LP limited to 500 copies. This time artists come from Albania, Canada, Germany, France, Colombia, Slovakia, Sweden, Belgium and Hungary.

The "INSOC EP" contains the first official recordings from the legendary Minneapolis music collective Information Society led by founder/producer Paul Robb.
Originally released on vinyl in 1983 the EP became extremely difficult to find. Now, for the first time since 1983, Mannequin Records is giving it a new birth on wax, this time including a bonus track "Charentiesm" never appeared before in any format, which is the first track ever recorded by Information Society in 1982.

"Time To Dream But Never Seen” is the 6th album by Keith Seatman and his his first release for Castles in Space. Keith Seatman’s music is an anachronistically repurposed assemblage of sounds, melodies and technologies plundered from different time zones. 'Time To Dream But Never Seen', however, is far from being a haphazard and spontaneous
collage. Keith’s busy and dense soundworld is composed through a very deliberate and painstaking process.

Unlikely musical and sonic juxtapositions artfully evoke a sense of place and narrative. This latest excursion into bad-trip psychedelia is shot through with wistful and whimsical melodies and occasional haunted voices. On 'Last One In', for example, what could be a chirpy and exciting theme tune to a 1970's kid’s adventure series is modulated into a minor key by a sinister synth bass line and menaced by a stomping bovver-boy rhythm.

In the opening track, 'On to the Pier & Down to the Sea', the amusement arcade din is submerged in a watery digital swirl during. Likewise, on 'Tippy Toe Tippy Toe' the tiddly-om-pom-pom of the pier is heard from the point of view some approaching aquatic creature or perhaps by a drowning man.

The closing section of the album shifts focus from the seafront to it's rustic precursor, the mayday fair. Something weird comes to the village in 'Waiting by the Window', sounding as if late period Radiophonic Workshop (when they got hold of expensive synths) had popped back 15 years to work with their boffinish tape wielding forbears. It summons an atmosphere like a Nigel Kneale drama or one of those folk-horror inspired episodes of Dr.Who.

Finally, the album’s closing title track seems to offer a chance of escape to a more rustic idyll with melancholy mellotron flute and mumbled nursery rhymes. But as the album closes it feels like a relentlessly inescapable holiday-special steam train drags us back On to the Pier & Down to the Sea. Jim Jupp (Belbury Poly, Ghostbox Records) Comes with download code.

Seit einiger Zeit arbeitet die deutsch-brasilianische Künstlerin Gloria Endres de Oliveira, die auch als Filmemacherin (Musikvideos, Kurzfilme) und Schauspielerin (u.a."Babylon Berlin", "Die Pfeiler Der Macht", "Counterpart" und aktuell in Christian Petzolds "Undine" (Berlinale 2020)) aktiv ist, an der Verwirklichung ihrer musikalischen Vision. Zuerst gemeinsam mit spampoets im Duo Lovespells, seit letztem Jahr als Solo-Artist GLORIA DE OLIVEIRA. Nach Auftritten beim Further Festival und der c/o pop veröffentlichte sie in der zweiten Jahreshälfte 2019 die beiden EPs "La Rose De Fer" und "Lèvres De Sang" auf ihrem eigenen Label La Double Vie. Abgemischt im Hamburger Studio Cloud Hills Recordings, definieren sie Gloria de Oliveiras betörendes Soundspektrum zwischen Dreamwave, Ethereal und Goth Pop. Nun veröffentlicht das Kölner Label REPTILE MUSIC die Compilation der beiden EPs als "Fascination" (sprich Französich fa·si·na·syon) erstmals auf Vinyl und CD. Die LP beinhaltet die 10 original Songs der beiden EPs remastered und in neuer Reihenfolge, die 17-Track-CD-Version sowie das Digitale Album kommen mit zusätzlichen sieben Remixen von u.a.Gudrun Gut (u.a. Malaria, Monika Enterprises, Greie Gut Fraktion) Box And The Twins, Fragrance., Tellavision und The Wide Eye. Unterstützt wird die intime Atmosphäre ihrer Songs dabei durch eine entsprechende Visualisierung in bisher größtenteils selbstproduzierten Videos. Zur Vorabsingle "The Only Witness" erlaubt ab Anfang März der von der Hamburger Regisseurin Julia Ritschel aufwändig produzierte Videoclip einen weiteren faszinierenden Einblick in Gloria de Oliveiras universelles Kunst- und Klanguniversum. Parallel dazu wird GLORIA DE OLIVEIRA Ende März das US-Duo TEMPERS (DAIS/Secretly) bei fünf Konzerten ihrer anstehenden Deutschlandtour begleiten. Für Liebhaber von Cocteau Twins, Lebanon Hanover, Stina Nordenstam, Hilary Woods, introvertierter Marie Davidson Genres: Independent | Dreamwave | Synthwave | Ethereal | Electronica

for the 1st time the Official remastered reissue of the original 1985 recording with original artwork - full picture sleeve ! 350 limited copies, 2014 under license of Expanded Musuc srl Italy. Kirlian Camera are one of the pioneers of the Italian electronic scene. Active since 1979 under the name Suicide Commando, the band changed name in 1980 releasing the first demo-tape Dawn and the self-titled mini-album in late 1981. The early records contain a mix of synth pop and new wave/dance songs, while towards the end of the 1980s' Kirlian Camera's music became darker, turning into electro-gothic sound. Nearly every release since then has explored different fields, from industrial to ambient and trip-hop. Credits Engineer ñ Allan Goldberg, Dario Caglioni Producer ñ Allan Goldberg, Angelo Bergamini, Oderso Rubini Notes Simona Buja: Lead Vocals & Backing Vocals Angelo Bergamini: PPG 2.3, Yamaha DX-7, Roland Juno-60, Bechstein Coda Piano, Linn Drum Computer Programming,Voice on "Call Me",Electronics Paul Sears: Rickenbaker 12-Strings Guitar,Additional Effects. Produced by Oderso Rubini, Allan Goldberg with Angelo Bergamini. Recorded & mixed Early Spring '85 at Lark Recording Studios in the Castle of Carimate-Como-Italy Sound Engineer:Allan Goldberg/Assistant:Dario Caglioni Art Cover:Anna Persiani/Photo:Nadir/Special thanks to:You & Me-Fedi International Spa Distribution-Mr.Maguolo (Clothes) Giusy-Orea Malia (Hair & Make-Up)/Chuck Mallozzi (Celestial Systems)/Orlando Ghini (Musical Co-Inspiration)/Steffano Buzzi "Call Me" is dedicated to M.M.

for the 1st time the Official remastered reissue of the original 1981 recording with original artwork - full picture sleeve ! 150 limited copies, 1st copies on red vinyl, under license of Expanded Music srl Italy Kirlian Camera are one of the pioneers of the Italian electronic scene. Active since 1979 under the name Suicide Commando, the band changed name in 1980 releasing the first demo-tape Dawn and the self-titled mini-album in late 1981. The early records contain a mix of synth pop and new wave/dance songs, while towards the end of the 1980s' Kirlian Camera's music became darker, turning into electro-gothic sound. Nearly every release since then has explored different fields, from industrial to ambient and trip-hop. Credits Artwork By (Sleeve Design & Cover Illustration) ñ Kampa Bass ñ Giorgio Vecchi Electronics ñ Angelo Bergamini, Fabrizio Chiari Engineer ñ Stefano Barnaba Keyboards ñ Angelo Bergamini, Simona Buja Lead Vocals ñ Simona Buja Performer (Devices) ñ Giorgio Vecchi Photography (Back Cover) ñ Studio Papillon Producer ñ Kirlian Camera, Oderso* Vocals ñ Angelo Bergamini Written-By ñ Bergamini* (tracks: A1, B1, B2) Notes Recorded at Italian Records Studio, Bologna (Italy).Special thanks to Mauro Montacchini.

The artist from Utrecht, called Solotust, makes his debut on the Soil records label with a 6 song mini Lp. All of them are loaded with dark melodies that move between minimal synth, dark krautrock and synth pop. Harmonic voices linked with synth lines that will make you transport yourself to the space directly.

Minimal Wave is proud to present "The Sound of Indifference", a rare cassette released in 1981 by Aural Indifference. Aural Indifference was a post-punk studio collective from Sydney, Australia. The two principal members were Brian Spencer Hall (the M Squared in house producer) and Kevin Purdy. The cassette album, The Sound of Indifference, was released in 1981, featuring tracks such as "Theme", "Park, and "Man Am I Progressive". Their sound ranges from minimal synth, to post-punk to quirky guitar-driven electronic folk music, some of it resembling John Maus. "Theme" appeared as the closing track on The Minimal Wave Tapes: Volume Two compilation and "Park" appeared on The Bedroom Tapes compilation. Here for the first time, we are offering a reissue of the original cassette, remastered from the master tapes and complete with original artwork, limited to 300 copies.

NAO KATAFUCHI says about himself that he's a Japanese artist who makes electronic music with a guitar & a semi vintage synth box, creating his own world ofcold romantic wave.' Originally from Tokyo, Japan, he relocated to New York in the early 90's where he worked as an audio engineer for recording production companies, and where he found musically kindred spirits at the Brooklyn based Wierd Records' parties (Epée Du Bois, Led Er Est, Martial Canterel, Sleep Museum, Xeno & Oaklander, etc.). His highly acclaimed debut EP 'Yumegoto' was released on W.T. Records in 2012 and now Nadanna is proud to release NAO KATAFUCHI's debut full time album Émergence'. If features contributions from Liz Wendelbo (Xeno and Oaklander), and the shiny stars of Japanese electropop and minimal synth/wave Tomo Akikawabaya, Tona Ohama and Kevin Komoda (Rational Youth).

Second volume from the mysterious Go Music collective. Wicked evocative melodies and weird electronics.

Here is the highly anticipated sixth volume of the well received electronic compilation series from the relaunched 1980's color tapes label. As with the other volumes you can find great examples of cold wave, minimal wave and synth electronics and pro to EDM made by obscure British bands in the 1980's such as: Berserk In A Hayfield, Lives of Angels, Silicon Valley, Modern Art, Disintegrators, Echophase, The Lord and Mystery Plane

"Up there with V-O-D selections, the Color Tapes series so far has provided invaluable insight to hidden or much lesser-known currents of the ‘80s cassette subculture which gave birth to myriad artists, styles and industry conventions whose influence can still be felt over 30 years later. " - Boomkat

“Electronic work that’s way different from mainstream pop of the period - often forgedout of the same instrumentation as the hits - but in a stripped down way - with lots of dark and moody corners!” Dusty Groove

“Evil Synths and evil beats” - Norman Records

“Gary Ramon’s re-born Color Tapes imprint is every bit as essential as it’s Minimal Wave and electro-focused predecessors” - Juno

Limited edition of 500 copies comes with poster insert

SDH return with the Against Strong Thinking EP, which follows its 2018 self-titled album. Although six songs may be insufficient, their new tracks highlight the strengths of their debut. The beats are deeper, the atmospheres sadder.

The band continues to explore the musical language as a poetic form and trying to discover new questions that allow the great categories of thinking to be undone. Against Strong Thinking talks about the importance of facing all that categorical, dogmatic and conclusive thinking. There is a need for dialogue with everything that seems unquestionable. Again, the questions guide all the songs and, again, there is no single answer. Sometimes this doubt is fertile, sometimes it is painful and involves a total and profound loss.

The album begins with Suffer, a perfect song to cry in late night clubs, dancing with tears in your eyes. But SDH know how to make a crowd dance too. No Miracles is an instant banger and Your Next Story sounds cruelly sexy. Poem Against Strong Thinking and Four Arms have that melancholic trademark sound with interesting musical progressions that we discovered in their first album and there’s also a good surprise: the inclusion of a re-recorded version of You Pt. 12, the first song released by SDH in 2016, this time with a better production that makes it easily one of their best tracks.

The importance of the body, the senses, the dance and the dialectic is present in each theme as a form of struggle of a voice that dialogues with itself against the firmness of its own strong thoughts.

Bordello is back with a new compilation series: Diamonds In The Night. An homage to the hours of darkness (and the great composer who went by the name of Felli – R.I.P.).

From ecstatic peak time dance floor action to erotic euphoria and it's more edgy after hours just before dawn. For the first volume we’ve selected four fine diamonds by The Hacker and Voiron from France, Armonics from Italy and Discobeton from Bulgaria.

Through darkness diamonds spread their richest light…

Trying to build cultural bridges across the world, powering connection between dancefloor activists, Hard Fist thinks Princes Of Abzu not only as a compilation but as a tool to give space for expression to local legends like Kaan Duzarat in Istanbul or to upcoming artist such as Linja or Feller who are doing here their debut on wax. A tool to promote another vision of dance music, obviously produced to dance, but also to think, to raise curiosity, to keep a daring spirit and an open mind.

"In popular imagination, the early 80s were dreadful. Thatcher and Reagan led the world on a diet of austerity, unemployment and depression. The Berlin Wall separated East from West. The Sex Pistols had broken up. In sum, the future was unsure. Belgium was no exception. While Punk had been declared dead by some, its spirit was still roaming in country parishes and city alleyways. As the Catholic bourgeoisie provided young people with few opportunities, music was an obvious pastime. Teenage hopes of starting a band and putting out a record were everywhere. Organized Pleasure and Satin Wall were two bands living the dream. In contrast to a thousand others, they left us sounding evidence. This split 7” gathers two tracks originally recorded in 1981. It was the first and only studio excursion for both groups. After some local gigs, the people involved moved on to other projects. While their music is illustrative for the era, their story is distinct. Same but different."

Iron Sight (Isak Hansen) returns on Strange Therapy with the second chapter of his sonic story: The Broken Son. The Danish artist continues his saga with a very narrative work exploring his inner world and memories throughout a double cassette release. Expect grim atmospheres and industrial-tinged scenarios, in which noisescapes and distorted vocals deliver a sincere and powerful performance enriched by crunching rhythms. But this not all: eerie and evocative ambiances, as well as surprising elements coming from distant sonic dimensions, shows us another side of his soul and art in a work full of pathos.

A Losers Game welcomes us with sparse rhythms and noisy vortexes underlined by aggressive vocals and mysterious atmospheres. A sense of dread and tension grows around us giving aural form to inner turmoil and unspoken words. Orchestral synth-lines enrich the track with an elation doomed to be cut short by the main theme. The Loser starts as an ambient piece full of evocative sounds and soothing atmospheres, a different affair showcasing emotional takes and grandiose choirs and arches. Then, destructive kick drums and malevolent vocals perturb our peace once again without forfeiting the previous motif in a climaxing communion of opposites.

This Is Not Your House/The Family rewards us with a beautiful mantra full of elegance and orchestral undertones. A hidden crescendo reaches desperate shouts among celestial soundscapes fusing ethereal movements and sharp noises – giving once again body to a mental dimension made of contrasting feelings. I Had A Name explores droning effects in a rare atmosphere rich in majestic awe, adding horn sounds and mechanical glimpses. We reach a compulsive march made of war drums and demonic vocals in a slow but crushing manifestation of rage. The perfect balance between elements conjure a unique feeling in the listener.

So Wrong dwells in dark ambient paranoia before engaging us with broken rhythms and sulfurous passages, building a techno-gothic pastiche with organ sounds. Iron Sight’s craft shows itself by the means of corrosive bass sounds and roaring vocals, picturing a scenario made of fractured tension. A suffering mind finds here is apt description thanks to a well thought songwriting, as well as a beautiful passage during the final part of the number. Devil’s Deadly Stare surprises us with soulful choirs akin to ethereal music, upon which a clean voice sings for us a crooning piece. This is a moment of pure bliss and a demonstration of Isak’s love for music in various forms. The listener will maybe think to retro and folk elements, but the track finds strength in its own peculiarity.

Cell employs sharp noises in a hypnotizing theme with droning repetitions and sparse sound, a representation of brooding feelings reaching sudden hard and distorted beats. Hoarse vocals guide us in a hellish but crawling mantra made of restrained aggression. Something is following us in its sonic corridors, but we never find a real conclusion to the alarming chase – the episode ends abruptly with a sense of suspense and dreamlike stupor, Gods Eyes ends our journey with elegant arpeggios and the usual sparse electronic elements. But if we think this is just a peaceful outro, we have to think again: stomping distortions and ogre-like vocals have their say during the slow crescendo. There is no happy ending at the end of the album, a sorrowful desperation mixed with rage is the final statement of a work of sonic art.

Wetware are Roxy Farman and Matthew Morandi. Their debut record Salpinx, is a world of poly rhythmic, modular synth driven punk.

Ivan Smagghe & Rupert Cross collaborate again.. and it's another beauty! TIP!

"This second LP on Offen is an ajar window overlooking the phantasmagoric world of Smagghe & Cross, a remembrance of days that never were. The music is sparse, the past is forever : ghosts of industries are conjured through the English countryside, fading memories play static with an idea of romance, the sun breaks through the iron clouds. A record free of uncouth nostalgia but laced with ethereal melancholia. "

When Elena Colombi launched the Osàre! Editions label in the autumn of 2019, she explained that the label would become home to bold, daring, future-facing music rooted in experimentation and free-spirited musical abandon. These are all descriptions that could apply to the label’s latest release, a retrospective album of little-known works by Greek musician and producer Thanasis Zlatanos.

Many will not have heard of Zlatanos, or Nekropolis, the band he fronted alongside dear friend and regular collaborator Trygve Mathiesen, yet the music he made during the 1980s was otherworldly, intergalactic and undoubtedly alluring. These songs and instrumentals made extensive use of analogue synthesizers and lo-fi drum machines, as well as Zlatanos’s trusted Gibson Les Paul guitar and his own distinctive voice.

Stylistically, the musician and producer refused to settle on a specific sound, preferring instead to create inspired, often mind-altering pieces that join the dots between wave music, skewed leftfield pop, ambient, prototype electronic and Madedonian folk music. Operating for much of the period from a crumbling house earmarked for demolition, Zlatanos kept up a daily music-making vigil that resulted in a vast vault of music, most of which has remained unissued since the 1980s.

The breadth of and width of Zlatanos’s distinctive approach is laid bare on Retrospective, a compilation album prepared by Colombi and the artist himself that draws on tracks from his numerous albums, those by Nekropolis – whose sophomore set “The New Europeans” was banned in Norway – and his epic archive of previously unheard material.

The artist’s singular but wide-ranging musical vision is free for all to see across the 13 tracks stretched across the vinyl version of the album (digital buyers also get a further four superb cuts). It veers attractively from the ghostly, traditional-meets-futuristic new age electronica of “The Crystal Sight (Excerpt)” and the doom-laden coldwave throb of “Master Chameleon”, to the undulating, soft-touch creepiness of “Surreal Moment”, the Vocoder-laden operatic poignancy of “The New Barbarians” and the squally guitar solos and effects-laden electronics of “The Light”.

Words from the artist___:
"I live in the Internet. Visits from outer space make me compose. I breathe here. I am the master chameleon, the psychedelic clown. I am not here anymore, neither in the picture, nor the reflection. Our bed is a boat that takes us tomorrow without us.

Here is an album of dreams and digital emotions. Analogue recordings made with a Prophet, a Moog Rogue, a tape recorder and a Gibson Les Paul guitar.

As far as I can remember I have always been in a recording studio. I listen to, understand and live my life through songs and music. I have worked alone and with friends such as Trygve Mathiesen. Although I am a guitarist, I continue to work with synthesizers on music that blends elements of Macedonian folk music, recordings from the streets and embryonic electronic sounds.

Some of my albums have been critically acclaimed, others banned by radio stations. For years I worked on endless recording sessions in a crumbling house that should have been torn down. The music on this retrospective compilation was recorded at various points between 1982 and the present day. Some of the compositions first appeared on previous albums, while others have never been released before. They were sat on tapes waiting for a saviour. Now that saviour has arrived and they can be free.

For further proof of Zlatanos’s unique sonic approach, check the startling contrast between the bass-laden slacker pop headiness of “No Expectations” and the spacey ambience of “The Dead Don’t Remember”. Considered together, the selected pieces and those elsewhere on Retrospective forms a snapshot of a genuinely unique and visionary musician, composer and producer. It’s a celebration of someone whose work has previously been overlooked."

Cititrax presents a full length LP by a new duo called Tornische. Julio Tornero and Hanna Chamiarytskaya (aka Anneq) got together in Madrid after having met through mutual friends. Immediately, they bonded and found a musical chemistry between them. They went into the studio and began revisiting Julio's unreleased archives, incorporating what he had already recorded years ago with fresh sounds and Neu Deutsche Welle style duets. The result is a modern, chaotic, take on 80s European new wave, 90s detroit electro, and contemporary indie pop. The energy level is always high, the melodies are catchy and the vocal delivery and lyrics futuristic, subversive, italo-disco / punk, and surreal. A special album, this one is line with Medio Mutante's classic debut EP, 'Inestable' (2008) and not unlike the pioneering sound of Liaisons Dangereuses.

The vinyl will be pressed on 160 gram ultra clear and limited to 500 copies. The record is housed in a PVC printed sleeve, with a neon graphic designed by Peter Miles. The back features an image by Nastya Porukevich along with the track titles and album info.

Supremely hungover, red-eyed-and-can't-quite-be-arsed but utterly life-affirming bedroom/loner-pop masterpiece from the Itchy Bugger. Songs that somehow combine punk concision and psychedelic whimsy… lusher and more intricately arranged than on the first LP, even as they double down on the DIY, drug-scrambled weirdness, and that unmistakeably private, nocturnal, kitchen-creeping, don't-wake-the-flatmates vibe... oh yeah and still with that same sadsack fucking drum-machine beat on every song.

The careening bonehead riffage your man contributes to Heavy Metal and Diät is here repurposed into something more textured and introspective and jangling and DAZED, making us think of The Moles, Pip Proud, subtly out early 90s Flying Nun gems like David Kilgour’s Here Comes The Cars or John Kelcher’s Personal Disorganiser, as well as things like Razorcuts, Afflicted Man, Solid Space, Beauty Contest, Television Personalities...

p.s. comes with download code for the dogs!

The first longplayer by this Minimal Synth Wave band from Los Angeles. Image Of Life is a side project of the singer of the band PURE GROUND.

Repress

Alessandro Adriani weaves a nightmarish scenario as the Mannequin man returns to Pinkman's Broken Dreams with four hardened works. Beats are shaven into rigid points as EBM echoes are speared with contemporary contempt. Throughout the quartet are moments of exotic abstraction, psychological stresses and visceral disorders. Music for sleepless nights and addled minds

From Nursery to Misery were three teenagers who grew up together on the same street in Basildon, Essex. Formed in 1987, the band was comprised of vocalists (and identical twins) Gina and Tina Fear, along with keyboard player and producer Lee Stevens

Katsoulis has been making avant-garde electronic pop steadily since the early '80s, but it wasn't until 2014 that he transcended cult status. That year, Into The Light issued a collection of Katsoulis' early and unreleased material, The Sleeping Beauties.

In October, Alex Bradley's Utopia Records will handle a new record from the low-key artist. The press release says of the opener, "All The Blue Skies," "Katsoulis and his accompanying musicians deliver a diverse and contemporary work with a level of sophistication that will challenge the current electronic musical landscape." The label adds that "'Grand Delusions' sounds like it could work in a Berlin techno club, from a man that has probably never been to one."

Katsoulis is becoming more active in the underground electronic music scene as of late. He performed at the inaugural Strange Sounds From Beyond festival in Amsterdam in June. A 2015 remix EP featured Young Marco, Max D and Telephones interpreting tracks off The Sleeping Beauties.