Back catalogue: Coldwave/Synth

Review: CyberindustrialEBMwavepost-punkIDMmutantelectro. No commas, no punctuation, just one throbbing, convulsing, dystopian mass informed by the bleakest visions of a sci-fi future we deserve but definitely don't want. Originally hailing from Australia, but long-since relocating to Berlin's eastern ends, Kristian Bahoudian, AKA Kris Baha, has clearly absorbed his surrounds, grown through them, and learnt how to channel that brutalism into something truly potent. It's also narratively driven, with the titular spirits in the system a reference to humans in the age of advanced artificial intelligence - beholden to dictatorial codes that rob us of our essence, vitality and individuality. An awakening among a select few means a small number of people become self-aware, again, and can begin pushing back. And this point of tension, between human and machine, plays out sonically. Talk about painting a vivid picture.

Review: In many ways the critical reception to Dave Gahan's debut solo outing is still surprising. Mainly because a good number of critics seemed surprised at the depth and assurance of the record, which kind of seems to deny the fact this is the voice of Depeche Mode, arguably one of the finest bands to ever come out of the UK and certainly a group that understand what it means to layer musical textures and meld multiple themes.

'Stay' might be the best case in point. It's patient, it's elegant, there's a real air of sorrow but also you can't help feeling loved while listening to it. Balladry in the truest sense, the fact that track is sandwiched between the soft half-house music of 'I Need You' and the epic, theatrical anthem 'Black & Blue Again' is a case in point. A real journey.

Review: Canadian composer, arranger, songwriter, and electronic music pioneer Mort Garson just keeps on giving, even now, 15 years after his death. Archival releases since have come not-so-thick-and-fast, but occasional and well thought through, with Journey to the Moon & Beyond the latest example of this. Not, as the cover and title might suggest, the score to some forgotten 1970s animated classic, but instead a collection of stuff very few will have heard before, let alone had opportunity to buy, it's really something special. On the track list, then, you'll find the soundtrack to 1974 Blaxploitation movie Black Eye, or at least part of it. Similarly splendid, but in a very different way, are the grand tones of 'Zoos of the World', originally made to accompany a 1970 National Geographic special of the same name. Then there's the music he wrote for the 1969 moon landings, as used by CBS News at the time. History bottled, or rather pressed, get it while it's fresh (and in stock).

Review: It can often take months or even years of therapy to even begin to start addressing the real reason you're in the room talking to a trained professional. For Gazelle Twin, it has taken three albums - and more than a decade - to get to a point where it feels comfortable enough to turn her razor sharp songwriting gaze inwards. So, whereas before we heard observations on outward looking subject matter, here we take a turn for the insular. The result is an altogether darker experience, musically and thematically. There's a constant sense of drama and tension to this art-pop odyssey, and subjects such as childhood trauma - and its impact on our adult selves - are never off the table. Almost operatic, while there's plenty here to challenge, not least the universal expectation that later in life things get less scary, ultimately Black Dog is also about overcoming and confronting our most existential fears.

Review: It's a shame that Geneva Jacuzzi doesn't come out with her own releases more often, as we've been big fans of her work - and her voice, of course - ever since her first releases began to emerge around 2008. She's back with a bang on Seattle's Medical Records, home to some of the finest synth pop and coldwave of the last five years alongside the likes of Minimal Wave, kicking things off with the deliciously danceable kicks of the title track, "Technophelia". More playful moments like "Casket" "Cannibal Babies" are frequent and full of life, but we're really into the darker, broodier cuts such as "God Maker", "Ark Of The Zombies", or even the fantastic "Squid Hunter". Tipped!

Review: Dark Entries are reusing two albums from Philadelphia-based experimental duo The Ghostwriters. their debut as well as this follow-up, Objects in Mirrors Are Closer Than They Appear from 1981. Formed by the late Buchla innovator Charles Cohen and multi-instrumentalist Jeff Cain in 1971, the duo initially performed as Anomali before evolving into The Ghostwriters. Their work is a mix of improvisation and composition and it always stood out for its unique electroacoustic sound shaped through collaborations with visual artists and choreographers. Objects in Mirrors delivers eight minimalist tracks to get stuck into from the chaotic groove of 'Fix It in the Mix' to the ethereal "Moon Chant.' This remastered edition includes photos, and liner notes, and will donate proceeds to SOSA (Safe from Online Sex Abuse).

Review: Dark Entries returns with Remote Dreaming, the ambient masterpiece by The Ghostwriters aka Philadelphia duo Buchla master Charles Cohen and multi-instrumentalist Jeff Cain, with proceeds benefitting SOSA (Safe from Online Sex Abuse). Formed in 1971 as Anomali, the duo adopted their Ghostwriters moniker and blended improvisation with structured composition. Following their debut Objects in Mirrors Are Closer Than They Appear, they crafted Remote Dreaming over nine months across various studios. Cain played electric and acoustic pianos, the Juno 106, and the Mirage sampler, while Cohen used his Buchla 200 Series. This double LP has been freshly remastered and includes five additional tracks, four of which are previously unreleased.

Review: Brian Gibson has worn a few hats. All of them of high musicality and thoroughly innovative. To some, he's best known as bassist for the legendary duo, Lightning Bolt. For others, he's the guy behind a slew of fantastic video game soundtracks and compositions. Not least 2016's epic, Thumper. No prizes for guessing where this is going, Thrasher is the long-awaited sequel, marking his return to virtual reality worlds. The game itself has been described as "a mind-melting arcade action odyssey and visceral audiovisual experience", and when you learn the whole thing sees players following a weird space insect as it evolves and mutates, that quote seems less wild and conceptual. Alas, we digress. In terms of tunes, you could be forgiven for thinking Thrasher is a stand alone album, one that uses elements of IDM, ambient, bass, and more to fuse a highly immersive and inescapable electronic triumph.

Review: Joe Goddard's superb album Harmonics receives the deluxe treatment here on lovely double pink vinyl. Expanding upon the original release, this edition delves deeper into Goddard's musical universe. From infectious grooves to ethereal melodies, each track showcases his prowess as a producer and musician. The deluxe edition adds layers of complexity and richness, providing listeners with an even more immersive experience so whether you're drawn to the pulsating beats or the intricate harmonies, Harmonics in its deluxe form promises to please.

Review: The Love Invention is the debut solo album by Alison Goldfrapp, the singer of the longtime electronic duo Goldfrapp. Striking out on her own here, it contains 11 tracks in her usual cross-section of house, dance-pop, and nu-disco, but this time around they were co-produced with the likes of Richard X and James Greenwood (aka Ghost Culture) instead. A rallying cry for freedom and cleaving out a space for one's own, the album also deals with subjects such as falsity and authenticity, and takes a lot after the former Goldfrapp project Head First.

Review: To celebrate the 40th anniversary of Grauzone's sole, self-titled album, WRWTFWW Records has put together a luxuriously packaged, expanded edition. The original album - an inspired and unusual mixture of driving post-punk rock, icy coldwave, ambient soundscapes, Radiophonic Workshop style experiments and spaced-out new wave - resides on the first record, with the second platter gathering together everything else the Swiss band released during their all-too-brief career. The included insert also boasts a superb essay from Swiss music historian Lurker Grand, who not only tells the story of one of Switzerland's most forward-thinking bands of the post-punk era, but also puts their work in context. In a word: essential.

Review: Hoga Nord welcome Gravite for the third in their Layers album series and it is another intense synth, dub, chug and cold wave mix. Right from the off, the textures are caustic and uncomfortable. Squealing synths speak of desperation and trauma as whaling winds blow all around on 'Eclipse'. 'Chilled' has a heavy chugging rhythm that's overlaid with mournful chords that bring bittersweet melancholy and the paces picks up with the punk funk of 'Red Horizon' (feat Al Lover). Later on there are buzzy synths and busted drums on 'Into The I' and deep and dubby techno on 'Into The I' to make for an adventurous album that travels far and wide.

Review: It doesn't take long to pick up on Harold GroBkopf's progressive and krautrock roots. Born in Hildesheim as his homeland began picking up the charred postwar ruins, his oeuvre to date includes a stint in a 1960s beat group, The Stuntmen, and then a spell playing with then-unknown heavy rockers, Scorpions, before joining Wallenstein and Ashra as drummer, and getting in on several of Klaus Schulze's solo efforts. Strom betrays much of that heritage, straddling the fine line between electronica and rock, setting out its stall in a hinterland sound that's really neither nor. At times it glitters, in other moments it grinds, sometimes its beguiling, then it's more charming, in a strange, well-left-of-the-middle kind of way. An enigmatic collection of work from a true musical enigma.

Review: Originally released back in the early '80s, Veronica Vasicka's label has done its audience a fine service by re-releasing Portrait by Swiss duo Guyers Connection. Full of self-conscious vocals and in places decidedly lo-fi synth lines, it's surprising and disappointing that this collection wasn't a big hit first time round. After all, both "Pogo of Techno" and "Keep the City Clean" are as catchy as an oddball Yazoo, "Die Grille" is a jaw-dropping, windswept synth composition and "National Und Stander" sees the duo fuse ponderous piano lines with pulsing, rippling basslines. Best of all though is "Ein Glas Voll Gurken" a breathy synth-pop song that could have conquered charts had it been sung in English.