Back catalogue:

Review: Ahead of an oncoming Tbilisi party set to be thrown by the Sameheads crew, their latest 7" appears ahead of time as the latest offering by fellow friends, Andrea & Alexander. With just 300 copies available, this dreamy duo share a juxtaposed space with a more esoteric, gritty B-side, occupied by TINA's 'Vacation', which breaks from the usual Sameheads sound, almost entirely, to indulge a massively wonky inhumation. The A's own 'Olias', by contrast, is light and sixteen-thy, dotting along with detuned Italo saws and descending cadences of relief. Once performed live at the fabled Sameheads festival, City Of A Thousand Suns, the label here celebrate its recorded version for the world to hear on repeat.

Review: Yugoslavia went through unthinkable turmoil during the break up of the Soviet Union, which is why it is all the more astounding even all these years on that it had quite such a fertile and innovative music scene. In 1984, Zoran Jevtic and Zoran Vracevic were a key part of it and helped revolutionise the sound of the day by introducing synth-pop, breakbeat and hip-hop with their Data and The Master Scratch Band projects. Their releases paved the way for modern electronic sounds and this album dives deep into that era and compiles their earliest unreleased works from between 1981 and 1983. It's a daring exploration of genres including industrial, EBM, minimal synth and electro-funk. It adds up to a true digger's gem that will significantly elevate your vinyl-hunting credentials without having to do the hard work yourself.

Review: Dream Division present their latest album Rose In The Garden Of Winter, a contemporary gothic disco undertaking of polished and still genre-various proportions. Echoing the stylistic ambitions of Bauhaus, but perhaps describably updating their sound for the modern ear, Dream Division offer a metamorphic record, able to shapeshift into a range of chiropteran forms: cinematic punk, dub, goth-disco, lounge, even interluding raga. Impressively, the personnel list on this record make up an intricate human nonagram, through the central vector on this ritual star is Tom McDowell, who handles synths, vocoder, production and songwriting and commands a puppeteer's control over various synthesists, sitar caressers and theremin cooers. Delightfully devilish throughout, A Rose... reminds of something between a lycanthropic, late 70s Mancunian punk blowout and a fanged Italo-disco bashment in which the sprinklers sprinkle blood on sight of a daywalker.

Review: Born and raised in Bern, Switzerland, Michael Antener spent most of the 1980s concerned with interpreting the subconsciously and overtly apocalyptic discourse of that time through the medium of industrial-edged, dark feeling music. "I found a niche where I could express myself, along with other people who were not afraid of dark themes," he's quoted as saying in retrospect, before going on to explain that singing about love would have been more difficult than using "cries of pain taken from horror movies". This triple vinyl collector's item celebrates that fertile, if angry and dystopian period in Antener's life. Bringing together work from two of his formative projects, The Stranger of the Swamp and Bande Berne Crematoire, what's here is captivating. Electroclash with groove, distressed collages of noise, a certain sense of sonic expressionism - all brooding shadows, menacing arrangements and deeply unsettling moods.

Review: This new reissue of The Angel From The West Window by Tangerine Dream's showed the returned back to their electronic music roots in 2011. Departing from the mellower tones that characterized some of their 90s output, the band's latest album at the time delved into more challenging and orchestral electronic landscapes. The Angel of the West Window, inspired by the works of German author Gustav Meyrink, showcases a revitalised sound: pulsating sequencers, expansive synthesized textures, and evocative electric guitar solos dominate the album. Collaborating with Thorsten Quaeschning, Froese infuses the tracks with dynamic rhythmic foundations and ethereal electronic layers, creating an edgy and immersive sonic experience. Electric violin accents add a haunting depth to the compositions, enhancing their atmospheric quality. Standout tracks like 'The Mysterious Gift to Mankind' and 'Living in Eternity' highlight Tangerine Dream's ability to blend synthetic and organic elements seamlessly. The album's thematic richness and sensitive melodies evoke a cinematic scope, making it ideal for both introspective listening and atmospheric settings. Long-time fans have welcomed this resurgence, celebrating Tangerine Dream's return to form and their enduring influence on electronic music. Tangerine Dream's musical legacy and innovative spirit is part of electronic music history. Fans of their Virgin records output should really enjoy this album.

Review: If you're trying to work out where in Tangerine Dream's back catalogue Finnegans Wake fits, then good luck. According to our sources, this is "roughly the group's 125th release". So it's remarkable just how fresh and forward thinking the record sounds, given most people start running out of original ideas once they reach adulthood, let alone make it past the first two LPs. First released in 2011, eight tracks launch us towards the stratosphere on a rocket of synths and electric guitars, chords soaring ever higher as the background symphony of glitter and chime invoke images of stardust falling over an ocean of zodiacal light below. If that's too conceptual, then let's just say this is progressive kosmische Kraut at its most epic and bold. Just like the rest of their output, then.

Review: TR/ST's Performance emerges as a striking testament to the project's evolution, now presented on eye-catching yellow vinyl. The fourth studio album from Robert Alfons, formerly known as Trust, dives deep into a haunting synth-pop universe crafted with the help of Night Feelings. Recorded in Los Angeles, this collection is a masterclass in balancing eerie synths, foggy low end, and Alfons's raw, emotive crooning.
The album's title reflects a friend's casual observation of Alfons's intrinsic performative essence. Tracks like 'Soon' burst with anthemic new wave hooks and caustic lyrics, while others such as 'All At Once' and 'The Shore' showcase a dramatic interplay between beauty and bitterness. Alfons's voice, both a tempest and an anchor, delivers a stream-of-consciousness narrative that navigates through realms of dread, lust, and emotional upheaval. Performance offers a mesmerising blend of melancholic grandeur and intense production, transforming each song into an immersive, emotional journey. With its unique soundscape and compelling storytelling, this album promises to impress and unsettle in equal measure.

Review: Formed in 2005 between Keen K (Divider), Dirk-Torben Klein (Echo West, Silent Signals, Flashbacks) and Niclas Bruckner, Trans Active Nightzone are a fin de millenaire coldwave and synthpop act, whose interest in said sounds came at just the right time: not too early to be mere products of their time, and not too late to become glossy pastiches either. Influenced heavily by Joy Division, Killing Joke and They Might Be Giants, as well as early 80s minimal wave and adjacent synthpop offshoots, their self-titled record was an infectious indulgence of modern production techniques welded to an established style, suturing a crisp but no less bulbous sound. The surreality of their music is best heard on 'In Dreams', whose piquant twang-leads and demure choruses conjure first-person visions of reeling through an impossible dream-metropolis, and 'Logical & Interfered', where things grow much graver and obscener, as the vocalists work together as certain lyrical accomplices to indict the future system of heinous retroactive crimes against humanity.

Review: Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes shares her fifth album, requiescing ten captive ambient soundscapes, all of which share the aim of integrating dreamsand nightmares, grief and personal empowerment. Through the use of carnal, transcendent cello drones, Trappes explores historical and generational traumas in a chilling piece of gothic experimentalism. In a residential prelude, Trappes trapped herself in Scotland, eking remote studio solitude as a cranny in which to unleash personal demons, exploring and transmuting familial chaos and history. Raw and spiritually charged, the album offers a powerful meditation on loss; its threat, its meaning, and the process of coming to terms with it.

Review: Frankfurt's Gregor Tresher returns with his first album in eight years. The 16-track LP offers up his famously dynamic techno sound and rich synth designs with element of dance floor clout underpinning each tune. From his beginnings in Frankfurt's 90s techno scene to collaborations with icons like Depeche Mode, Moby and Extrawelt, Tresher's career has been marked by critically acclaimed releases and False Gods is one of his most ambitious projects yet. It's an accomplished and introspective journey through modern electronic music enriched by collaborations with some notable friends.

Review: Synth-pop, cold wave, dark wave, EBM, future pop. Whatever label you want to give Joyland, the second studio album from Canadian electronic music project TR/ST, one truth is undeniable - this is unashamedly overt and unapologetically futurist in sound, and the tracks big enough to fill a main stage and then some. Opening on 'Slightly Floating', a rare moment of calm before the storm, once second tune 'Geryon' drops it's game over in many ways. You're in, and there's no way out. That said, it's not all rave horn synths and bounding kicks drums. 'Are We Arc' is as weird, trippy and opiate as they come, like the twisted fever dream of a cabaret duet. Or something similar. 'Four Gut' is a wobbly tech-hued workout, and the title track probably owes as much to hardcore as anything else.

Review: There's something transportive about Odd Balade. The real question is, where does it take us to? Potentially very different places from the next listener, with much of what's here opaque enough to produce varying interpretations from a variety of ears. Even if we were all thinking and experience it in the same way, the sheer breadth of the tracks themselves would still invoke changeable responses. 1980s goth-wave, leftfield pop, haunting ethereality, medieval-hued folk tones, and that's really just off the top of our heads. Tiphaine Belin, AKA Trypheme, is certainly capable of conjuring a multitude of feelings, but Odd Balade makes more big statements than that - it reaffirms the artist as an esteemed producer and songwriter, not just an incredible vocalist. A record deserving of serious attention, to say the least.