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Back catalogue: Coldwave/Synth
Juno's full catalogue of Coldwave/Synth
Albums
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Review: For the uninitiated, Robin Crutchfield was one of the key early figures in New York's infamous "no wave" music scene, first as part of influential band DNA and then as the leader of his own outfit, Dark Day. This essential three-CD set tells the story of the hard-to-pigeonhole outfit's original incarnation between 1979 and 1989, offering a chronological trip through the pitch-black corners of the unique combo's slim but perfectly formed catalogue. The Dark Day sound was undoubtedly unique, with Gary Numan-ish synth sounds and arty, stylised vocals being underpinned by heavy, loose-limbed rhythms provided by two drummers. The accompanying booklet tells the story of the band in decent detail, too, making it as much an introduction as a celebration.
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Review: Marie Davidson's sixth studio album finds her collaborating with Belgium bossmen Soulwax - previously responsible for the massive rework of her 'Work It' track - and Pierre Guerineau. It follows her fiery single 'Y.A.A.M. (Your Asses Are Mine)' and the intense club track 'Contrarian' and marks a return to the dance floor but reimagined with the artist's signature sense of evolution. Blending the techno punch and spoken-word edge of Working Class Woman with the melodic pop structures of Renegade Breakdown, City of Clowns delivers a striking sonic fusion that is inspired by her pre-pandemic roots yet shaped by fresh antagonism, all while Davidson confronts a new foe: Big Tech.
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Review: When Marie Davidson announced last year that she would be, "retiring from club music", many wondered what she'd do next. Renegade Breakdown, her first album recorded with a full band (L'Oeuil Nu), answers that question. It sees the Canadian artist and her new collaborators deliver suitably arresting, personal and ear-catching songs built on mixing and matching a surprisingly wide variety of musical inspirations, from Blondie, classic disco and mutilated heavy metal guitars, to Kraftwerk, Billie Holliday, Fleetwood Mac and Daft Punk. It's a big shift for the previously highly experimental artist, but thanks to her skill as both a a producer and performer, one that works magnificently well.
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CD1: 2003 Dave Gahan
CD2: 2003 Dave Gahan
CD3: 1998 Depeche Mode
CD4: 1998 Depeche Mode
CD5: 2001 Depeche Mode
CD6: 2001
CD7: Dave Gahan, Basel 2003
CD8: Dave Gahan, AOL Studios 2007
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Review: Featuring as it does six discs of live recordings, Music Portrait is veritable feast for Depeche Mode fans. All of the material was originally recorded for radio broadcasts. Discs one and two feature what appears to be an almost complete 1998 concert featuring such perennial favourites as 'Policy of Truth', 'Personal Jesus', 'It's No Good' and 'Just Can't Get Enough' (a triumphant, sing-along conclusion all told), while CD three offers up 11 songs from a set recorded in 2005. The other three discs feature recordings of solo outings from Dave Gahan, with big Depeche Mode hits being joined by personal favourites and deep cuts from the Basildon Band's 40-plus year career.
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Cat: ETTB 145. Rel: 22 Aug 22
Something To Do (CD1: From A live FM Broadcast Recorded At St Jakobshalle, Basel, Switzerland, 30th November 1984)
Higher Love (CD2: From A live FM Broadcast Recorded At Crystal Palace National Sport Centre, London, England, 31st July 1993)
A Pain That I'm Used To (CD3: From A live FM Broadcast Recorded At Nurburgring, Nurburg, Germany, 4th June 2006)
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The Broadcast Collection 1983/1990 (3xCD box set)
Cat: CL 91600. Rel: 19 Apr 23
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Cat: 505419 7738074. Rel: 28 Sep 23
Review: First released back in 2006, Electronic's on-point 'best of' collection returns in expanded, double-disc form. So, alongside the original collection (CD1), with its mix of singles and cuts plucked from Bernard Sumner and Johnny Marr's three collaborative albums, we're treated to a second disc packed with rarities, lesser-known remixes and largely forgotten B-sides. There are some genuine treats to be found, including a swathe of club-focused mixes that showcase the project's dance music roots. Highlights include 808 State's majestic, breakbeat-driven 12" mix of Neil Tennant collaboration 'Disappointed', the piano-rich "peak-time at the Hacienda" 'DNA Groove Mix' of 'Get The Message', Graeme Park and Mike Pickering's similarly superb 'Vocal Remix' of 'Getting Away With It', and 'Idiot Country 2', a rushing club workout remixed by Stereo MCs under their forgotten Ultimatum alias.
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Review: Sometime member of The Knife, Karin Dreijer, has excelled since they started delivering solo albums as Fever Ray. Sadly, releases have been rather thin on the ground, with 'Radical Romantics' - their third solo album - arriving almost six years after its predecessor. It has, though, been worth the wait, with the gender-fluid star unveiling a set of songs that consider love from a variety of angles - all while showcasing a musical style that takes glacial, off-kilter electro-pop in a variety of attractive directions. Highlights come thick and fast throughout, with our picks of a very strong bunch including 'What They Call Us', the mutant rhythms and sparkling, alien-sounding melodies of 'Kandy', and the future dancefloor rush of 'Carbon Dioxide'.
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Review: As a former member of Kraftwerk, Wolfgang Flur is never short of offers to collaborate. On Time, his first solo album for three years, he's once again taken up many of these offers. So alongside regular collaborators Peter Duggal, U96 and Miriam Suarez, you'll also find contributions from New Order bassist Peter Hook, Thomas Bangalter (aka Vangarde, taking his disco-making father's moniker surname here) Detroit electro and techno pioneer Juan Atkins (who appears on opener 'Posh'), and long-serving techno producers Anthony Rother and Fabrice Lig. As a result, Time is rooted in sharp electro, synth-pop and revivalist new wave, but also offers nods to techno, electroclash, acid house and proto-trance, with Suarez and Flur take it in turns to add their own atmospheric vocals. If you enjoyed Flur's previous album, Magazine, you'll lap this one up - it's an even stronger proposition.
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Review: Given her length of service (her first appearance as a guest vocalist was way back in 1992), it seems extraordinary that The Love Invention is officially Alison Goldfrapp's debut solo album. It's a typically sparkling, colourful and entertaining affair, taking the synth-pop sound that marked out her long collaboration with Will Gregory as Goldfrapp, and injecting it with a big dose of dance-pop energy. It's hardly a radical recalibration of her sound, though the influence of some of her collaborators - most notably co-producer Richard X (who was involved in some of the album's strongest moments) - is certainly evident. Goldfrapp naturally stars throughout, channelling her inner Roisin Murphy, with highlights including the sub-heavy, house-influenced synth-pop strut of 'So Hard So Hot', the vibrant 'The Love Injection' and catchy opener 'Never Stop'.
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Review: Back in the early-to-mid 1990s, Robert Fripp collaborated with numerous ambient house-era electronic artists, including the Orb (see the largely forgotten FFWD>> album) and The Grid, who invited the long-time Brian Eno collaborator to recording sessions back in 1992. While some of the latter material made it onto their '90s albums, much of Fripp's work - dreamy guitar textures, drone works and other electronic experiments -was left in their archive. Leviathan is based around these unissued recordings, with Dave Ball and Richard Norris adding their own new sounds to create a string of beautiful, meditative, and picturesque ambient compositions that sit somewhere between their own ambient works, Norris's recent modular electronic explorations, and the forementioned FFWD>> project.
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Cat: CDGRON 149X. Rel: 24 Oct 24
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The Machine In The Ghost (Deluxe Edition) (limited 2xCD in hard-back book case)
Cat: MIND 418LU. Rel: 21 Nov 24
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Review: Heaven 17's Penthouse and Pavement deluxe double CD album commemorates the iconic debut of Martyn Ware and Ian Craig Marsh after leaving Sheffield's Human League. Joined by Glenn Gregory, they formed Heaven 17, drawing their name from a list of bands favoured by the anti-hero of Anthony Burgess's 'A Clockwork Orange'. Their debut single, '(We Don't Need This) Fascist Groove Thang,' stirred controversy and earned a BBC Radio 1 ban in March 1981. Released in September 1981, the Penthouse and Pavement album quickly achieved gold status and featured hits like 'Play to Win,' 'Penthouse and Pavement', and 'The Height Of The Fighting.' Disc One contains the original album, while Disc Two offers six non-album A and B sides, five original demos, and four 12" versions. Packaged in a new 7" deluxe gatefold with an eight-page booklet, this set includes album lyrics and credits, making it a very eye appealing package.
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Review: A warm welcome back to perennial genre-benders Hot Chip, who return to stores after three long years with their eighth album, some 21 years after making their debut. Freakout/Release is no dramatic change in direction, but instead a further distillation of what has always made the band so appealing - a trademark fusion of synth-pop, loved-up house sounds, lilting and sometimes melancholic lead vocals, loose-limbed organic drums, nods to Prince and an ability to craft killer hooks. There are highlights aplenty, from the gravelly live hip-hop funk of 'The Evil That Men Do' (where rapper Cadence Weapon delivers a star turn) and the subtly post-punk influenced, saucer-eyed brilliance of 'Hard To Be Funky' (featuring Lou Hayter), to the classic Hot Chip sing-along flex of 'Time' and the krautrock-tinged 'Out of My Depth'.
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