Back catalogue: Coldwave/Synth

Review: Depeche Mode's Playing The Angel tour was a major milestone following their 2005 album release of the same name. It was produced by Ben Hillier and topped charts in 18 countries with the hit 'Precious'' the most standout. The nine-month tour across Europe and North America included festival headlining slots like Coachella and O2 Wireless but a real standout moment from it was their performance at KROQ-FM's Almost Acoustic Christmas concert, which was captured in full and now gets pressed up to this fine double album. This superb Christmas show is the sound of the band at their best during one of their many fine eras.

Review: The latest release from Berlin-based producer Julian Reifegerste builds on the success of his previous work, channelling a vivid spectrum of 80s electronic styles into a sleek, club-ready format. Drawing from EBM, Italo, acid, electro and dark wave, the 12-track double vinyl is packed with machine funk and neon moodsibright synth lines and rubbery basslines offset by tougher, industrial textures. 'City Sights' and 'Chasing Shadows' lean into cinematic propulsion, while 'Black Gold' and 'I Am A Creator' carry heavier, dystopian overtones. Much of the material was produced on vintage hardware, lending the record an authentic retro-futurist edge. This is bold, immersive dance music with a conceptual streak, and a clear progression in sound from the artist's earlier output.

Review: Hyperspace Communications drop a fresh remix package of cult US new wave trio Los Microwaves' debut LP, What's That Got To Do (With Loving You). Remixed by Kit Watson from the original 24-track analogue tapes, the release features two discs. Disc One is a 45 RPM dancefloor-ready EP with six reimagined cuts from Life After Breakfast, including 'deadpan vocals and punchy cold wave grooves Time To Get Up' and 'TV in My Eye.' Disc Two runs at 33 RPM and adds four instrumental versions tailored for film/TV sync and live remixing. It's a great addition for collectors or an introduction for anyone new to these California synth and techno-punk disrupters.

Review: OK. Let's face some facts. The Original Motion Picture Soundtrack to Drive is up there with one of the best scores ever put together. And that goes for the compositions of Cliff Martinez as much as the guest bands and artists drafted for the other songs. Where else are you going to hear Riziro Ortolani and Katy Ranieri's operatic overture, 'Oh My Love', and The Chromatics' low sung, mood-building electro tracker 'Tick of the Clock', side by side? The answer is, of course, nowhere. And that's just skimming the surface. Deeper inspection take us to some stunning pieces of ambient and drone. 'I Drive' is a remarkable example of gong bath on record, 'Skull Crushing' is overwhelmingly heavy thanks to its use of distant sound and up front quiet. It feels like you're in a pressurised chamber. We could go on, but that wouldn't save any room to mention the trophy piece - College and Electric Youth's spectacularly emotive synth stunner, 'A Real Hero'.

Review: To mark their tenth anniversary, Discom presents Return to the Future 1984-1994, a special edition long player celebrating the influential Belgrade synth-pop duo Max & Intro. The compilation features 12 remastered tracks sourced directly from the original master tapes and the collection highlights the group's distinctive blend of melodic synth lines and pop sensibilities that very much shaped the Yugoslav electronic scene. Rare extras include a 1985 interview, full lyrics sheet and previously unseen photographs by Goran Basari?, plus artwork from Max's Poster. This is a wonderful trip back to the future with cold, angular drum rhythms and deadpan vocals.

Review: A reissue of material that Pete Shelley originally released in 1981, not long after the Buzzcocks' first split. It may be his second solo album, but with his first album - Sky Yen - being an arty experimental record, it's this album that spawned his first ever solo single. Giving a glimpse into the ridiculous censorship at the time, the single, 'Homosapien', was banned by the BBC, who interpreted a line in the track to be a sexually explicit reference to gay sex. Sonically, the album marks a humungous shift from the punk sound that Shelley gatecrashed the mainstream with in the Buzzcocks in the mid-70s. This is a highly electro-pop record and had producer Martin Rushent, who was also working with The Human League on the epoch-defining Dare album at the time, help shape the forward-thinking sound it became.

Review: Given the sharp left-turn that Shelley took with his solo career after leaving The Buzzcocks, it's sort of irrelevant if you're a fan of his seminal punk band or not. This second solo album - now reissued - is an entirely different kettle of fish. Whilst the 80s is famed for a lot of innocuous releases, due to the industry flush with cash, this stellar electro pop album - originally released in 1983 - stands the test of time: it's more experimental and artful than the run-of-the-mill chart-botherers of the time. This is a record that conveys Shelley's ability to write timeless, direct, hard-hitting singles ('Telephone Operator') and veer into more sprawling and adventurous arrangements ('What Was Heaven?') with the fluency of a true auteur. Producer Martin Rushent is due his flowers here, too, as it was his and Shelley's evolved embrace of innovative studio techniques during these sessions that set the bar for The Human League and other classic acts around the scene at the time.

Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.