Back catalogue: Coldwave/Synth

Review: Among the figureheads of French disco, Bernard Fevre, better known as Black Devil, probably had the shortest-lived career, but was among the brightest minds of them all. Although his first album Disco Club, released in 1978, went unnoticed at first, it has since become a must-have, a collector's item which has led a lot of listeners to further investigate his extensive work. Fevre experimented with such a wide gamut of styles that it has been hard not to lose track; though perhaps one such aide l'equilibre is this newest compilation/lookback record, Space Oddities 1976-1985. Spanning a huge swathe of Fevre's records, some more touted and others more waylaid, this compilation can only begin to help us firmly grasp the cosmic breadth of the artist's work, some of which is indubitably club-bound, some of which is comparatively cinematic and scenic. Here's hoping Giordano Bruno was wrong about the open universe - Fevre's explorations are so expansive that they verge on boundlessness.

Review: Next up on Dusseldorf's Themes For Great Cities is the debut LP from local trio Folie 2, comprised of vocalist Marlene Kollender, Gregor Darman (aka Rasputin) and Sebastian Welicki (LSW/Trashlagoon). Anyone who caught their great podcast on LYL Radio full of slow, trancey music knows what to expect on this one. There's a strong nod to '80s pop for the most part, but also taking in chugging dark disco slow burners ('Confrontation') neon-lit boogie down numbers ('Night Times') and taking influence from sounds of their homeland circa the '70s ('Fullness Of My Heart').

Review: There had apparently already been much feverish speculation around the true identity of the musician lurking behind the moniker Forbidden Overture because of the exceptional soundtrack to the 1982 queer bath house fantasy 'Turned On'. When a few of the more astute observers of the 1986 women-in-prison exploitation flick 'Bad Girls Dormitory' spotted some overlapping use of the same music from 'Turned On', it was revealed that Forbidden Overture was in fact US electro pioneer Man Parrish - a fact that seems obvious once you know. Using his unmistakable classic production techniques - only employed in very different ways to his dancefloor smashes - the building, oozing 27 minute epic 'Primal Overture' and the cheekier, more wry 'Strictly Forbidden' form one of the soundtracks of all time, even if the bath house frolics of the film itself have retreated into the changing rooms of obscurity since. Its director Steve Scott commented: "It took us about two weeks to find the right piece for the jockstrap scene. But it's like anything else-you know when it's right." The same could very easily be said of this must-not-miss release.

Review: 
For the first time ever since the mid-80s, Robert Fripp's God Save The Queen is now avaialble on fresh vinyl once more. It was the second solo album from Fripp and is made up almost entirely of so-called 'Frippertronics,' which means much of the record was performed by improvisation. Under each track are solid drums and bass to get the grooves going and guitar loops for the five tracks were recorded live in concert during 1979. It's a real left turn of an album and one that can be as mesmerising as it can wild.

Review: Robert Fripp's pioneering work in electronic music reached its influential peak with the so-called Frippertronics tour of 1979. Creating compelling soundscapes out of tape loops might not seem revolutionary now, but it certainly was at the time, and out of the tour came this limited and highly prized album, perhaps the most sincere recorded document of Fripp's creative breakthrough. Now Let The Power Fall is being pressed on vinyl for the first time since its initial release on Editions EG in the 80s, and it comes with additional versions of '1984' never heard before.

Review: F.M. (Francois Marche) and Fa_Fane (Stephane Bodin) say they "perform live with an acid-tinged electro-dub set, a danceable balance between the organic and the digital, the hot and the cold." When it comes to the studio, the fine line they tread between machine and human, accessible and experimental is equally evident, making them sure fire winners in the world of movie soundtracks. Not least when the film is on the avant garde side of things, as Fotogenico is. Directed by Marcia Romano and Benoit Sabatier, the movie is a visually arresting, high tempo collage of a chase-mystery in which a father attempts to piece his dead daughter's story together using only the music she recorded. Glitchy, digi-dub and synthesised post punk ensues, among other stuff.

Review: Front 242's decision to re-release No Comment in partnership with Alfa Matrix is a testament to their influential status in electronic music. Originally released in 1984, the album marked a significant moment for the band as they solidified their lineup and began to attract a devoted following. The remastered version by Daniel B. allows listeners to experience the album's innovative and unmatched sound in the best audio quality possible. No Comment was a early example of Front 242's high-tech, hard-edged electronic punk dance music, establishing them as leaders of the emerging electronic body music movement. Front 242's commitment to pushing the boundaries of sound and technology is evident throughout the album. Their cold, synthetic brand of electronic dance music became their signature sound, influencing electronic music for decades to come.