Back catalogue: Coldwave/Synth

Review: Following up great efforts by the likes of Van Bonn & Luis Baltes, Unknown and Shadow-Area, here is the debut LP from Hamburg's Achim Maerz on Berlin-based Freund der Familie. Relief features a wide selections of moods and grooves; from the cavernous and glacial deep house of 'Black Hole', the contemplative ambient journey of 'Dream', plus there's more deepness of the emotive variety offered up on 'Changing Weather', the understated late night mood of 'Memories' and the mesmerising closer 'On The Way' awash in dazzling layers of rich synth tones in the vein of classic Chicago sounds. Mastering by Sven Weisemann.

Review: The Electro Maloya Experiments of Jako Maron is a first ever collection of Maron's updated take on the traditional folk music of the tiny island of Reunion, which is off the coast of Madagascar in the Indian Ocean. Its roots can be chased back to African slaves and Indian workers and it is stripped down to compelling rhythms made from the drums and bows. The vocals are in a call and response style which lends it a ritualistic feel and also sometimes it took on the powers that be as protest music. Jako recorded these in 2018 with drum machines and modular synths.

Review: John Maus has been operating at the fringes of the US underground for the better part of a decade now, with one of the most enthusiastic live shows of anyone in his circle. Much like his prolific contemporary Ariel Pink, Maus has amassed a massive collection of tracks which reference 80s synth pop, easy listening, and even hair metal, all swathed in a muddy but warm fuzz of reverb and delay. For fans this is essential, but even for those yet to acquaint themselves with his unique genius, its well worth investigating.

Review: Alexander Melzak's new album, Substrates, showcases his mastery of electronic textures and ability to create stunning soundscapes and vivid sonic imagery. Melzak's unique sound highlights his distinctive and unconventional compositional style and gives rise to a record that feels both boldly escapist and richly imaginative. Substrates takes you on a real journey through otherworldly realms, blending unexpected moments with captivating, immersive sound design and spectacular sound design.

Review: Mermaid Chunky are the logical result of the creative partnership of Freya and Moina, two visual artists and musicians from Stroud and South London each. Having shuttled between each locale for inordinate stretches of time, their latest record - the whimsically Christened slif slaf slof - nonetheless bridges these local poles. A breezy homage to the duo's shared ideal excesses - an interest in fantasy folk, costume, absurdist nature, surrealist scatting - the likes of 'Ceili', 'Tiny Gymnast' and 'Chaperone' are liable to solicit all manner of reactions in the listener, from on-the-spot bouncing to full-frontal gyrating. A sorely difficult to place record, merging motifs of indie, freak folk, and a decidedly DFA experimentalism.

Review: The Midnight's latest Heroes is a stark display of the musical evolution of the New York duo. A band that started as a synth heavy proposition, extensive touring across the globe (including a headline at London's Brixton Academy) and the desire not to repeat themselves in creative terms has led to the bigger vision and wider appeal of what their label calls "fully-realised, arena-worthy songs".
Heroes is the final part in a trilogy of albums that started with 2018's Kids, followed in 2020 by Monsters. "For me, Kids is self-knowledge, Monsters is self-love, and then Heroes is empathy," said singer Tyler Lyle. "I got into depth psychology and this idea of aetiology, the way a human forms. The world doesn't get better but we do. We grow into ourselves. We grow into our voice."
Still, Heroes remains definitely more a case of evolution than revolution - there's still more than a hint of the gorgeous synth sounds in evidence, but with a lyrical maturity and smartness that gives even its most pop moments an unexpected twist.

Review: As one of the iconic partnerships from the electroclash era, Miss Kittin & The Hacker helped define seedy synth tackle at the turn of the century. Given the prevalence of minimal wave in this day and age, it feels like the perfect time for them to come back with a new album. Teetering between pop nous and the darkest of deviant nighttime dreams, this is everything you would want from a return of the Grenoble greats. Listening to 'Purist' and they could easily be taking on the charts, while a trip into 'La Cave' is like donning your finest leathers and sliding into the dungeon.

Review: Moderat performed what they knew would be one of their last concerts in 2017 - at least, for a while, anyway. Having been in need for a hiatus, COVID restrictions kicked in and the pressure to juggle performing and music-making was off. Thus came 'MORE D4TA', an album that strove after connection and collaboration in an era where the potential for such was stunted. Now finally finished and polished, the album comes for all to enjoy, demonstrating some of the duo's most focused and pop-structured production and modular chops.

Review: Sacred Bones Records has a real coup here as they serve up yet another pressing of the debut album of Belarussian post-punk and synth pop trio Molchat Doma. Originally dropping in 2018 on Berlin label Detroit Records, it was an instant hit online and had more than a million YouTube views in no time at all. The band remains low-key back home but have toured Europe and six successive pressings of this record have all disappeared in quick fashion. With Egor Shkutko on vocals, Roman Komogortsev on guitar, synths and drum machine and Pavel Kozlov on bass and synths, the collective cook-up inviting fusions of new wave, synth pop and post-punk that is dark but alluring, danceable yet thoughtful.

Review: Steve Moore's Cursed Objects is a thrilling return to the library music realm, presenting a masterful blend of prog-synth-wave with chamber and symphonic elements. Released on the limited-edition Fold label, this album is a feast for fans of epic electronic explorations as Moore, known for his work with Zombi, Miracle, and Titan, delivers a captivating solo effort under his own name. The LP opens with 'The Uninvited One,' where serene arpeggiated synths intertwine with sweeping strings and plucked harp, creating a mystical atmosphere. The title track escalates into dark, brooding territory with a blend of synths, piano, and strings. 'Evolutionary Steps' showcases epic synthwave with expansive strings and driving rhythms, while 'The Icarus Feather' and 'Daily Affirmations' offer cinematic and meditative textures, respectively. Side-2 begins with 'Mesmer's Bauble,' a track imbued with introspective dread, followed by 'Quiet Springs,' which builds to a hopeful and panoramic scope. 'Festival Of Samhain' delivers a slow, desolate piano melody layered with dark synths, and 'The Icarus Feather (Revisited)' revisits epic synthwave themes. The album concludes with 'Shard Of Medusa,' combining a dark piano melody with harp and strings for a suspenseful finale. Featuring Steve's signature Prophet 6, Moog Minitaur, and Korg Polysix, and with a cover by Chris Stevenson, Cursed Objects is a standout in the library music genre, meticulously mastered and pressed for optimal enjoyment.