Back in stock: Coldwave/Synth

Review: The Birthday Massacre, hailing from Canada, command a bracing gothic blend of 80s electronica and aggressive guitar work. Formed in 2000 as Imagica, the band is led by vocalist Chibi and guitarists Rainbow and Michael Falcore. They debuted in London, Ontario, before moving to Toronto and rebranding, with the 2002 self-released Nothing and Nowhere inducting us into their horror-comedic sonic aesthetic, drawing on macabre cabaret and Grande-Guignol rock. Though little light but fan speculation has been shed on their new album Pathways, this purple detour has sparked rumours of a fresh direction and stylistic tangent for the band, coming helmed up by the pre-released streamer single 'Sleep Tonight', lighting up oneiric stadia worldwide with their mega-metal shreds and huge electronica arrangements.

Review: This release, which was recorded for Bremen Radio in 1971, features four extended tracks showcasing German pioneers Kraftwerk in a very different light from their later work. The short-lived lineup of Schneider, Rother and Dinger fused electric guitar with their then-signature electronic sounds and it gives rise to unusual, exciting and innovative music. Half of the tracks here, as hardcore fans will recognise, are drawn from their debut album, Kraftwerk 1, and the recording quality is excellent. This release also includes full recording details along with extensive sleeve notes that help offer a fascinating glimpse into Kraftwerk's early, experimental sound before their more iconic and pioneering electronic phase.

Review: Phaedra is the fifth studio album by German electronic group Tangerine Dream, recorded in November 1973 at The Manor in Shipton-on-Cherwell, England, and released in 1974 through Virgin. An icier, tempoless departure for a band otherwise better recognised for their sequencer-led, soundtrack-bred sound, this was a hidden moulin for frost-drone fanatics, and a deviant pupil of the otherwise strict Berlin School. Despite receiving little to no airplay, Phaedra gained significant traction through word of mouth when it was released by a rather more hippified Richard Branson's fledgling Virgin label, eventually reaching number 15 on the UK Albums Chart and remaining on the charts for 15 weeks. Its long-form pieces, such as 'Sequent C' and 'Mysterious Semblance At The Strand Of Nightmares', represent an indifference to constraints of timing, instead washing over the ears as diachronic, swirling, crisp ice ambient smirrs.