Review: Xmal Deutschland commemorate their influential 4AD years (1983-1984) with a brand new release, literally presenting us with Gift. The collection celebrates the band's profound impact on British audiences in the early 80s, marked by a unique and half-devised lyrical language, as well as a magnetic feminine mystique commandeered by the women in the group. Their breakthrough support slot with Cocteau Twins accompanied the first two albums to come out via 4AD, which grabbed audiences by the collective ear with a painter's stroke of hard-graded darkwave and goth. Gift brims with a penumbral presence, while the titular "gift" is intended as pharmakon, both a present and a poison; Xmal's music is appropriately contradictory and complex, skating thin ices of beauty and elusivity. This limited-edition 3xLP boxset includes Abbey Road remasters of their albums Fetisch and Tocsin, along with tracks from related releases like Incubus Succubus II and Qual, packaged with striking artwork and a photo booklet. The magic of Xmal Deutschland lingers like radiation and has an indelible half-life.
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: 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: The 50th anniversary edition of Kraftwerk's Autobahn finally completes its decennial German interstate journey and lands in our drool-covered laps. With founding Kraftwerk member Ralf Hutter revisiting the record's original 16-track master tapes with engineer Fritz Hilpert, the group not only made a brand new Dolby Atmos mix for the CD edition, but have also reissued the original record in the never-seen-before picture disc form you see here. A cosmic pop overland journey, the vinyl remaster also lends the record an extra-dimensionality we didn't know possible; recumbent across it, and brought out to swelling prominence, are its tweezed, filter-cutoff sine chords, evoking the continual movement of rustic landscapes streaming past our eyes. Though at first received only to mixed acclaim, Kraftwerk's fourth LP was rightly hailed in hindsight for its simple automotive theme and change in sound, away from the Robots' emergent kosmische and into self-reflexive electropop. All this emboldened Kraftwerk as a band that could somehow cruise in the fast lane, accelerating with ease through the shifting stylistic sands of the mid 1970s.
Review: Cititrax proudly presents the debut LP from Another Body Found here, which is the latest moniker of A// who is well known for his pioneering work as Le Syndicat Electronique. Emerging from the French underground with a dark electro, industrial, minimal synth and wave style, he has a stark and visceral take on raw energy and haunting atmospheres. There are plenty of mechanical, hypnotic beats here with heft bass and hints of dystopian fears. The title track reimagines Bronski Beat's 'Smalltown Boy' and strips it to its emotional core, 'Lost In The Northern Lights' has a cold, urgent sound and 'Murderous Earth' is brilliantly unsettling and melancholic.
Review: Paul Hardcastle's self-titled 1985 debut receives a special reissue for Record Store Day 2025 in celebration of its 40th anniversary. Remastered at AIR Mastering for the occasion, this synth-pop milestone showcases Hardcastle's innovative fusion of electro, jazz-funk and socially conscious themes. It is of course anchored by the chart-topping anti-war anthem '19' but also features standout tracks like 'Just For Money,' 'Rainforest' and 'Don't Waste My Time' featuring Carol Kenyon. The album comes from a key moment in '80s electronic music this reissue reaffirms Hardcastle's enduring influence on it.
Review: You still won't find a more perfect electro album than Kraftwerk's Computer World, and it was the album that pretty much invented the style. That much is clear from this fresh 2020 reissue, which presents the iconic 1981 set on translucent yellow vinyl, accompanied by a slick booklet of fitting Kraftwerkian imagery. While 'Computer World', 'Pocket Calculator' and 'Computer Love' are near perfect electro-pop songs, it's the sheer heaviness and funkiness of the B-boy friendly beats on 'Home Computer', 'It's More Fun To Compute' and, most famously, 'Numbers' that make it such an essential. Put simply, Computer World still sounds like the future.
Review: This gatefold green vinyl record captures a rare and electrifying live performance from the pioneering electronic music legends. Recorded at their 1997 Tribal Gathering festival headline, it's a showcase of the band's iconic sound that blends groundbreaking synth-driven melodies with hypnotic rhythms and futuristic themes. Performing classics like 'Autobahn,' 'The Robots' and 'Computer World,' Kraftwerk delivered a spellbinding experience that bridged their innovative past and continued influence on modern music all set against the historic backdrop of Luton Hoo Estate. It features plenty of their classics from the time, as well as - shockingly - a new track, titled 'Tribal Gathering' (and also sometimes referred to as 'Luton') that was written especially for the gig, never recorded in the studio and only ever played a handful of times. A great nostalgic trip.
Self Synchronise (Where Things Are Hollow 2) (5:12)
Weather The Storm (4:33)
Comms Down (5:57)
Phase B (5:02)
Underneath (Where Things Are Hollow 3) (5:41)
After Effects (5:11)
As A Glacier (4:11)
Trust The Process (5:24)
Simulation Cult (4:36)
Simulation Cult (Alessandro Cortini remix - Where Things Are Hollow 4: Reinterpretations) (10:39)
Self Synchronise (Lord Of The Isles remix) (7:00)
Resist (John Talabot remix) (8:28)
After Effects (Surgeons Girl remix) (4:25)
Mainframe (Kaitlyn Aurelia Smith remix) (3:20)
Review: If you at first mistakenly read the title of the new Pye Corner Audio box set as "Where Things Are Now: No Tomorrow", you're not alone - Martin Jenkins' effortless blend of retro-nostalgia and forward-facing production is a keen match for reflexive cynicisms like this. His use of sizzling vintage audio-tropes could only have been achieved in the 21st Century and helps foster a reinstated optimism. The name of the full series is actually Where Things Are Hollow; and while two volumes have been released already, a third original one now comes added here, on top of a full remix roundoff featuring Alessandro Cortini, Kaitlyn Aurelia Smith and John Talabot, producing this rather banging four-volume set.
Review: Renowned German electronic music pioneer Klaus Schulze enjoyed a lengthy touring spate after the release of his 1977 album opener 'Velvet Voyage'. Made up of synth chimes in sequence - icicling cycles - the Mirage frontispiece served to irreversibly weld the idea of the "voyage", and connotations of "journeying" to Schulze's music as popularly imagined. Later in 1981, Bon Voyage would take form: this was a closing tour performance at the Hamburg Audimax concert hall, concluding a two-week tour through Germany, the Netherlands, Belgium, Luxembourg, Switzerland and France. One of many bonnie voyages undertaken by Schulze in his lifetime, it would nonetheless prove unforgettable and salient among them; from 'The Journey Begins' through to the templar titillations of the three-part 'Bon Temple' and the ex-sanguine 'Moulin Bleu', this is a live synthetic forget-me-not.
Giorgio Moroder - "I Wanna Rock You" (Shakedown mix) (3:34)
Nina - "Beyond Memory" (3:35)
Melezz - "Neon Escapism" (4:35)
Emil Rootmayer - "Recall" (3:26)
Double Mixte - "Romance Noire" (5:12)
Solitaires - "Voyage A La Mer" (Shuttle remix) (2:07)
Thomas Barrandon - "Fragment" (3:10)
Neon Nox - "Fahrenheit" (5:21)
Orion - "Time For Crime" (3:17)
Desire - "Black Latex" (4:41)
The Toxic Avenger - "Sorcery" (5:04)
Artofdisco presents Accident In Paradise - "Don't Be Late" (3:32)
LAU & Droid Bishop - "Stunning" (Droid Bishop remix) (3:29)
Sunglasses Kid - "Graduation" (3:57)
VIQ - "Last Path" (3:58)
Bunny X & Marvel83' - "NYC Sunrise" (3:50)
Adieu Aru - "Release" (3:38)
Review: Synthwave, or "outrun" as it is sometimes popularly known, is one of the defining micro-aesthetics of the 21st Century. Cornered then abrogated by filmmakers like Michael Mann and Nicolas Winding Refn, the style was expanded upon in the music imaginary sometime in the early 2010s (though seeds were sown much earlier). This Wagram compilation charts the earliest stirrings in the sound, from the circuit-breaking Moog experiments of Giorgio Moroder through to the nightridden vrooms of Kavinsky, and the fuzz-static analog snows set to sample-funked beats of VHS Dreams.
First Hand Experience Of Second Hand Love (edit) (3:00)
Jukebox Head (3:35)
Quiet Rebellion (3:14)
Strange Kinda Dance (2025 edit) (3:14)
The Day The World Turned Day Glo (2:48)
Vapourise (radio edit) (3:47)
You Kill Me (3:12)
Last Chance (2024 edit) (3:15)
Murder Your Darlings (edit) (3:17)
Night & The City (2023 mix) (3:29)
Gemini Lounge (edit) (3:12)
Defiant (edit) (3:05)
Kill Shot (4:11)
Back To Nature (Marc mix) (2:35)
Review: Born from the success of Soft Cell's triumphant *Happiness Not Included record, the iconic and somewhat elusive - five studio LPs in 41 years - Soft Cell have decided to go all in with a package of alternative rides, previously unreleased mixes, and single-only B-sides. Nothing here featured on the original LP, and there are a few bonus workouts of stuff not from the source album, too. Cover versions of Fad Gadget's 'Back to Nature', X-Ray Spec's 'The Day The World Turned Day Glo', and a freshly minted take on the Cell's own landmark 'Last Chance' all elevate this, not that people were likely to have needed another reason to stick it in their basket. A great example of why less is more, but generosity is the secret to true satisfaction.
Monday To The Moon (feat Peter Hook, Peter Duggal, Victoria Port & Thomas Vangarde) (6:46)
Review: Wolfgang Flur is of course the former electronic percussionist of Kraftwerk during their classic era from 1974 to 1986. He's now set to release a new studio album featuring collaborations with several synth-pop and dance music icons. They include German techno duo U96, Yello's Boris Blank, Thomas Vangarde - better known as former Daft Punk mainman Thomas Bangalter - Juan Atkins, Antony Rother, Emil Schult and New Order legend Peter Hook. Flur has since become a celebrated solo artist whose music blends retro-futurism, melody and narrative while always maintaining an optimistic vision for humanity.
Review: Broken English Club is the alias of techno veteran Oliver Ho and here he explores his signature industrial wave and post-punk sound with unflinching intensity as he lands on Dekmantel's UFO Series with Songs Of Love And Decay. It is a raw, brooding album dedicated to the late Juan Mendez aka Silent Servant with tracks like 'Crawling' and 'Death Cult' echoing his tribal techno roots. 'England Heretic' meanwhile channels eerie synthwave and Giallo vibes and 'Vessel Of Skin' delves into distortion-laced post-punk that contrasts with the stark futurism of 'Pacific Island Kill.' Ho blends cinematic textures with club energy throughout so makes for a dark, emotionally charged tribute that pushes beyond typical boundaries and is sure to resonate in the club.
Review: Brighton-based Australian vocalist, producer, and multi-instrumentalist Penelope Trappes shares her fifth album, requiescing ten captive ambient soundscapes, all of which share the aim of integrating dreamsand nightmares, grief and personal empowerment. Through the use of carnal, transcendent cello drones, Trappes explores historical and generational traumas in a chilling piece of gothic experimentalism. In a residential prelude, Trappes trapped herself in Scotland, eking remote studio solitude as a cranny in which to unleash personal demons, exploring and transmuting familial chaos and history. Raw and spiritually charged, the album offers a powerful meditation on loss; its threat, its meaning, and the process of coming to terms with it.
Every Time We Live Together We Die A Bit More (3:36)
Out Of Sight (3:48)
Pink Fluffy Dinosaurs (3:50)
L'Odeur Animale (3:47)
Review: Marking the 25th anniversary of The Magnificent Tree, Belgian trio Hooverphonic release a special limited edition of their third album, available on translucent blue vinyl. This edition comes strictly limited to 1,000 numbered copies, each with a commemorative insert; its four core singles 'Mad About You', 'Vinegar & Salt', 'Out of Sight' and 'Jackie Cane' became career milestones for the ethereal band, clinging to the Flemish Ultratop 50 for 107 weeks as they continued to hone and plane their established blue noir, post-trip-hop sonic vernacular. Also marking their 30th anniversary as a band, The Magnificent Tree is probably the best touchstone to describe their coming of age, ripping up the the comparatively innocent sonic formula of Blue Wonder Power Milk.
Review: In 1984, Gary Numan launched Numa Records and started a new phase in his career with the release of Berserker. This album introduced a harder-edged digital sound into his canon while maintaining the analogue textures of his earlier work. It's a testament to the fact that Numan's creative evolution never stopped and blends both personal and fictional narratives into haunting tracks like 'My Dying Machine,' 'This Is New Love' and 'Berserker.' The remastered double vinyl edition includes the original album with bonus tracks that add extra perspective to this pivotal period in his career.
Tolouse Low Trax - "Sketches Of A Destroyed Meadow"
Infuso Giallo - "Torus"
Claude De Tapol - "Du Train Jaune"
Puma & The Dolphin - "The Grass Drum"
t-woc - "Marty Eek"
Houschyar - "Intercontinental"
Lamusa II - "Artificiale"
YNV - "Dw3"
Bolva - "Rite II"
Anatolian Weapons - "Float"
URVERHEXT - "Ubertan"
Velvet C - "Exalt Cut"
Review: Emotional Response has described soFa's fourth compilation for the label as "internationalism for the adventurous DJ", full of club music for the open-minded. It's basically an eclectic, esoteric musical travelogue that serves of intriguing, entertaining and admirable electronic music for those of a leftfield persuasion. There's much to enjoy, from the undulating melodies, off-kilter beats and mind-soothing chords of Infuso Giallo's 'Torus', and the moody techno-not-techno wave minimalism of Puma & The Dolphin ('Grass Drum'), to the analogue-heavy cold-wave dystopia of Houschyar ('Intercontinental'), the dark ambient techno of Lamusa II ('Artificial') and the tribal tinged electronic psychedelia of Bolva ('Rite II').
Review: Beaming into the future from the 1980s Belgian EBM scene, The Klinik (now reduced to two core members Marc Verhaeghen and Mark Burghgraeve) are a pivotal force. They helped found the underground, all while influencing a generation of EBM artists both locally and internationally. ‘Pain And Pleasure’ was their first blush, first released as an EP on Antler Records in 1986. Now recovered and “album-ified”, it takes on a new form as a full-length LP elongation, retitled Plague & Pain And Pleasure. With a new sado-leathered, plague doctoral, marble vinyl aesthetic, this is an electrifyingly chalky expansion pack taking after the original three-tracker, and which proves again the dark efficacy of their gluttonous, motoric overwhelmer sound, evidenced on the likes of ‘World Domination’, ‘Go Back’ and ‘Outside’.
Review: The excellent Minimal Wave serves up a long-awaited LP here that features unreleased treasures from the influential UK duo, Vicious Pink, who first met at The Warehouse night-club in Leeds in the late 1970s and went on to reshape synth-pop. They notoriously lent their backing vocals to friends Soft Cell but went on to have success as a duo with avant-garde singles that defied norms and climbed the UK dance charts between 1982 and 1986. Now, Unexpected offers glimpses into their creative process and is packed with pop experiments recorded on the fly, some of which are with Dave Ball of Soft Vell/Grid fame. Limited to 999 copies on Coke bottle clear vinyl, this release is a true collector's gem that includes an exclusive postcard.
Review: Generations of modular might fold in on themselves as legendary Buchla pioneer Suzanne Ciani patches into accomplished French synthesist Jonathan Fitoussi for this outstanding album on Obliques. The title is clearly a tribute to Morton Subotnick, whose own Silver Apples Of The Moon is a true ground zero for West Coast synth albums and as you might surmise Ciani and Fitoussi opt to create something more shapely and inviting than the wild, brilliantly alien tonal mutations Subotnick conjured up back in the 60s. If you're familiar with either artist's work you won't be disappointed, as exquisitely rendered melodic flourishes, delicate spatial processing and subtle textural shifts unfurl around your ears across these eight beautiful pieces of synth perfection.
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.
Review: Legendary British outfit Saint Etienne returned with their 12th studio album late last year, and now it lands on vinyl via Heavenly Recordings. A much-awaited follow-up to 2021's I've Been Trying To Tell You, this ambient collection offers a gentle, immersive experience designed to ease the noise of daily life. It was produced with Augustin Bousfield and blends songs, spoken word and rain-soaked textures into a seamless dreamscape, all recorded between Saltaire in the north and Hove down on the south coast. It captures the fragile space between waking and sleep with highlights like 'Half Light' and 'Preflyte'. As such, The Night is best experienced on headphones and is ideal for late hours, reflection and introspection.
Review: Cluster's Zuckerzeit stands as a landmark in electronic music, showing the duo's innovative approach to ambient electronic soundscapes. Unlike their self-aware avant-garde contemporaries, Cluster's music emerges as a pure expression of their passion for electronic gadgetry and songwriting. The album's subtle shift in sound from their previous work heralds a more intriguing style characterized by bubbling ideas and electronic manipulation. Tracks like 'Hollywood' and 'Caramel' paint vivid pictures with gloriously chunky synthesizers and jerky drumbeats, evoking reflective and playful tones respectively. 'Rote Riki' ventures into experimental territory with alien-like synths and throbbing bass, while 'Rosa,' "Fotschi Tong,' and 'Marzipan' conjure images of ambient space exploration with colorful synthesizers and relaxed drumbeats. 'Caramba' and 'James' delve deeper into experimentation, showcasing Cluster's versatility. Closing with 'Rotor' and 'HeiBe Lippen,' the album maintains its pace, with motorik beats and droning sounds adding to the overall spacey atmosphere. Clocking in at under 40 minutes, Zuckerzeit is a dynamic journey through Cluster's boundless creativity, setting a new standard for electronic music.
Review: Berlin-based synthwave and dark disco band Dina Summer return with a sanguine new seven-track record, continuing their reputation for making 80s nostalgist music fans ever more ravenous for their distinct take on EBM and its adjacent styles. Following 2022's acclaimed Rimini LP, this freak zone of a record brings gravely detuned, yet DJ-ready instrumental backings and stiffly but passionately delivered vocal recitations to a modern production palate. This approach reaches its ultimate conclusion on the natural midpoint 'Alien', a track perhaps best describable as a hi-NRG number made in a cryoponic chamber and lent an extraterrestrial theme.
Review: Laibach and A/political present Alamut, a new, symphonic album inspired by Vladimir Bartol's 1938 novel of the same name. Recounting an 11th-century Persian tale - centered on the charismatic and enigmatic Hassan-i Sabbah, leader of the Nizari Ismailis and founder of the Order of Assassins - this is a shadowy, ninja-black-wax initiation into an esoteric order of spies. Laibach's work blends classical Persian poetry, minimalist orchestral textures, and industrial elements, reflecting both historical propaganda tactics and Bartol's critique of rising Fascism in 1930s Italy. Released on double vinyl and CD box set through Mute, the album was recorded in 2022 at a former Crusader castle in Ljubljana; it features the RTV Slovenia Symphony Orchestra, Tehran's Human-Voice Ensemble, the Gallina Women's Choir, and the women's accordion orchestra AccordiOna, conducted by Navid Goharib.
Review: Reissued over two decades since its original release, the second full-length from Liverpool's Ladytron still thrums with the same sharp-edged futurism that made it such a cult touchpoint. Tracks like 'Seventeen' and 'Evil' captured a tension between robotic detachment and raw emotional charge, anchored in the band's icy synth palette and minimal, deadpan vocals. While 'Blue Jeans' flirts with glammy melancholy, 'Turn It On' and 'Fire' dial up the menace, tapping into something more volatile. There's something surgical about the sequencing tooi'Cracked LCD', 'NuHorizons' and 'Cease2exist' stretch into more abstract terrain, before folding back into hook-laced electro-pop with the closing title track and 'The Reason'. With Daniel Hunt and Mickey Petralia co-producing, the album took shape in Los Angeles but never lost the European chill that defined their sound. It's a record that helped redraw the map for synth-pop in the early 2000sineither retro-futurist pastiche nor pure nostalgia, but something sleek, cinematic and entirely their own.
Review: Does synth-pop get any more essential than this? When The Human League delivered their third album Dare in 1981, they instantly evolved from minimal wave outsiders to chart-topping pop treasures, and with the hits on here is it any surprise? From the epic, aspirational opener 'The Things That Dreams Are Made Of' through dark dancefloor monster 'The Sound Of The Crowd' through to their biggest hit, 'Don't You Want Me' casually tucked in at the back of the running order, it's a wall-to-wall classic which should be nestled into every record collection? If you don't own it already, now's your chance - and on translucent blue vinyl no less.
Why Did I Say Goodbye (feat Tommy '86 - bonus track) (6:09)
Holiday (bonus track) (5:05)
Fading Away (6:54)
Review: Sally Shapiro are actually a duo, and the name is actually a pseudonym. Besides, they are essentially in the business of blowing every other synthpop act out of the park by this point. Packed with emotion and swelling refrains, 'Sad Cities' is a universal lamentation for failed metropoli the world over. Opener 'Forget About You' sets the tone for the pair's home-recorded masterpiece, on which the lead singer's voice takes raspy centre stage. Regret seems to be the central theme, peronalising our collective suffering:
Review: Kraftwerk's 1975 performance at Fairfield Hall in Croydon is the stuff of legend. Finally it is available as a high quality audio pressing that allows you to relive all its glorious futurism. The show was broadcast on radio as part of a short tour of the UK that came after the release of the German computer music pioneer's hugely popular Autobahn. It features tracks from that album as well as 'Die Sonne, Der Mond, Die Sterne' and 'Showroom Dummies.' A real piece of electronic music history that will spice up any collection.
Review: The Durutti Column prove just how fertile the North West England music scene was during the mid-late-1970s and through the 1980s. Taking their name from an anarchist military movement active during the Spanish Civil War, the band was formed by Vini Reilly, who brought together a bunch of players from the nascent punk and post punk scene, and managed to turn heads in the process. One of which was Tony Wilson. One of the first acts to sign to his now-legendary Factory Records, they would remain on the imprint until its demise, by which time the project had become a solo thing for Reilly, whose name was already shorthand for risk taking with bold ideas. Take this record, for example, veering from Southern Mediterranean folk to experimental indie, sample-based rock-opera and more, it still defies expectations.
Review: Former Throbbing Gristle alumni Chris Carter and Cosey Fanni Tutti are in the middle of remastering and reissuing their superb studio albums. The electronic pioneers were known for their perfect melodies and compelling rhythms and 1989's Trust is no different. It's a superb selection of electro-pop sounds skewed through their own erotic lens. Despite the signature coldest of their sounds, these tracks somehow exude plenty of warmth. Form the deep-frozen synths of 'Watching You' and the glacial aesthetics of 'Deep Velvet' this is early and essential tacker from these enduring pioneers.
Review: Synth-pop duo Marina Zispin aka Bianca Scout and Martyn Reid lead you on a trip into nocturnal spaces with this new album Now You See Me (Now You Don't). It is a place where time and memory come together into shadowy worlds of mechanical groves, airy melodies and retro-future imagery. N 'Piece Of Mind' the ghost of bands like Jy Division lurk in the stark drums and melancholic guitar lines, while 'Penthouse Samba' taps into dark disco chug and 'Venus Opulence' is a more minimal, sky and experimental concoction that will freak you out if you listen to it one with the lights out.
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