DKA US Vinyl & CDs

Review: Atlanta's DKA Records present the debut Boy Harsher LP, a duo between Augustus Muller and Jae Matthews that have two releases to their name already, one being self-released. This LP blends your favourite aspects of coldwave, night-time driving soundtracks with vocals that trip from breathy, pained and wailing in a way reminiscent of Tropic of Cancer, HTRK and The Human League combined. The music over all is downcast and in line with techno flavours of today while still has industrial as what you'd like to hear from Ministry, even Sick Puppy. There are lighter passages like "Morphine" which are completely danceable, as is "Big Bad John". A fresh new drop of synth wave music that's not on Minimal Wave, Dark Entries or Mannequin related - yes please.

Review: Anders Karlsson aka Celldod returns to the spotlight with his third studio album to date, Fragmenterade Minnen. Out through DKA Records, fast becoming a cultural hub for the darker, looser, and more explorative side of techno, the album presents 12 tracks of intellectually honest coldwave and, instead of exploiting the genre's cliches, our man Celldod applies his own mood, vision, and aesthetic to this curious form of pseudo-techno. Wacky electronic waves collide and then gel with its more rigid drum patters and dance-centric grooves, making it a perfect album for rave junkies yearning for the spaces amid the kick drums.

Review: Sally Dige is a multidisciplinary artist from Vancouver, British Columbia, known for her darkly poetic yet highly danceable electro-pop songs. Her second album entitled Holding On was created in her new home of Berlin, during a time of intense inner turmoil. Pushed to the threshold, Dige channelled all of her pain and fears into the production of a series of incredibly powerful songs. Stunningly, she only used her vocals and a single synth to create this album. Although produced via such slim resources, the songs sound far from sparse. Released via Atlanta, Georgia's DKA Records (High Functioning Flesh/Boy Harsher) they best describe it themselves when they say to 'think Gina X flavoured post punk-disco rubbing against Twitch-era Ministry's lost Sade collab or Enya on LSD after a break up.'

Review: Los Angeles outfit DIN return with a fourth album that is their fullest yet. It is a real contrast between the light and airy vocals of Josie Vand and the ever present electronics of Greg Vand. Both fall in and out of harmony, take turns to lead and seduce as they do so. Every sound is clear and concise, with syncopated percussion and playful synths. The record is not only a musical triumph but one that revels in the experience of living in the here and now. As far as contemporary cold wave and synth go, this is right up there.

Review: Admittedly, there are plenty of outfits named DIN, in the left field music scene, but this Los Angeles based duo, made up of Greg And and Josie Vand, have been causing havoc on our 'out of stock' front. Each time we get a batch of music from these guys, it's gone before we know it, and it looks like this latest glitchy IDM will continue that trend! Out through DKA, Real Dirt is perfect for the sound of now, that is, a stuttery, biopic blend of minimalistic electro a'la Autechre. However, the tracks on this new LP, much like their previous work, is much more body-rocking, calling all dancers and posers to the floor, and bubbling up its wacky synths amid tough drum patterns. The heart of this magnetic album is certainly Detroit electro, but the brains reside very much in the UK glitch territory. A marvellous concoction for the new year!

Review: Those fully invested in the current US cold wave scene should be more than familiar with Chicago duo Valis, who's output to date has been restricted to some wonderfully avant remixes of contemporaries Soft Metals, Inhalt and //TENSE//. Formed of The Drum's Jeremiah Chrome and Josh Foxx, Valis are evidently fond of making statements with The Demolished Man not only the first substantial Valis release it's also their debut album. Listening through the ten track album, there's an obvious reverence for classics the classic synth-pop, industrial, and R&B of the 1980s (see the Yello style "ohhs" that punctuate "Pretty Boy/Lipstick") but it's executed with real panache and a knowing nod that can't help but suck you in. Apparently Chrome and Foxx scrapped two albums worth of material in the three years they were recording, and you cant argue they made the wrong decision after spending some time with The Demolished Man.