synth-pop . alt-R&B . cold wave . industrial

WEEK STARTING 20 May

Genre pick of the week Cover of Raw Data Feel by Everything Everything.
Twice Mercury Prize nominated, 5 time Ivor Novello nominated and critically acclaimed, Everything Everything launch their new forthcoming studio album 'Raw Data Feel'.

On Raw Data Feel, Everything Everything set about revolutionising modern pop music, with Higgs abandoning his own brain and letting technology do at least some of the thinking: feeding LinkedIn T&Cs, Beowulf, 4Chan forum text and the teachings of Confucius into A.I. automation processes and using its responses as a basis for the record's lyrics, song titles and artworking.

This new phase is a rapturous return and - staying true to form - sees the band continue to push the ribbon on melody & rhythm with a heavy helping of electronic exploration.

STAFF COMMENTS

Barry says: Everything Everything are back! This time taking the fruitful modern phenomena of AI generation and neural networks to produce some of the most effervescent and poppy productions we've heard from EE thus far. It's brilliantly surprising in parts, but so seamlessly put together that you can't fail to enjoy it. Sleek pop perfection.

TRACK LISTING

1. Teletype
2. I Want A Love Like This
3. Bad Friday
4. Pizza Boy
5. Jennifer
6. Metroland Is Burning
7. Leviathan
8. Shark Week
9. Cut UP!
10. HEX
11. My Computer
12. Kevin’s Car
13. Born Under A Meteor
14. Software Greatman

Arca

KiCK II

    Produced and recorded by Arca, The complete Kick Cycle; KICK ii – kiCK iiiii. The Grammy nominated Venezuelan star, showcasing the multiplicity of her artistry. The distinct collections span moods and modes, featuring her visionary avant-garde cyber-reggaeton production, operatic range, unexpected collaborations (including Sia, Shirley Manson, Oliver Coates, Planningtorock, Ryuichi Sakamoto), and a boundary-smashing approach to genre and identity.

    TRACK LISTING

    Side A
    Doña
    Prada
    Rakata
    Tiro
    Luna Llena
    Lethargy

    Side B
    Araña
    Femme
    Muñecas
    Confianza
    Born Yesterday Ft. Sia
    Andro

    Arca

    KiCK III

      Produced and recorded by Arca, The complete Kick Cycle; KICK ii – kiCK iiiii. The Grammy nominated Venezuelan star, showcasing the multiplicity of her artistry. The distinct collections span moods and modes, featuring her visionary avant-garde cyber-reggaeton production, operatic range, unexpected collaborations (including Sia, Shirley Manson, Oliver Coates, Planningtorock, Ryuichi Sakamoto), and a boundary-smashing approach to genre and identity.

      TRACK LISTING

      Side A
      Bruja
      Incendio
      Morbo
      Fiera
      Skullqueen
      Electra Rex
      Ripples

      Side B
      Rubberneck
      Señorita
      My 2
      Intimate Flesh
      Joya

      Arca

      KiCK IIII

        Produced and recorded by Arca, The complete Kick Cycle; KICK ii – kiCK iiiii. The Grammy nominated Venezuelan star, showcasing the multiplicity of her artistry. The distinct collections span moods and modes, featuring her visionary avant-garde cyber-reggaeton production, operatic range, unexpected collaborations (including Sia, Shirley Manson, Oliver Coates, Planningtorock, Ryuichi Sakamoto), and a boundary-smashing approach to genre and identity.

        TRACK LISTING

        Side A
        Whoresong
        Esuna Ft. Oliver Coates
        Xenomorphgirl
        Queer Ft. Planningtorock
        Witch Ft No Bra
        Hija

        Side B
        Boquifloja
        Alien Inside Ft. Shirley Manson
        Altar
        Lost Woman Found
        Paw

        Arca

        KiCK IIIII

          Produced and recorded by Arca, The complete Kick Cycle; KICK ii – kiCK iiiii. The Grammy nominated Venezuelan star, showcasing the multiplicity of her artistry. The distinct collections span moods and modes, featuring her visionary avant-garde cyber-reggaeton production, operatic range, unexpected collaborations (including Sia, Shirley Manson, Oliver Coates, Planningtorock, Ryuichi Sakamoto), and a boundary-smashing approach to genre and identity.

          TRACK LISTING

          Side A
          In The Face
          Pu
          Chiquito
          Estrogen
          Ether
          Amrep
          Sanctuary Ft. Ryuichi Sakamoto

          Side B
          Tierno
          Músculos
          La Infinita
          Fireprayer
          Crown

          NCA frontman Brassfoot releases his first, eagerly anticipated full length project. ‘SWEAT’. NCA 005 delivers 9 volatile club tracks, perfectly curated for peak-time DJ sets, or sweat inducing gym sessions alike. Brilliantly singular & highly rhythmic, landing somewhere between the industrial slow-gabba /  orc music perveyed by the Belgium based PRRR! PRRR!, Detroit sludge and tape fried experiments of fellow NTS visionaries Tom Boogizm & FUMU. It growling distortion the ever-continuring trademark throughout the LP. Showcasing his signature sound, Brassfoot opens another chapter of this ever-growing NCA story. 

          TRACK LISTING

          A1. Ceremonial Glass
          A2. Tiers Not Tears (Dub Splash)
          B1. Our Business
          B2. Coveted Codes (CSS)
          C1. Deep Water Carriers
          C2. Soylent Bread & Water
          C3. Off Dat FFFFF
          D1. Radiac Meter
          D2. Hellnet Uprise (E-Day)

          - The most comprehensive vinyl edition of the original motion picture soundtrack for John Carpenter’s first feature film, Dark Star (1974).

          - For the fans of John Carpenter, sci-fi movie soundtracks, electronic experimentations, and strange vinyl releases. Also, for surfers.

          - Includes the sought-after "When Twilight Falls on NGC 891" by Martin Segundo & the Scintilla Strings, for the first time ever on a John Carpenter-related release.

          - Limited Edition LP + Colour Vinyl 7”

          WRWTFWW Records is ecstatic to bring back the original motion picture soundtrack for John Carpenter’s Dark Star (1974) with added bonuses that are sure to satisfy all cult sci-fi soundtrack completists of the galaxy (and beyond).

          This limited edition double combo comes with a LP and a 7". The former is a remastered version of the original motion picture soundtrack consisting of incidental music, sound effects, John Carpenter’s synth experimentations, dialogue excerpts, and vintage interferences extracted directly from the film roll.

          The 7" is red with a yellow label circled in black (in pure beachball alien fashion) and contains "Ode to a Bell Jar" remade by loyal Carpenter collaborator Alan Howarth (Escape from New York, Christine, Big Trouble in Little China, They Live…), the fan favorite "Benson Arizona" remade by Dominik Hauser, the very sought-after "When Twilight Falls on NGC 891" by Martin Segundo & the Scintilla Strings (in the real world *James Clarke’s Spring Bossa), as well as endless loops of sound effects from the movie to turn your house into your very own scout ship. Oh and there is a very secret hidden bonus track too!

          It all comes in slick thermostellar triggering packaging with a brand new artwork and invisible hyperdrive electronics - the best way to relive the Dark Star adventure and celebrate John Carpenter’s first directorial feature film released in 1974 and co-written by (and starring!) all around legend Dan O’Bannon (Alien, Lifeforce, The Return of the Living Dead). Let there be light!

          TRACK LISTING

          Tracklist LP:
          A - Music, Sound Effects And Dialogue Excerpts Part 1 (Remastered) 25:10
          B - Music, Sound Effects And Dialogue Excerpts Part 2 (Remastered) 25:51

          Tracklist 7”:
          A1 - Martin Segundo And The Scintilla Strings “When Twilight Falls On NGC 891”
          A2 - Alan Howarth - Doolittle’s Solo (Remake)
          A3 - Loop #1
          A4 - Loop #2
          B1 - Dominik Hauser - Benson Arizona (Remake)
          B2 - Very Secret Hidden Bonus Track
          B3 - Loop #3
          B3 - Loop #4

          Cool Maritime

          Big Earth Energy

            Having crested the west coast modular-ambient wave in just a few releases including 2018’s Sharing Waves on the influential LA experimental imprint Leaving Records-- Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch’s multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi.

            Inspired by the aforementioned, and guided by Hellfritsch’s experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch’s imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable-- or as the album’s creator puts it-- “to explore the incomprehensibly vast energetic expression and mystery that is Earth.”

            Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa using true-to-period gear no less.

            Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

            TRACK LISTING

            01 Big Earth Energy 6:18
            02 Amphibia 6:24
            03 Temporal Dryft 6:46
            04 Soft Fascination 5:08
            05 Avian Glide 4:23
            06 Secret Of The Megafauna 5:47
            07 Apex 4:32

            Hailing from New York and currently based in Berlin, musician Curses releases sophomore LP ‘Incarnadine’ on label Dischi Autunno, operated by music pioneer Jennifer Cardini, featuring collaborations with Jennifer Touch and TERR.

            Known for blending his Morricone–esque guitar with elements from early 80s music genres like New Wave, Post Punk and New Beat, Curses keeps pushing the boundaries of these references with an emphasis on his own ghostly vocals and guitars on the 2nd album for Dischi Autunno, following his 2018 debut ‘Romantic Fiction’. A resident DJ for Berlin’s infamous Pornceptual party, he also established his own label Ombra INTL in 2016. Further solidifying his love for genre-hopping, Curses runs a monthly Rinse France radio residency where he showcases artists who also share this passion for mixing Wave and the dark and weirder side of Italo Disco.

            “The album is a dialogue between the inner self and outer, and romance of eternal and immortal existence. Hence the first single, ‘Miriam’ being a ballad to the Vampiress main character in The Hunger book and film from the 80s. How do we make an emotion timeless?“

            Cult classic film The Hunger explores themes of immortality, love and timelessness, the post-modern vampire film contains a dark glamorous atmosphere and stars David Bowie. In a similar way we can see this reference transposed on Curses record. Slick production values and dark grooving melodies push the listener down a path. Opening with cloying nostalgic guitars the track ‘Miriam’ is based on the antagonistic lover from the 80s film. Played by Catherine Deneuve, Miriam is a character trapped in eternal loneliness forever searching for a love that can last the test of time. A battle between her internal desires and external reality. In the same way Curses music is caught in a push and pull between the melancholic beats of the past, contrasted with a contemporary and sophisticated production.

            With ‘Boundless feat Jennifer Touch’ Curses turns his references on their heads, going from the dark moody guitar driving tracks akin to Depeche Mode into a more playful goth Siouxsie and the Banshees vibe. With vocals by Touch the melody is fast and dynamic with the lyrics almost holding a teasing quality. ‘Smoke’ continues the playfulness but this time pushing further into dance floor territory with vocal samples weaving in and out of a moody but very smooth rhythm. With ‘Ghost of Arms feat TERR’ Curses explores an ethereal pop atmosphere with the Brazilian artist’s vocals. Throughout the LP you can hear the signature running bass-lines from Dame Bonnet who tours with Curses for his live show. ‘Made In Shade’ closes out the album, paying homage to Curses’ musical roots and the sounds that have shaped him.


            STAFF COMMENTS

            Barry says: Incarnadine is a superbly accomplished mixture of 80's indebted post-punk groove and spacious, gothic ambient business. It's reminicent of Blackest Ever Black's Tropic Of Cancer, but veers more into basement post-punk and machinated industrial thump.

            TRACK LISTING

            A1 - Miriam
            A2 - Blood Oath
            A3 - Gretchen Bender
            B1 - Boundless Feat Jennifer Touch
            B2 - Smoke
            B3 - Coma
            C1 - Déjà-vu, Inc.
            C2 - Malice (Interlude)
            D1 - Ghost Of Amrs Feat. Terr
            D2 - Made In Shade

            Redstone Press return with a new ep from Par Avions Henry Greenleaf. Henry spent a lot of time in the Lake District prior to and during the beginning of the pandemic and this release is the fruit beared from that period! Full of tense space and creative freedom, "Kirkstone EP" is Henry’s finest work to date (in our biased and arrogant opinion) and highlights his ever-upwards trajectory.

            The EP’s namesake boots down the door with his instantly recognisable drum work and intricate synth lines. The A2 “Headache District” is a more spacious affair, awash with ambient sweeps that, when paired with his intricate booming kicks, creates a subtle groove that belies the driving force behind the track.

            On the flip “Put By” swaps sweeping synths for metallic abrasion and a building tension that dissolves into unsteady piercing stabs and crumbling basslines. Henry expertly stiches together elements that on paper shouldn’t work, into a masterfully deep and ominous 5 minutes. Closing out the EP is “Group Translate”, a symphony of cascading sounds that ramp up the pace and force you into taking notice! This hammer of a track sounds like something you’d hear as you pass through a blackhole in space, on eccies.

            TRACK LISTING

            A1. Kirkstone Pass
            A2. Headache District
            B1. Put By
            B2. Group Translate

            Kill Your Boyfriend

            Killadelica

              Kill Your Boyfriend are a two-piece psych tinged, post-punk outfit formed in 2011 in Venice, Italy. They are Matteo Scarpa on guitar and vocals, and Antonio Angeli on drums. In Killadelica, the focus of the songs shifts from the person being killed, to the killer. It is the band's first album that features female names as track titles, which are taken from real female serial killers. The band explain that “the tracks are inspired by their stories and attempts to unravel the feelings that led them to make such extreme gestures, their motivations and emotions - revenge, hatred, search for power, lust, avarice.” They further explain that “the themes explored point to an unfortunate fact, that most of these forces ae still present in modern society.”

              The album’s story starts with ‘Anula’, a slow building track that explodes into cacophony with an ethereal vocal that remains long after it’s gone. ‘Jean’ and ‘Natasha’ offer a frenetic pace that captivates from the opening beat, with an instant desire to move along, in whatever fashion, exuding from the depths along with the hints of something dark and dangerous. ‘Nancy’ wastes no time in asserting its influence with the lyrics “Fear fear fear fear fear” and then the duo of ‘Agave’ and ‘Belle’ work in unison to add a little theatre; with extended background drone rising to new heights in the haunting synth melody that could repeat forever. ‘Marie’ and ‘Elizabeth’ offer a distinct industrial vibe, with the latter being the perfect lead single choice, attracting attention across the globe. Together they are powerful, creating something that can’t quite be named, just below the surface. You know it’s there, but you can’t quite place it. The intrigue is intense. This is only compounded by ‘Eve’ which ramps the tempo up to the max, leaving you breathless and wondering what happened. ‘Aileen’’s countenance is more subtle in its execution before the concluding ‘Kathy’ knows how to mark its presence, ensuring that the stories relayed here, are not easily forgotten.

              There are no two tracks alike, just as is the case with the people whose stories are being told. There is no doubt that Killadelica is dark, and yet whilst exploring a topic that most would consider macabre, Killadelica's sound explodes into kaleidoscopic and luminous reflections of light, creating a weighty juxtaposition that makes the album a must listen to for anyone of a psychedelic, post-punk or even industrial persuasion.

              FFO: The Soft Moon, Suicide, Sonic Youth

              TRACK LISTING

              A1 Anula
              A2 Jean
              A3 Natasha
              A4 Nancy
              A5 Agave
              A6 Belle
              B1 Marie
              B2 Elizabeth
              B3 Eve
              B4 Aileen
              B5 Kathy

              Freaky R&B indebted pop from Monteal’s Laroie. Produced by Gene Tellem with Gabriel Rei and Robert Robert. 150 copies only.

              Seductive sadness. Powerful vulnerability. Precise yet irresistible vocals. A few words to describe Laroie as she steps forward in full possession of her means, following up on her debut and namesake EP released in August 2020, and on the recent singles "Can't Let Go" and "One More". Here she is with “Speed of Life”, an extended play destined to be absorbed and listened to in one sitting. Funny how it sounds both familiar - you feel like you’ve known these songs your whole life - and brand new, all at once. In this nostalgic and emotional territory, standing at the borders of her influences, Laroie's talent shines through.

              Skilfully navigating the electro-pop sonic palette, the artist crafts a comfortable, soothing canvas where dance, soul, and R&B from the late 90s and early 2000 also hop into the mix. From the bewitching slow garage "Elevate" to the cathartic and luminous "Can't Let Go", and through the trip-hop infused "One More", the very danceable "A Place on Earth", "Moonlight", reminiscent of the best of TLC, Brandy and Monica, and the title track’s addictive vocal melody, “Speed of Life”, just like a silky everyday soundtrack, is enjoyable on repeat.


              STAFF COMMENTS

              Matt says: Landing somewhere between street soul, electro-pop and modern R&B, Laroie burst outta nowhere with a fresh sound that's bound to please! Killer vocals from this under-the-radar songstress. Big TIP.

              TRACK LISTING

              A1. Elevate
              A2. One More
              A3. Speed Of Life
              B1. Moonlight
              B2. A Place On Earth
              B3. Can’t Let Go

              Thomas Leer And Robert Rental

              The Bridge

                Thomas Leer and Robert Rental’s The Bridge is re-issued on vinyl for the first time since its original release in 1979 and on CD for the first time since 1992. With Robert unfortunately passing away in 2000, this record, Leer and Rental’s one and only album together, stands alone in capturing the duo’s pioneering capabilities. The Bridge was originally released on Throbbing Gristle’s Industrial Records label in 1979 and is considered to be an early electronic avant-garde synth-pop masterpiece, seeing the likes of John Foxx, Propaganda, Art of Noise and ABC citing the pair as key influences.



                TRACK LISTING

                1 Attack Decay
                2 Monochrome Days
                3 Day Breaks, Night Heals
                4 Connotations
                5 Fade Away
                6 Interferon
                7 Six A.M.
                8 The Hard Way In And The Easy Way Out
                9 Perpetual

                Quinquis

                Seim

                  “I went back to my roots,” says Émilie Tiersen (née Quinquis). “And I realised how much Breton culture was a part of me.”

                  Émilie Tiersen has, over the course of two albums and several years, made music as Tiny Feet and is now, with the release of Seim, her debut for Mute, known as QUINQUIS. The name change is symbolic; simultaneously paying homage to her personal and family history by referencing her maiden name, as well as representing a fresh start musically. “It’s been a new start for many things,” Émilie says. “Self-acceptance has been a really big thing for me.”

                  From forging a deeper connection to her own culture, history and identity, to exploring new musical terrain and becoming a mother, it’s been a period filled with significant change. It was during this time that she began to explore new ideas. “I was on tour with Yann [her husband, Yann Tiersen] and our baby,” she recalls. “During my baby's nap I created a rule for myself: to come up with one new idea in every new city. From the very beginning this was a journey.”

                  Soon people began to join Émilie on this journey. Characters - some from her own life, others rooted in the history of Breton culture - began to come alive in song ideas. She discovered Ankou, a servant of death in Breton mythology who comes to see you in the year that you die; she explored Seiz Breur, a 1923 Breton art movement founded by a young woman in the very same small village she is from; she tapped into the lives of friends, exploring a rich tapestry of people, places, emotions and stories all tied together by a shared commonplace: Brittany. “I put the stories of those people around mine so that I could have them share this journey with me.”

                  “It’s been a really rich and nourishing period,” Émilie says. “I've discovered what it is to be a mother. To have a son has answered many questions I had about life and roots, and so this was the first step to a very deep discovery. I am raising my child in the Breton language, so there was this kind of rebooting of the whole system.”

                  Once these ideas began to mutate into something more musical, she connected with Gareth Jones, celebrated producer who has worked with groups such as Liars, Depeche Mode and Apparat. He initially offered to play some synths but their partnership grew into something more. “The record revealed itself in the back-and-forth Gareth and I had,” she says. “It was really unexpected because Gareth and I are quite the opposite. We are really different on paper but through this album we've shared something unexpected. He’s got a bit of a mentor aura - he was the light to my darkness.”

                  The result of their work is one that merges sparse electronics, immersive atmospherics, and deft melodies, all of which are carried by Émilie’s tender yet quietly soaring vocals. The opening ‘Adkrog’ (aptly translated as ‘Start Again’) stirs the album to life with soothing yet unpredictable pulsations, as though a new world is awakening and working out its newfound surroundings. “It's about finding the energy in environment and nature,” she explains. “When I was feeling desperate, I sat outside and I prayed for nature to give me some answers. This song is about that - if you just let go then nature gives you an answer.” ‘Setu’, on the other hand, a story about the aforementioned Ankou is driven by scattered beats, floating vocals and considered sonic textures that bubble up from peaceful to potent.

                  The subtle arrangements across the album are reflective of a philosophy Émilie was exploring. “I'd been reading into wabi-sabi,” she explains. “It's a Japanese way of thinking about finding beauty in imperfections. The idea was to accept my imperfections and find the beauty in simple and small things. Minimalism has impacted the album - to try to find a way to stay humble.”

                  Collaborations also extend to Ólavur Jákupsson, who sings in Faroese on ‘Run’ (which translates to ‘Hill’), a song about being woken up by a blast of cold wind on top of a hill, which melds woozy tones, plucked strings, engulfing atmospheres and Émilie’s intimate and whispered vocals. On ‘Netra Ken’ the writer and endurance cyclist Emily Chappell features, reading an extract from her book (in Welsh) “Where There’s A Will”, capturing her determination and resilience. Talking about the use of language on the album, she explains, "I think languages are a living way of telling people’s mind and culture, their diversity brings us closer and helps us understand better. That’s why I was happy to have Welsh and Faroese along with Breton in the record… they are somehow cultures that seem close to mine.”

                  To make it even more unique, Émilie sings throughout in Breton. “Singing in the Breton language made me realise what I was made from,” she says. “Everything was suddenly easier and it gave me more freedom. It's a very special language and so to write interesting lyrics was a process of researching but it was so nourishing to discover new stuff about nature or people thanks to that language.”

                  Nature is key to the album and lends itself to the title, as well as key themes in individual songs. The album title Seim translates as “sap”. “It's really about when you have low energy,” Tiersen says, “and you need to recollect the sap so that the tree gets green again. The whole album was really about making me green again. The more I recorded music, the more I felt green.”

                  This sense of rejuvenation, rebirth and a musical awakening coincided with Émilie plunging into her own community, history and culture. “The more I was learning about myself, the more I was discovering the people around me,” she says. “Now I'm on the City Council here on Ushant [the remote Breton island she and her family live on]. The more I go into it, the more involved I am in the Ushant community. I really felt during these past few years that people have been so supportive.”

                  This feeling of being lifted by the community is reflected in ‘Ôg’ a story about a woman from Ushant whose husband went to work at sea (the oil tanker Betelgeuse) while she was 8 months pregnant. All 52 men died, 51 on board, with the exception of her husband who died trying to make it ashore.” The widows of the 51 men on board came together to help the woman with clothes and other things for the baby. “This story really resonated with me.”

                  This sense of interconnectedness leads to the album being a multifaceted one. It is deeply personal and introspective yet also collaborative and expansive. It is rooted in both historical and modern stories. It is an album that connects worlds while being entirely its own. “There is something cosmic about it,” says Émilie. “I don't know how to explain that but the way it happened with Gareth, and the way everything just suddenly all came together feels like cosmic harmony.”

                  It’s also an album that brings to life, in a singular and contemporary way, the lives, stories and people of the Breton culture and its language. “The album was a way for me to tell stories of the people here. I really felt that during the whole process that through stories I could tell the history of Brittany or Ushant. It's an album that is full of ghosts. I'm happy with that. I have a good relationship with ghosts.” 

                  STAFF COMMENTS

                  Barry says: Seim is a striking collection of swooning electronic anthems, rooted in club music, but tempered into a hazy post-party wooze, all topped with soft French vocals. It's a wonderfully written evocative set of electronic anthems, and perfectly at home on Mute.

                  TRACK LISTING

                  1. Adkrog
                  2. Eñvor
                  3. Setu
                  4. Run
                  5. Mintin
                  6. Estren
                  7. Netra Ken
                  8. Ôg
                  9. An Divare
                  10. Te

                  Proto-future Pop exhumed from '86, Romie Singh's 'Dancing to Forget', could easily be mistaken for an up-to-the minute R&B instrumental from '22. The song's elastic swing reminiscent of a vintage Wally Badarou Compass Point session. Instead masterminded by studio maestros Günther Janssen (more lately of Donna Regina) & Peter Hantke, while Romie's vocals soar above. It's a timeless call to escape life's ill's via the dancefloor.

                  Collected here on Strangelove the cavernous, dubbed out 'D.T.F.' (12" version) sits alongside the prescient hope/dystopia of LP cut 'Future World' (cue Covid World) and the killer Balearic-beat sass of 'Credo' A short sharp 3 track jolt into the trio's cult 80's catalog. Shouts to Basso for the original resuscitation!



                  STAFF COMMENTS

                  Matt says: Haunting, ethereal, jagged-edged - this is brilliant! Long forgotten minimal wave brilliance from 1986 given a much needed resuscitation.

                  TRACK LISTING

                  A1 Dancing To Forget
                  B1 Future World 
                  B2 Credo


                  Congratulations to Joanne who won one of only 10 hand painted versions of the new album from @porridgeradio ‘Waters… https://t.co/4bfulxDQm9
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