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


Genre pick of the week Cover of The Internet by Glüme.


The Internet

    Glüme wants it all.

    Born & raised in Los Angeles, it all started with a Judy Garland biopic. When a six-year-old Glüme heard her parents arguing about money, she knew what to do. If the Wizard of Oz’s Dorothy Gale could become a star & buy her parents a house in the real world – Glüme could do it too. She stopped going to school, started taking dance lessons & started booking auditions. Baby Glüme landed roles in 102 Dalmatians, Kingdom Hearts, & a Hayao Miyazaki film, but her airy voice & melancholic aura wasn’t exactly what the Disney Channel was looking for. “There were all these happy, girl power albums, but they were all written by men. Guys would say to me, you need to be more empowering, more uplifting. I don’t have any of that to say.”

    Fast forward…Glüme hears Chromatics on Spotify Shuffle. Immediately, she knew that Johnny Jewel’s production was the only way the music in her head could be translated to the outside world. Her years as an actor had supplied her with enough connections to get a meeting with the president of Warner Brothers & Rihanna’s lawyer, but she couldn’t track down Johnny Jewel. Then, out of nowhere, Glüme wound up in the ICU for two weeks. After dozens of tests, she was diagnosed with Prinzmetal Angina, a rare heart disease. It felt like a door had closed.

    “I didn’t like the vision of myself as a sick person. So I went on The Internet.” Between getting sick & living through the pandemic, her entire existence was online. She submerged into Instagram & dove headfirst into TikTok. Lying in bed for days, scrolling through her own profile, it resembled a real life. It looked like she was having fun. Laughing in parks & looking glamorous. “My online presence was my truth even though it was a lie. I have this self at home who is sick & then this self on The Internet that’s doing amazing. The world wasn’t working for me. But online, I could live the life I wanted to live.”

    She started making music alone with a laptop & a microphone. After a few months, her friend Huntington joined the project. The same computer that she was living through vicariously was quickly becoming her ticket to the outside world. Out of the blue her & Huntington saw a “Submit Demo” button pop up on the Italians Do It Better website. Glümeimpulsively sent in a demo, & thirty minutes later, she got an email from Megan Louise that simply read… “Johnny loves your music, call me at this number.”

    She never dreamed her new life with a chronic illness could include filming music videos dressed in latex vogueing on the roof of a vintage car, singing her own lyrics into the fogged camera lens. “I called my cardiologist, asking if I was going to kill myself by doing this. He didn’t hesitate – ‘You’ve worked for this your whole life. You have to do it.’”

    It was reminiscent of a type of self-fashioning Glüme learned at a very young age. Seeking refuge from an absent mother-figure, her early years were spent in therapy. When she told her therapist that she didn’t know what being a woman looked like, Glüme was handed a Marilyn Monroe biography. “My therapist told me that Marilyn invented herself. When she said that, I felt better.” In a process similar to applying a filter to a selfie or cropping a photo, Glüme was born.

    She is self-proclaimed as the Walmart Marilyn. She is not IV drips or a victim trapped in a sterile doctor’s office. She’s a shooting star. Framed by the most vivid reds with the face of a doll. She’s not nights spent home alone, in pain. She is Judy Garland, Ginger Rogers, & Audrey Hepburn. She is the choreographer, the editor, the dancer, the writer, & the audience. “Sometimes I don’t know which is more authentic. When I don’t want to be known – that’s when I’m the most Glüme. But I love her, whoever she is. And I don’t know if she’s sick.”

    Log in to “The Internet” & log out from worldwide madness…


    A1. Arthur Miller
    A2. What Is A Feeling
    A3. Nervous Breakdown
    A4. Crushed Velvet
    A5. Body
    A6. Get Low
    B1. Blossom
    B2. Don’t @ Me
    B3. The Internet
    B4. Heatwave
    B5. Porcelain
    B6. Chemicals

    Alex G

    God Save The Animals

      “God” figures in the new album from Philadelphia, PA based Alex Giannascoli's LP’s title, its first song, and multiple of its thirteen tracks thereafter, not as a concrete religious entity but as a sign for a generalized sense of faith (in something, anything) that fortifies Giannascoli, or the characters he voices, amid the songs’ often fraught situations.

      Beyond the ambient inspiration of pop, Giannascoli has been drawn in recent years to artists who balance the public and hermetic, the oblique and the intimate, and who present faith more as a shared social language than religious doctrine.

      As with his previous records, Giannascoli wrote and demoed these songs by himself, at home; but, for the sake of both new tones and “a routine that was outside of my apartment,” he asked some half-dozen engineers to help him produce the “best” recording quality, whatever that meant. The result is an album more dynamic than ever in its sonic palette.


      1. After All
      2. Runner
      3. Mission
      4. S.D.O.S.
      5. No Bitterness
      6. Ain’t It Easy
      7. Cross The Sea
      8. Blessing
      9. Early Morning Waiting
      10. Immunity
      11. Headroom Piano
      12. Miracles
      13. Forgive


      Kosmik Musik

        Two years in the making Kosmik Musik is a collaboration between artist Joe Currie, writer Ben Wheatley and musical group Beak>, who worked closely with the artists to provide a musical accompaniment for the graphic novel.

        The soundtrack is pressed on 10" black vinyl and housed in a spined sleeve.

        Ben and Joe met at art school in the 90s where they both were involved in a lot of comic book drawing and reading. It’s taken thirty years to finally get their acts together and create this book. In the meantime Joe has been sculpting and painting. Ben has been writing and directing films.

        Kosmik Musik is melting pot of 2000ad, Metal Hurlant, Kirby tech, psychedelic 60s art, Doctor Who, Douglas Adams, Kraut Rock, Star Trek and Star Wars. A UK 70s English childhood basically.

        The project comes with a sonic accompaniment by Beak> who have live dates on the horizon including Primavera Sound in LA

        ABOUT KOSMIK MUSIK, THE GRAPHIC NOVEL: The galaxy is a big place–but not big enough for Mick and Eve as they are chased across it by cops, inter-dimensional plunderers, rogue artificial intelligences, middle-aged assassins and a third-tier superhero team. Come with us on a rip roaring, planet hopping adventure. Punches will be thrown, tears will be shed and music will be played on vinyl on vintage record players as Mick and Eve try to solve every sentient creature’s fundamental questions like why and what... and eh? Yes, dear reader, Kosmik Musik will unlock some of the more pressing mysteries of the universe. True Fact.


        KOSMIK MUSIK (Part 1)
        KOSMIK MUSIK (Part 2)
        KOSMIK MUSIK (Part 3)
        KOSMIK MUSIK (Part 4)
        KOSMIK MUSIK (Part 5)
        KOSMIK MUSIK (Part 6)
        KOSMIK MUSIK (Part 7)

        Jorja Chalmers

        Midnight Train

          Jorja Chalmers enjoys a quiet life. The Australian born mother of two lives in Margate, the Kent coastal town that is turning into something of a cultural hub. Yet there’s another, shadow version of Jorja Chalmers, one that resides in a liminal realm; a saxophonist & composer, a brooding, vampiric, twilight soul who yearns for some sense of aesthetic transformation.

          New album ‘Midnight Train’ comes close to severing the two. Constructed during the long winter lockdown, Jorja would put her kids to bed before closing the door in the spare room, building lengthy, undulating passages of cinematic terror, patching together European art-pop glamour with outsider electronics. It’s composed, intense, & challenging – but it’s also utterly exhilarating.

          “I feel incredibly proud of this album,” she says. “It feels like a life’s work squeezed into one space. It feels like I’m saying something.”


          A1. Bring Me Down
          A2. I'll Be Waiting
          A3. Rabbit In The Headlights
          A4. Boadicea
          A5. Love Me Tonight
          A6. Nightingale
          A7. Riders On The Storm
          B1. Rhapsody
          B2. The Poet
          B3. The Wolves Of The Orangery
          B4. On Such A Clear Day
          B5. Midnight Train
          B6. Underwater Blood

          Pascal Comelade

          Le Non-sens Du Rythme

            Following 'Le Cut-Up Populaire', Pascal Comelade announces the release on September 9 of his new album 'Le Non-Sens Du Rythme'. Since his first record published in 1975, Pascal Comelade, a child of the frenzy rock of the 60’s and 70s’, has developed a profuse body of work including many musical collaborations (PJ Harvey, Robert Wyatt, Jaki Libezeit (Can), Lee Ranaldo, The Liminanas...) and non-musical collaborations (Jeanne Moreau, Sergi Lopez, Jean François Stévenin, Bob Wilson...).

            His compositions are reminiscent of MC5, Erik Satie, Nino Rota, Ennio Morricone, Suicide: a language that dances on a musical skeleton in perpetual movement by successive fusions, mixing folklore and underground, repetitive music and french chanson, pataphysical riffs and toy instruments.

            As a multiple artist, he has developed an aesthetic approach via a particular link to visual arts. He draws, paints and occasionally performs with painters Miquel Barcelo and Hervé Di Rosa.

            On his new album, "Le non-sens du rythme" (to be translated "The nonsense of rhythm", the title says it all), Pascal Comelade almost plays all the instruments, not only multiple pianos but also the Rickenbaker e.bass, the indian harmonium, various keyboards and even the tin can. He remains the undisputed master of the instrumental ritornello inspired by popular music as well as krautrock.



              Gather your loved ones, Together is here. Duster’s fourth album is a 13-song exploration of comfortable, interplanetary goth. A sonic Vaseline of submerged guitars, solder-burned synths, and over-driven rhythm tracks. “I know people say, ‘Oh Duster music so sad, we’ve even said it ourselves before,” Clay Parton said. “But it’s a lot more like absurdism than nihilism.”

              TRACK LISTING

              1. New Directions
              2. Retrograde
              3. N
              4. Time Glitch
              5. Teeth
              6. Escalator

              7. Familiar Fields
              8. Moonroam
              9. Sleepyhead
              10. Making Room
              11. Drifter
              12. Feel No Joy
              13. Sad Boys

              FKA Twigs' much anticipated mixtape "Caprison" finally gets pressed on vinyl, with a limited edition glow in the dark version - yay! (it's also available on standard black vinyl for the noctiphobics! - Ed)

              Features guest appearances from The Weeknd, Jorja Smith, Pa Salieu, Rema, Shygirl, Unknown T and Daniel Caesar as well as a host ofTwigs’ close friends and community. Many already citing it as one of the best albums of 2022 including Vulture, Entertainment Weekly, NPR Music, Pitchfork, i-D Magazine, NYLON, Complex, Rolling Stone, Esquire, GQ, Marie Claire, The Needle Drop, OkayPlayer, Rough Trade, FLOOD Magazine, The Quietus etc.

              Stylistically it veers indiscriminately from ethereal synth-pop, avant choral work to futuristic alt-RnB and ghostly industrial dub; with idiosyncratic vocal performances from each individual talent, really highlighting the creative juices flowing across the project. It plays in traditional mixtape style - with interludes of informal philosophy and musings between Twigs and her friends filling the gaps between the tracks. 

              There's tender moments of intimacy, revealing introspections and glossy-eyed yearning; but also precision rhymic delivery taking influence from dancehall and rap and the melting pot of London's multiculture - a theme rich throughout the LP and one treaded previously by MIA. Infact, it's a very London-sounding album; sitting nicely alongside other contemporary luminaries like Little Simz and Green Tea Peng with its confident, colourful individuality and feminism more so than its stylistic content. It finds our star unveiling her insecurities and faults but somehow we love her all the more for its honesty and sincerity. Existing fans are gonna absolutely love it; but I sense she's going to draw in a whole new host of admirers with this album. A real triumph.  

              TRACK LISTING

              Ride The Dragon
              Honda (feat. Pa Salieu)
              Meta Angel
              Tears In The Club (feat. The Weeknd)
              Oh My Love
              Caprisongs Interlude (feat. Solo)
              Papi Bones (feat. Shygirl)
              Which Way (feat. Dystopia)
              Jealousy (feat. Rema)
              Careless (feat. Daniel Caesar)
              Minds Of Men
              Track Girl Interlude
              Darjeeling (feat. Jorja Smith & Unknown T)
              Christi Interlude
              Thank You Song

              Nation Of Language


                Nation of Language release a limited edition 7” single covering the classic single ‘Androgynous’ by The Replacements. Presenting an entirely reimagined interpretation, Nation of Language have delivered an 80s new wave production built on playful synths and punctuating drum programming. Ian Devaney’s vocals bring the unmistakable Nation of Language take on contemporary indie electronic which they are growing to define. The B-side is a new Nation of Language recording called Again & Again which is released for the first time on this 7”.

                TRACK LISTING

                A1. Androgynous
                B1. Again & Again

                The indie dance and leftfield techno magicians Radial Gaze join the Urge To Dance family after remarkable releases for labels such as TAU, Feines Tier, Calypso and Eskimo. The Saint Petersburg-based project is accompanied by Thomass Jackson and Zombies in Miami on remix duties for the mesmerizingly exotic “In Each Other” EP.

                "In Each Other" is a multi-layered and infectiously danceable combination of addictive bassline, magical Cameroonian drums, Amazonian percussions and mystical marimbas creating a mysterious and exotic track. "Psych Subsidy" delivers dirty, energizing and somehow hypnotic emotions. Entrancing sitar loops, long pitched synthesizer and a twisted old lullaby female vocal will get you on board for an amazing psychedelic trip.

                The B-side is where Thomass Jackson and Zombies in Miami deliver their wild and unorthodox remixes of "In Each Other". The Thomas Jackson 'True Love' remix is emotional, hypnotizing and yet so trippy, a true testament of Calypso Records Boss’ remixing skills. The second take of the leading track is by Zombies in Miami, a powerful and forward-looking track that blends the hypnotic percussions of the original with a rhythmic bassline and flawless simplicity of all elements used in this remix.

                STAFF COMMENTS

                Matt says: Always nice to have a solid piece of drug-chug in for the amyl enthusiasts and cybernetic dancers. This is one such number. Thrusting robotics and hypnotic head shakes their signature dance moves.

                TRACK LISTING

                1 In Each Other
                2 Psych Subsidy
                3 In Each Other (Thomass Jackson True Love Remix)
                4 In Each Other (Zombies In Miami Remix)

                Sprung Aus Den Wolken

                Sprung Aus Den Wolken

                  The Berlin project Sprung Aus Den Wolken was part of the "Geniale Dilletanten" movement in the early 1980s, along with Einstürzende Neubauten and Mechanik Destrüktiw Komandöh. The band first released an EP on ZickZack in 1981, followed by further releases on the band's own record label Faux Pas in 1982 and 1983. The track Pas Attendre was part of the soundtrack of Wim Wender’s movie Der Himmel über Berlin and thus became an underground hit. Bureau B is pleased to finally make the long out-of-print, self-titled album from 1982 available again. Carefully remastered, with reconstructed original artwork, numerous photos and liner notes by original member Alexander Hacke (later of Einsturzende Neubauten).

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