Back catalogue: Coldwave/Synth

Review: Leipzig based Riotvan, run by Peter Invasion and Panthera Krause, welcomes Kalexis and Paulor for this collaborative four track that mines techno's deepest depths. 'Going Through The Void' is a moody and slow motion opener that rides on an undulating bassline with plenty of ambient pads for company. 'Energy' is more edgy, a stomper with fractured vocals and wonky synths that builds a darker mood. On the flipside there is the brilliantly unhinged and unusual melodies of 'Lashes' which sounds like a marching band on acid and 'Magnetic' closes down with haunting low ends and spooky pads.

Review: The second solo releases from Edward Ka-Spel to appear on the Lumberton Trading Company label offers eight spectacularly original compositions from the outsider artist. These are tracks that bore their way into the heart and mind through startlingly personal moods and meanings. The atmosphere is often tense, and, when it's not, 'surreal' is the word that springs to mind - albeit more unusual hallucination than comical experiment. 'Platform 5' might be the best example of how unnerving things can get, the low, rumbling synth bassline underpinning spoken word, distant, almost inaudible harmonic refrain and eerie chorus. 'No Show Tomorrow' asks "what if they had a war and nobody showed up' to seemingly disconnected tones, notes and noises. 'They Seek Her Here' ups the tempo with a synth-wave-breaks trip through dystopian spaces.

Review: French electronic duo KaS Product were proper enigmas. Their first decade of activity, from 1980 to 1990, was marked by carving out their own niche within a fertile and noisy corner of music close to punk, early cold and minimal wave, and indie-electro. Compared by some to Kaleidoscope-era Siouxsie and The Banshees, Soft Cell and Suicide, it's no stretch to say that without this pair -the late Spatsz (Daniel Favre) and Mona Soyoc - the likes of Prinzhorn Dance School would sound different. By Pass was up there with their finest hours and most defining creations. Arriving in 1983, it's packed with a kind of dark, back-room-of-a-dive bar venue edge that is at once anarchistic, surreal, and beautiful. 'Tina Town', for example, will raise the hair on the back of your neck, 'W Infatuation' seems to belong in some batshit Broadway musical, 'Mingled & Tingled' is all about groove and seduction. Excellent all round.

Review: Iconoclastic artist Kat Von D explores themes of love and sobriety in her sophomore album, My Side of the Mountain, inspired by the famous adventure novel. This synthwave, goth, post-punk album was crafted amidst her journey of covering tattoos and embracing a new faith, reflecting her experiences of love, darkness, and vulnerability. Collaborating with respected songwriters Shep Solomon, Fernando Garibay, and featuring guest vocalist Alissa White-Gluz, Kat creates a compelling sonic landscape. Kat's impressive resume spans shaking up the tattoo industry, starring in TV shows, writing best-selling books, and building a beauty empire. However, music remains her first love. With a background in classical music and an eclectic appreciation for various genres, My Side of the Mountain stands as an impressive follow-up, showcasing her growth and artistic evolution.

Review: Kid Machine enters his Terminal Phase with an expansive new double album on Spain's Hypnotica Colectiva. This is an electro compilation with one eye on the future and as much detail as to work in a wide range of settings away from the club. After the glistening synths of 'Terminal Phase' comes a retro 80s sound on 'You Know' and then the dazzling electro-disco of 'Metallic Insects'. The widescreen nature of these sounds are laid bare on 'Electromanctalo' while the 'The New Rage' has something of an 80s electro-pop feel and 'Missing In Action' is a winky acid workout full of menace.

Review: Los Angeles based industrial, EBM and synth producer Kontravoid is garnering a strong following due to his talented blend of darker electronics and the Toronto-based electronic label Artoffact Records is the perfect imprint to pick up the burgeoning artist. Detachment is the third full length album from Kontravoid, with the first view of it coming in the form of 'For What It Is', a powerful, anthemic and driving track featuring cues from techno and industrial equally, Kontravoid makes tracks that supersede any subgenres being more compared to groundbreaking 80s acts like Nitzer Ebb or Neon Judgement.

Review: Electronic music owes much to legendary synth makers like Roland, Yamaha and Sequential Circuits and now Rack Sessions explores their unique sonic identities by dedicating each track to a single synth. From the cinematic grandeur of 'The D' (Roland D-550) to the nostalgic warmth of 'MiR' (Korg M1R), each composition is shaped by its instrument's distinct character while beats take a backseat as atmospheric soundscapes unfold-'802 Nights' (Yamaha TX802) evokes open highways, while 'SOB' (Oberheim Matrix-6) channels sci-fi tension. These are carefully crafted and deeply evocative sounds.

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 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 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: There isn't a more hit-packed Kraftwerk album than The Man Machine. First released in 1978 and here reissued on red vinyl accompanied by a fresh booklet of vintage images, the album boasts some of the German band's best loved songs, including 'The Robots', cheery sing-along 'The Model', the staggeringly good 'Neon Lights', and the bubbly title track. It shows how good the album is that such gems as 'Metropolis' and the picturesque 'Spacelab' - cuts that most other bands would kill to be able to write - tend to be ignored or overlooked. If you love electronic music, you need a copy of The Man Machine in your collection.

Review: Kraftwerk first toyed with the idea of making a concept album based on the Tour De France in the early 1980s, so it was probably inevitable that the cycling-mad group would eventually deliver on that promised. First released in 2003 and now reissued in re-mastered form on red and blue vinyl, the album is the most techno-centric set in the band's discography. While it still boasts their usual recurring melodic themes, tuneful motifs and robotic vocoder vocals, many of its hypnotic and euphoric tracks (particularly the three-part title track that dominates the first half of the album) are far weightier and more club-focused than their earlier releases. For that reason alone, it's worth a place in your collection.

Review: To our ears, 1975's Radioactivity is Kraftwerk's most ghostly and otherworldly album. It was famously their first set made entirely with electronic instruments - some home-made - and now sounds like a bridge between the more krautrock-style hypnotism of the earlier Autobahn and the slicker, more tuneful albums that followed it. In other words, it's as weird, alien and otherworldly as it is ground-breaking and pop-leaning. This 2020 reissue is well worth picking up, not least because it comes pressed on translucent yellow vinyl and comes accompanied by a glossy, 16-page booklet full of iconic Kraftwerk images.

Review: Autobhan, the 1974 album that began Kraftwerk's ascent to legendary status, is still capable of making the hairs on the back of your neck stand on end. The headline attraction remains the absorbing, mesmerising, 22-minute title track, a musical whizz down an imaginary three-lane highway that's as evocative and atmospheric as they come. That said, the album's lesser-celebrated, more experimental flip-side tracks (and in particular the jaunty 'Kometenmelodie 2'), are also inspired. Here it gets the 2020 reissue treatment via a tasty blue vinyl pressing that comes packaged with a 12-page booklet of historic photos and typically utilitarian imagery.

Review: Few albums have reshaped the landscape of electronic music quite like Autobahn. Originally released in 1974, Kraftwerk's groundbreaking fusion of synthesisers, sequencers and minimalist structure redefined what pop music could be. The title track, stretching over 22 minutes, was an ambitious journey through hypnotic rhythms, vocoder-treated vocals and shimmering electronic textures, concentrating on the feel of a never-ending highway ride. This anniversary edition brings a fresh dimension to the experience. Revisiting the original 16-track master tapes, Ralf Hutter and engineer Fritz Hilpert have crafted a Dolby Atmos Mix that expands the album's depth and spatiality like never before. This Blu-ray includes a 5.1 mix, a high-resolution stereo version and two newly edited 2024 single versions, plus a video of the 'Autobahn' edit featuring Kraftwerk's signature visual aesthetic. Packaged in a region-free Blu-ray with a 12-page booklet and an SDE-exclusive slipcase, this edition ensures that Autobahn can be experienced in a format worthy of its legacy.

Review: In August 2003, German synth icons Kraftwerk released Tour de France Soundtracks, their first album of new material since 1986's Electric Cafe. Even before the album's release, the band embarked on the extensive Minimum-Maximum world tour in January 2003 to great acclaim and much fan delight. By February 2004, the pioneering group had taken the tour to Scandinavia to perform in Helsinki, Finland, on the 6th and at Stockholm's Cirkus venue on the 8th and 10th. The Stockholm shows are still considered among the best of the tour and they are, luckily, all recorded for live FM radio broadcast. That exceptional concert is now available in its entirety on this new two-part set on translucent red vinyl.

Review: In August 2003, legendary musical futurists Kraftwerk released Tour de France Soundtracks, their first album of new material since 1986's Electric Cafe. Before the album's release, the band began their extensive Minimum-Maximum world tour in early 2003 and by February 2004 they had reached Scandinavia. They played in Helsinki on the 6th and at Stockholm's Cirkus on the 8th and 10th and these Stockholm shows are now widely celebrated as some of the finest of the tour. They were recorded for FM radio broadcast in Sweden and now come pressed up to a limited edition double gatefold album that features classics like the 'Computer World/It's More Fun To Compute/Home Computer' medley.

Review: Kreidler return to Bureau B and not without good reason. Their seventh outing on the highly respected label follows suit on previous exploits, exploring some outer limits of cosmic-leaning, guitar-led, electronically augmented stuff. Tracks that feel made for the hidden dancefloors of weird basements as much as the soundtracks to avant garde science fiction. And if that's too much of a stretch, let's just say 'mesmerising' and have done with it. Comparing and contrasting the warm bleeps and filtered hooks of 'Diver', for example, with 'Tanger Telex' and its strange, smoky brass trip into downtempo smoky heaven serves as a quick example of just how broad yet coherent Twists is. As does 'Arthmetique', a strange, patient thing of rhythmic licks and spoken word, when considered next to the fuzzy, dub-tech-meets-math rock of 'Mount Mason'.

Review: Japanese singer-songwriter Junko Kudo has released just two solo albums and one EP but has many more credits having built up a reputation for her vocals on the works of others including greats like Mimori Yusa amongst others. Her debut full-length Akaneiro No Carnival gets reissued here with an insert and obi-strip 40 years after it first arrived. It features Tetsuya Komuro and Daisuke Hyuga working on the arrangements and performance and is a delightful pop gem with hints of wave and synth-pop all drawing you in while the ephemeral whispering vocals from Kudo blend with melancholic melodies and wistful chords.