Recordings 1979-1983
Everfriend was the project of New Jersey-based keyboardist Bill Rhodes (real surname Rupprecht), operating with drummer Mike Jacoby and bassist Paul Kozub, all previously connected through a band called the All Night Flyers. Rhodes self-released Everfriend's recordings between 1980 and 1983 on his own Jazzical Records label in very limited vinyl editions: Tropicsphere (1980), Sphere of Influence (1981), and Shoot to Kill (1983), the latter first released as a tape. The project sits in an unusual…
We Are Young And Stupid
On 29th April 1982, the final year degree show at the Royal College of Art in London gave birth to a project that had no clear precedent. The Death and Beauty Foundation, initiated that day by Val Denham alongside Mike Wells, Nick Coombe, Stuart Jane, Elita Denham, and Antal Nemeth, began as a performance/action group with experimental sound. The first recordings — the "Darlington Tapes" — were made by Denham and Andrew McKenzie of The Hafler Trio in 1982, establishing a connection to the wider …
Applied Synthesis
Bill Rhodes was a Florida-based synthesist and composer who spent the 1980s building an idiosyncratic body of work across a series of self-released cassettes and limited vinyl pressings, entirely outside the commercial music industry and largely unknown beyond the tape-trading network he plugged into through South Florida connections and fanzine advertisements. His music was described by Boomkat as spanning "lounge jazz flair to doomy John Carpenter feels," evoking a library's worth of themes an…
Thealonian Music
Ash Wednesday is an Australian musician from Adelaide who arrived at the late 1970s Melbourne post-punk scene via the proto-punk group JAB, whose tracks appeared on the Suicide Records compilation Lethal Weapons, and then via The Models, a band he co-founded with Sean Kelly that would later become a chart-topping pop group while Wednesday himself moved in a very different direction. His experimental work from the early 1980s unfolded across several parallel projects: solo electronic pieces; Mode…
Recordings 1979-83
Malcolm Brown is a Scottish electronics and minimal synth artist who has been active since the late 1970s, working from council flats in West Lothian with whatever equipment he could assemble: a Casio VL Tone, electric guitar, bass, piano, a Shinei Fuzzbox, a Dual Octave Box, a WEM Copycat echo unit, a Dr. Rhythm drum machine, electronic percussion pads, an Akai GX 4000D reel-to-reel recorder, and a Hitachi stereo tape deck. His early collaborations with Robert Lawrence of Quick Stab Products in…
The Blackwing Sessions | Demos 1982 / 83
On The Blackwing Sessions, Demos 1982/83, Robert Marlow opens the vault on his pre‑Peter Pan Effect sketches, capturing Basildon synth‑pop at source: raw Vince Clarke sequences, Eric Radcliffe grit, and songs caught mid‑mutation between bedroom dream and major‑label mirage.
Fluorochrome
On Fluorochrome, Sara Ayers turns a tiny kitchen studio into a prism for synth‑pop, ambient and art‑song, layering her own voice and machines into intimate electronic miniatures that feel both handmade and quietly otherworldly.
Sad Songs
On Sad Songs, Scott Alexander steps away from American Music Club into a one‑man synth lab, fusing Eno‑tinged ambience, noir synth‑pop and fuzzed‑out psychedelia into a solitary, homespun detour that never repeats itself.
Recordings 1980-82
On Recordings 1980–82, Sea of Wires condense Coventry bedroom kosmische into slow‑burn circuits: Chris Jones and Tony “T” Murphy channel Hawkwind and German electronics into looping, improvised voyages that feel handmade yet eerily vast.
Synth Pop Art
On Synth Pop Art, The Toy Shop turn Paul Klein’s one‑man Leeds project into a sharp, neon‑lit partnership with Philip Walsh, distilling early‑80s UK minimal synth, big‑chorus ambition and nearly‑was pop history into a tight set of lost singles.
Recordings 1980-1981
On Recordings 1980–1981, Those Little Aliens / This Little Alien bottle the moment when punk’s “anyone can do it” collides with cheap synths, mail‑art cassettes and Throbbing Gristle shock, turning a Leeds bedroom into a crackling, homespun laboratory.
Recordings 1982-1987
On Recordings 1982–1987, YU - Dwaine Woodliff, his brother David and Gaylon - turn Austin’s DIY tape underground into a lo‑fi philosophy lab, smuggling post‑punk, bedroom electronics and dark humour into concept‑cassettes about how not to come apart.
Recordings 1988
On Recordings 1988, YU - brothers Dwaine and David Woodliff with Gaylon - push their Austin DIY ethic to a strange, addictive peak, fusing minimal synth, post‑punk anxiety and home‑taped intimacy into songs that feel like intercepted private signals.
Sol.Hz
London braingaze experimenters Seefeel return with Sol.Hz, their first full-length album in 15 years and a carrying-on of the hazy IDM that saw to their becoming one of Warp Records' most distinctive early signings. Famously among the first acts on the label to fold guitars into an electronic framework, the group again dissolve the adumbrations of shoegaze, dub and ambient techno, a now much-exploited sonic terrain by sound revivalists today. Tracks like 'Ever No Way' and 'Humidity Switch' drift…
Movement
Debut Sacred Bones release from acclaimed Venetian ambient visionary. From spectral drones to shimmering electronics and jazz-tinged harmonies, Movement flows like tides: a music of swells, currents and the body in motion.
El Pulso Del Acero: Shinkansen
El Pulso del Acero: Shinkansen is Esplendor Geométrico's electrifying new album, blending trance-inducing industrial rhythms with bold voice and noise collages. Featuring 16 tracks, it revisits the raw power of their 80s classics while exploring futuristic industrial sounds, with recordings from Tokyo (2025) and a rare previously limited tracks now on vinyl for the first time. After over 40 years of continuous innovation, the influential Spanish duo continues to shape industrial, techno, and exp…
Rem(a)inders
Amulets is the solo project of Portland-based audio and visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music. Amulets has steadily built a catalog defined by tactile intimacy and patient exploration. Deeply immers…
Lost Themes
The first solo album from the legendary director and composer of Halloween, Assault on Precinct 13, The Snake and many more! With the 15 films he has directed and composed the soundtracks for, John Carpenter has single-handedly defined the sound of the horror genre. The film music alone manages to instantly conjure up, in the musical memory of the devoted fan, the menacing figure lying in wait for the babysitter, the ghost-filled mist, the kung fu fighters with their lightning-fast fists, or the…
All Shall Go
On All Shall Go, Damos Room - the trio of Elijah Minnelli, Luke Miles and Nicholas Elson - strip dub to ghost‑logic and negative space, staging a slow, pressurised unravelling where tension, not impact, becomes the main event.
Glass Torso
“Joe Fujinoki centered the compositions of his latest album Glass Torso around the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process. Fujinoki recorded Glass Torso ex…