Com Truise’s ‘In Decay’


This week SynthWave superstar Com Truise released his interim record In Decay on Ghostly International. We say ‘interim’, as it’s not his next album proper, it’s a collection of rarities that have only been available online in demo form, or not at all. Most of the track come from the pre ‘Cyanide Sisters’ era. While we wait with baited breath for this master of retro synthetics’ new album, this is the perfect way to pass the time.

The album’s opener, the appropriately titled Open, is one of the collection’s standouts and paves the way for a record that despite it’s original, isn’t some group of rough tracks, this is a proper Com Truise album. As skilfully executed and slickly produced as anything you’d expect from the Seth Haley. There’s no-one around really who’s doing SynthWave quite like Com Truise. There’s a lot of atmospheric SynthWave artists right now soundtracking a dystopian future, but there isn’t many producers mixing that up with a real vintage, gritty feel with influences that range from experimental electronica and B-Boy Electro. It’s quite a unique niche in the SynthWave pantheon that Com Truise has carved out for himself. Following Open is the blissful ‘84’ Dreamin’, a laid back, nostalgic, jam driven by heavy LFOs. The album dolls out, in equal portions, heaps of Cosmic Funk with the likes of Controlpop and Smily Cyclops and lush Dreamwave as head on Colorvision and, particularly, Alfa Beach. At times Haley descends into his own dark future world resulting in harsh electronic grooves such as Yxes, but overall the album is washed in those Com Truise right synth tones and soaring leads that we love him for. There’s even a hint of Synth/Post-Punk hybrid in the mix with Dreambender. In Decay does sound like older Com Truise material, but that’s no bad thing, merely a reminder of the Com Truise magic, and all the more reason to eagerly await his next move.

♫ Com Truise – Open

♫ Com Truise – Colorvision

♫ Com Truise – Alfa Beach

♫ Com Truise – Yxes

Com Truise’s In Decay is out now.

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Black Strobe’s ‘Boogie In Zero Gravity’ video

The Swamp Electro stylings of Black Strobe’s Boogie In Zero Gravity is now committed to celluloid.

The clip is pretty straight forward, Black Strobe suited and booted, the way all good Electro Blues acts should be. Laetitia Laguze produced the video, which combines a classic feel with some finale psychedelics.

The Boogie In Zero Gravity EP is out now.

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Black Strobe’s ‘Boogie In Zero Gravity’ EP

Black Strobe

Next week sees the release of Black Strobe’s Boogie In Zero Gravity EP. Having spent the last few months releasing some excellent tracks solo Arnaud Rebotini returns to the Black Strobe moniker as the sole surviving original member, and it seems he’s using Black Strobe to experiment and indulge in a new sound. Whilst the ElectroClash beats and seedy Disco synths that are Black Strobe’s trademark remain, we are also treated to an injection of Southern Blues.

Kinda’ building on 2007’s Burn Your Own Church, but with more swagger, and more soul and more electronics. Where as Burn Your Own Church was pretty much a straight up Rock album, Boogie In Zero Gravity is the sound of the deep south, if Moog’s were dead cheep in the down by the bayou. A mixture of soulful swamp Blues and Chicago House, Boogie In Zero Gravity, and it’s flip side White Gospel Blues are definitely unique, if nothing else. But also brilliantly atmospheric. The reMix package is pretty huge, alongside work from Jeremy Glenn with a brilliant man-machine track and and Drop Out Orchestra sweet laid back Disco (neither of which we’re allowed to play you more than 1m30s of, which isn’t worth bothering with really) is a mix from Elijah Collins, a man making a lot of waves recently. He delivers an atmospheric space Disco track. Slightly brooding and very electronic, Collins brings a different side to the Blues. Fellow Blackstrobe Records producer Museum provides a bonus mix which again, retains the Bluesy fell, but channels that through a vintage synth machine that spits out a pulsating analog workout.

♫ Black Strobe – Boogie In Zero Gravity (Extended Version)

Black Strobe – White Gospel Blues (Museum reMix)

♫ Black Strobe – Boogie In Zero Gravity (Elijah Collins reMix)

The Boogie In Zero Gravity EP is out 16th July.

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Violet Tremors reMixed by hardCORPS & Medora

Violet Tremors

Are hardCORPS tracks like busses? You wait decades for one then loads come along at once. It was only this week that an unreleased track from the ‘80’s pioneers surfaced (quickly followed by a couple more), and now that are on the reMix for our favourite ladies of Minimal Synth Violet Tremors. hardCorps’ Clive Peirce teams up with his Medora partner in crime Phen to take on the girls Future Love from their rad Time is The Traitor album of last year.

Future Love was actually one of our picks of the album and Peirce and Phen take the abrasive ElectroPop and smooth it over with an almost Dubby sheen. Reverb washed synthetic percussion and a rolling Dub bassline from the rock on which Jessica’s mantra crashes. the end result is very Cabaret Voltaire, that mixture of Experimental Dub influenced electronics and early SynthPop harsh deadpan delivery alongside otherwordly synths could have come straight out the early ‘80’s underground.

Violet Tremors – Future Love (Clive Pierce (hardCORPS & Medora) & Phen (Medora) reMix)

‘Time Is The Traitor’ is out now.

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Nite Jewel’s ‘Clive’ video

The spookiest track (for personal reasons) on Nite Jewel’s One Second Of Love album, and current single Clive, is here in video form.

This sombre, simple clip is directed by José Wolff. Sometimes simplicity is best.

Nite Jewel is finally coming to the UK, dates here:

12th July – Erics @ Liverpool
13th July – Captain’s Rest @ Glasgow
14th July – Brudenell Social Club @ Leeds
15th July – Soup Kitchen @ Manchester
16th July – O2 Academy 2 @ Birmingham
17th July – The Green Door Store @ Brighton
18th July – XOYO @ London

Nite Jewel’s ‘One Second Of Love’ album is out now.

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Skeleton Lipstick

Skeleton Lipstick

Skeleton Lipstickis an ElectroPop/Chillwave/SynthWave/Indie-Electro mash-up outfit out of Philadelphia. They’ll be releasing their début LP next month and in anticipation of that have just droped a free EP.

The You Think You Know Me? EP sits in that nice space between SynthWave and Chillwave. Whilst SynthWave at it’s core, retro beats and vintage lead lines abound. The Lo-Fi recording ethos and washes of reverb swing it toward the Chillier side of things. Skeleton Lipstick like to write on “old, broken, circuit bent or abandoned synths that are difficult to program and work with but yield very rewarding results”, and it comes through as part of the Lo-Fi feel, toytown synths and ChipTune elements work their way into the track’s DNA. I even heard some VL-Tone in there somewhere. the EP’s title track, You Think You Know Me? is probably the EP’s most accessible. A funky little synth number with floaty vocals and a surprisingly Disco groove. Like an 80’s Pop hit heard through a vintage radio, Skeleton Lipstick experiments with electronic sounds and recording techniques but the catchiness of the song shines through. As with I Find All Your Love So Vain, the EP’s most SynthWave track, which sounds like an ‘80’s U2 hit, played though a distortion pedal and then given a Disco reMix. Retro through the grit of Lo-Fi, Skeleton Lipstick keeps it both experimental and infectious at the same time. All four tacks on this EP are worth your attention.

♫ Skeleton Lipstick – You Think You Know Me?

♫ Skeleton Lipstick – I Find All Your Love So Vain

Skeleton Lipstick’s You Think You Know Me? EP is out now.

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David Douglas’ new EP

David Douglas

Royal Horticultural Society is the début EP from Dutch producer David Douglas. Although at eight tracks it weight in more as a mini-album. Douglas draws from myriad sources of inspiration to weave various styles of electronic music into his beautiful, rustic tunes. the natural and synthetic working in perfect harmony.

The EP (album?) kicks off with California Poppy a blissful, hazy track with sets the tone for the Disco tinged Chillwave proceedings. Lazy grooves and reverb washed Funk, dreamlike vocals and half heard vocal samples make up the truly organic use of electronics on this EP. The EP’s blurb explains: “David Douglas (1983) is a Dutch producer of electronic music.David Douglas (1799) was a Scottish plant hunter who explored North America collecting seeds of plants and trees unknown to mankind at that time. Inspired by the Scottish botanist, David from ’83 started looking for his own musical seeds. The greatness of nature the sublime mountain landscapes, Icelandic lupine fields, arctic coastlines, Californian fir forests invigorate his music.”. And that kinda’ makes sense when you hear the record. It’s very natural sounding, like the tones and sounds are evolving throughout the tracks. Dreams has all the elements of a big Disco tune, vocal snatches, a solid groove but prefers to use them in a more fluid fashion. Lo-Fi and grainy, David Douglas’ music is hard to categorise. Warm, and enveloping like smoke, the emotional electronic soundscapes are complimented by beats that come from all over. Broken beats, B-Boy beats, Disco beats, all have a place on this record, assimilated into David Douglas’ musical garden.

David Douglas – California Poppy

♫ David Douglas – Dreams

David Douglas – Douglas Firs

The Royal Horticultural Society EP is out now.

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FM Belfast’s ‘DeLorean’ video

Crazy Icelandic ElectroPop gang FM Belfast have a new single incoming. ‘DeLorean’ is taken from their ‘Don’t Want To Sleep’ album of last year and is typical of FM Belfast’s quirky, but funky, electronic sound.

There a video too, directed by Magnús Leifsson, it’s as madcap as the track, and just as Icelandic and the band themselves.

‘DeLorean’ is released 22nd June.

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Pilotpriest’s ‘Original Motion Picture Soundtrack’


Pilotpriest, an artist we were only vaguely familiar with, sent us an album with twenty five tracks on it. That kind of thing tends to make us shudder a little, but we had some stuff to do so we stuck it on. Two hours later we’d got nothing done, wondered where the time had flow off too, and were in love with Pilotpriest’s ‘Original Motion Picture Soundtrack’. Yes, you read that right, two hours! It’s a rare best that is that kind of length and at no point at all gets anywhere close to boring. I’m not overly sure how easy this album is going to be to review, it really is one of these records that has to be heard, I can imagine everyone taking something different from it and the overall work truly is an experience, one that has to be had, not read about. No writing I can do will do the experience of listening to this album Justice. It’s not just a collection of songs, it’s a narrative, it’s an artwork, and your relationship to it will be different to mine.

After a bit of digging around it turns out we were familiar with Pilotpriest! Do you remember ‘The Crash’? That ‘leaked’ track from from Daft Punk’s ‘Tron: Legacy’ soundtrack, that Kanye West raved about thatwas quickly proven to be a fake, but we said we liked it anyway? Well that was him. Whist the ‘leak’ was cheeky, Pilotpriest hides behind nothing on his new record, and he would have no need to, it’s an electronic masterpiece, a couple of hours of pure bliss for an fan of synthesizer music. ‘Original Motion Picture Soundtrack’ is a collection of instrumental electronic peices, some leaning toward experimental Sci-Fi compositions, some Disco tinged dancefloor tunes, all of them named after ‘80’s movie titles. The albums opener ‘Body Double’ is a twelve minute opus that lays down the law in regard s to what to expect from the album. Layers and Layers of analog synths, intertwining melodies, emotionally resonant chord progressions and a nod toward Italo dancefloors via a driving beat and bassline. The thread here, on such a lengthy album, is Pilotpriest’s sound. Where as the individual tracks on the record play out like a movie, each one encapsulating a particular mood or a particular occurrence, they all weave together effortlessly under the umbrella of Pilotpriest’s own stylistic sonics. Drawing from ‘80’s movie soundtracks, a lot of the sounds of  Italo dancefloors and electronic instrumentalists such as Jarre or Vangelis Pilotpriest creates an analog synthesizer soundscape that is as musically rich as it is damned funky. Of course, for someone who nearly out Daft Punked Daft Punk, there is also a fairly healthy injection of French Disco in here, but while at times you can hear a Daft Punk influence, it never sounds like he’s trying to emulate them when the album does veer into Disco territory. Mostly though it’s an amazing melting pot of atmospheres ranging from high-octane to quite and introspective, a true soundtrack to any moment in life. Pilotpriest’s musically it shines through in every corner of this record, lifting it high about his peers, this record isn’t a ‘production’, it;s a work of art. If you like soundtracks, you’ll love this album, if you like Disco, you’ll love this album, if you like Italo, you’ll love this album, if you like synth music, you’ll love this album. If fact, I can’t imagine anyone who reads this webzine not loving this album. Unsurprisingly, ‘Original Motion Picture Soundtrack’ comes highly recommended. Did I mention that it’s 99¢ (that’s about 68p for us in the UK)?

♫ Pilotpriest – Risky Business

♫ Pilotpriest – Thief

♫ Pilotpriest – Rad (Radwoman)

♫ Pilotpriest – After Hours (Pleasure Glove)

Pilotpriest’s ‘Original Motion Picture Soundtrack’ is out now.

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iamamiwhoami’s ‘Goods’ video

The final video from Swedish Avant-Pop queen iamamiwhoami’s series of tracks from her forthcoming ‘Kin’ album is here.

All the videos together definitely make up something larger than it’s individual parts, and that’s one of the great things about iamamiwhoami, there’s always a bigger picture. ‘Good’s sees one of the most retro Pop tracks from ‘Kin’ to date accompanied with the 9th clip from this particular iamamiwhoami cycle.

‘Kin’ is released 11th June.

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