From the ground-breaking inception of sampling to the world-renowned French Touch movement, it surely is no secret by now that the French are among the chief innovators and forbearers in the world of electronic music.
Australian retroheads brace yourselves! It’s time to clip on your fluorescent fanny packs and dig up your flashy neon windbreakers, for you’ve got some funky synth waves washing over your sunny shores this November.
Returning with yet another EP release to entice us before her (hopefully imminent) full-length release, UK pop singer NINA unveils what may very well be her most intimate, personal work to date.
Whereas some artists keep the label at an arms distance, Futurecop! stands tall and proud in its indulgence in all things “retro”. Hailing from the UK, the duo is currently celebrating its tenth anniversary as a band, a ten year run still spearheaded by the
Ten years into his creative endeavor as Com Truise, the New York-based artist is preparing to release his third full-length album, a closing chapter in the artists’ narrative arc influenced by his recent move to California.
In an age where modern electronic music sees itself conducted by the click of a mouse (even amongst its most “old-school”-leaning producers), Austin’s Synth music scene serves as a welcome and refreshing change.
Since having proven their potential and durability, the question amongst North American Synthwave fans has not so much been whether or not the French figureheads would someday reach the US venues, but rather WHEN that time would come.
Like lightning the Ickerman name has struck for the second time this year with the announcement of its newest project, a 30 minute film sequel to Turbo Killer titled Blood Machines whose pitch has every reason to jumpstart our upcoming year on a hopeful and
Having teased us as early as 2013 with the launch of a cryptic promotional website, Detroit-based electronic music producer Klayton is finally putting our wait to an end with the release of Scandroid’s self-titled debut album.
Dark, heavy and epic are the first three words that come to mind when one first experi-ences the music of darkwave project Technophobia.
Steering clear from some of the obvious clichés that would turn the project into a mere parody or pale imitation, MaVS’s score constitutes the real backbone to the films action and atmosphere all the while delivering a terrific standalone release expanding upon the films’ universe.
Returning to the forefront of the retro music scene, Arcade High have just released their third and latest full-length effort, titled Kingdom