• DECODER (1984) directed by Muscha & starring: FM Einhert a.k.a. Mufti (Einstürzende Neubauten), Bill Rice (The Offenders (1980), The Big Blue (1988), Manhattan Love Suicides 1985, Coffee&Cigarettes), Christiane F., Genesis P-Orridge (Throbbing Gristle, Psychic-TV) and featuring William S. Burroughs (Naked Lunch, Junkie, Queer, Drugstore Cowboy, Dead City Radio) whose writing was an inspiration for the film.
  * The film featured this month is very avant-garde, subversive and punk-af. It is not meant for children under the age of 18 years of age and contains images of nudity, drug use, chaos magick, surgical footage, sexual situations and ideas of delinquency and anti-authoritarian themes.
  Language: German with Spanish subtitles.
  
  

In 1970 the collection of essays by Beatnik and Underground art icon William Burrough was published. In it Burroughs meditates on the written word and its evolution into the spoken. That language is something unique to the Human experience as it can exist both in image and sound. That the written language can enable the writer to cheat time and space and project thoughts, ideas, emotions, through time and affect readers in the future. Language regardless if it’s written on a medium or spoken has power; it is magick; no different from the sigils in a magician’s grimoire or the crystal ball, energized and imbued with power. How with the write configuration of words, images, sounds and their meaning can influence, control, infect and gestate inside the psyche very much like a virus.  

Decoder is a 1984 West German cyberpunk film that you’ve probably never heard of. I was fortunate to find it one late night while in one of my insomnia periods.

The story follows FM as he works for a fast food chain to make ends meet but, spends his evenings making compositions of abrasive industrial music. When FM starts noticing how passive and docile the customers at his Burger joint are when the Muzak playlist is cycling over the speakers. He figures that perhaps there might be something in the Muzak that’s making people compliant. That it’s the muzak that’s lulling people into submission in a world where visceral reality is almost a cheap thrill (a kink), something you tuck under your mattress when the relatives come home; a world where we just accept subjugation into an authoritarian corpo system where fascism bridges the gap between military and corporate corruption. FM also spends his free time with his girlfriend (Christiane) a peep show girl that works in the red-light district.

One night while working on music, FM starts to manipulate one of Christiane’s frogs and records the screams. FM realizes that he can use abrasive sound to instigate destructive impulses in people that listen to his music and cancel out the corporate muzak. He strategically places tape recorders, like sonic I.E.D.’s, at different well-known fast food establishments armed with his music. These subversive recordings cause riots, destruction of property, violence and social upheaval. After sometime these terrorist incidents earn the attention of the corporate overlords who hire an assassin (Bill Rice) to find who is creating these tapes and execute him. Bill Rice’s character a weary hitman more preoccupied with haunting the red light district and infatuated with a peep show girl who just happens to be FM’s girlfriend.

DECODER is low-budget, analog, cyberpunk with a Cold War edge to it. Lush lighting and a noir dread drip heavily here. The soundtrack features SoftCell, Psychic-TV, THE THE and Einstürzende Neubauten. The basic plot of the film is summarized here in this review so all you have to do is follow the visuals and vibe. Not suitable viewing for anyone under-the-age of 18.

Stay dangerous, stay underground, stay out of sight, stay away from bootlickers, magahats, democrats and anyone that tows the company line, puts blinders on, shuts up and takes it right up in there deeply (and without even a kiss or dinner to eat), drinking the government kool-aid. Stay aware, stay armed and get angry and keep your G*ddamn finger on the REWIND button.

Movie:

https://youtu.be/vdCXssmZLdw?si=PDidB4yL53XRVpXv

Bonus: Soft Cell – Seedy Films (Official Video Release HD)

« Nostalgic, dramatic and not short on synth, my 2nd album is the kind of album that takes you on a journey to cosmic space stories and to the brave new world, this planet is becoming these days. »

To anyone with any leftover apprehensions towards the Sovietwave sound, ‘1984? Нет!’ is yet another impeccably produced chance to fall in love with the sounds of interstellar nostalgia.

‘1984? Нет!’ is out now via Bandcamp.

Check out ‘Inner Speech’ on Bandcamp, Spotify and other streaming platforms

February will have also been marked with the end of Dreampunk’s pioneering Dream Catalogue Label, who closed shop right after sharing a treasure chest full of outstanding records by promising newcomers and seasoned scene veterans alike. For slick outrun and Synthwave enthusiasts, LAU will have dominated this month with her debut album Believer, whose catchy tunes will have you yearning for the day these songs will finally get a chance to hit the stage. For those with the spare time to dig and dwell into the Bandcamp’s dizzying depths for some postmodern, non-euclidian music, February proved to be a fairly interesting month. Vaporwave is still alive and weird, as you’ll certainly listen to find out in this month’s curated selection. Enjoy!

Top Picks

LAU – Believer

(Aztec Records)

Stream on Bandcamp

Natsukime – Ikigai

(Self-Released)

Stream on Bandcamp

Twin Galaxxies – Imminent Reversal

(Pure Life)

Stream on Bandcamp

CRYOSAUNA – Grid Failure

(No Problema Tapes)

Stream on Bandcamp

John Carpenter – Lost Themes III

(Sacred Bones)

Stream on Spotify

Fury Weekend – Signals

(Fixt Neon)

Stream on Bandcamp

Niky Nine – Black Sharken

(Lazerdiscs Records)

Stream on Bandcamp

Yoshimi – 11 Pieces of Fragmented Memories

(Dream Catalogue)

Stream on Bandcamp

空手王 – IKARI​​-​​蒸気波LP III

(Karate King Records)

Stream on Bandcamp

Eulalie – A Day at the Videodrome

(Dream Catalogue)

Stream on Bandcamp

Singles & Honorable Mentions

Daria Danatelli (feat. Vincenzo Salvia) – Не Забуду / Io Non Dimentico

(Sunlover Records)

Stream on Bandcamp

Formula 2080 – Cassetter

(FixT Neon)

Stream on Bandcamp

Electric Youth – Modern Fears (Pilotpriest Come True Edition)

(Sony)

Stream on Spotify

FNKY NGHT – LOVE STORIES VOL.2

(Virtual Sound System)

Stream on Bandcamp

WDE – Codex

(Dream Catalogue)

Stream on Bandcamp

Hong Kong Express – L.Y.F.

(Dream Catalogue)

Stream on Bandcamp

Tito Machete – Sindrome di Standa

(Power Lunch)

Stream on Bandcamp

Sun Corp – Replacement

(No Problema)

Stream on Bandcamp

Sport 3000 & Waterfront Dining – StarTour Agencies

(My Pet Flamingo)

Stream on Bandcamp

POPCULTR – 2021LIVE

(Pacific Plaza Records)

Stream on Bandcamp

Eccodroid – Dematerialize

(Business Casual)

Stream on Bandcamp

Hi NINA! Thanks for joining us! What’ve you got to recommend to us today?

Recently I’ve rediscovered Kill for Love by Chromatics. I think the album is so underrated. It’s such an amazing piece of music. Every song is unique and dreamy. Chromatics’ visuals have this 70s’ horror vibe, which I really love. I’m also a big fan of Italo disco.

My second pick is something most people will know, even though it’s not Synthwave. It’s something I grew up listening to. It’s a timeless album. The album is The Bends by Radiohead. I’ve seen them live in Berlin many years ago and I fell in love with them. It was at this open-air festival, the sun was setting and everything felt magical. I just get lost in Thom’s voice. He closes his eyes and is simply one with everyone. It’s one of those awe-inspiring moments. From then on, I became a big fan. There are so many great songs on this album. I feel like every song on an album should work as a great standalone single. It should have a statement that actually reaches to you. The album has a lot to say, and I feel like audiences connect to that.

My third album pick is Pink Floyd’s The Wall. It’s such a classic. My former music manager in Germany was really into Led Zeppelin, Pink Floyd and the Doors. The Doors’ self-titled album was one of my favorite albums when I was a teenager and still is. He was the one that introduced me to Pink Floyd back when we were working on music and trying to find my musical roots.

Is there any corner of retro pop-culture that resonates with you on an intimate level?

As a young girl, I was really into horror. For me, John Carpenter was a huge inspiration. My favorite movies were The Fog and The Thing. I was also really into fantasy films like E.T., Labyrinth and The Neverending Story. These are the references that speak to me the most. They’re very influential films in the scene, especially when you start looking towards the darker Synthwave sounds. I’m thinking of artists like Waveshaper and Nightcrawler.

Would you be open to writing darker tracks or collaborating with this horror aesthetic?

Absolutely! I’ve always been into Darkwave music, actually. I’ve watched Carpenter Brut live and went crazy! I enjoyed it so much. Hopefully, I’ll get to collaborate with some of these artists in the future. I really look up to their artistry. It’s all really authentic. My lyrical background is quite melancholic and dark like Depeche Mode and Joy Division… This is where I really blossom. I can definitely see myself go in that direction more. My new album Synthian has a few poppier numbers, but it also delves into a more serious, darker atmosphere, especially on tracks like ‘The Wire’. I’m really excited for people to hear it.

So, of course, I’m up for collaborating with other artists. Carpenter Brut and Gunship would be my first picks for collaborations. We’ll see what happens! I’m definitely feeling the horror film score vibes at the moment.

Is there any news or updates you’d like to share with your fans?

The new album Synthian will be out soon within the next month or two.

I’m so grateful having had Lau (LAU) by my side to create this album. We’re a great team! Our long-time collaborator Oscillian produced most of the tracks and I’m also excited to have worked with Richard X again. New to the bill is legendary producer, songwriter and musician Ricky Wilde, who we wrote 2 songs with for the album: ‘Runaway’ and ‘Gave Up On Us’. We also wrote ‘Love Is Blind’ with Till Wild, who is a very talented Synthwave producer based in Germany.

I see the album as Sleepwalking’s big sister. It’s more mature, a little more out there. Essentially it’s a love note to my fans. The title-track ‘Synthian’ expresses my gratitude to my fans for supporting me and my music. The Album is a touch more ‘Cyber’ than my previous work, but it’s still very colourful and dreamy. We’ve got two ballads in there, and the last song ‘The Distance’ is going to be a surprise for most fans. I don’t want to give away too much. It definitely ends with a big bang, that’s all I’m going to say.

Following the first album is always a bit harder, in my opinion. You need to keep it up and bring it up a notch because you really don’t want to disappoint your fans. This is a decisive stage where people determine whether you’re here to stay or not [Laughs].

We also have a big European tour planned. It got postponed, so we might be able to reschedule it for September. Everything is up in the air right now, so it’s hard to tell. I’ve also started to collaborate with Radio Wolf, who’s a very talented producer, songwriter and musician. I think people are really going to like what we’re creating.

Thumbnail photo credit: Say Goodnight Films

Be sure to catch up with NINA via Social Media:

Official Website

Facebook

Instagram

Twitter

Youtube

Soundcloud

Cars will literally drive themselves, leaving you to be able to eat and sleep whilst a computer does all the hard work, at a fraction of the cost! Don’t worry about having to wait for your car to charge either because robots will be doing your job for you, so you can chill out at home with your nearest and dearest. Even food will be a thing of the past, no more microwaving your machine excreted pies. Once meat has been deemed toxic or something, food powders, pastes and tablets will be delivered to your door via a drone which will conveniently scan your vital signs and never pass this kind of information onto global authorities. Plastic and other waste will be gone to and all the money you save on buying your groceries with no need for packaging like that, will mean you can go on holiday three times a year.

But until the high times of Star Trek like living there are a few teething problems. Like the cost of making the future happen. For the cost of one battery for a Tesla I could have purchased ten Audi 80’s and still have change to buy a pair Nike Mags. But I only needed one car and one that isn’t a silent Jaguar lookalike.

The Audi 80 was introduced in the 60’s as a compact executive car. Audi were fast growing in popularity, more so since their name change from Auto Union, an amalgamation of four automobile manufactures during the great depression in the 1930’s. Conveniently the world found enough money for yet another war and this gave an opportunity for Auto Union to have a go at armored cars and trucks. The U.S remodeled the landscape and turned over most of what was left to the Russians. The Germans, now pushed over into the East, started to rebuild and no one would know just how successful Audi would become.

I wasn’t drinking officer

The Audi 80 shared it platform with the Volkswagen Passat, a coupe, convertible and the Avant (Audi’s name for an estate car or station wagon). Again, the ever efficient Germans had a logical alphanumerical range of vehicles. The B1 Audi 80 had a face lift in the 70’s, the full range with two door, four and the Avant, they were built to last at the cost of fairly underwhelming performance. The B2 launched in the late 70’s and had the hand of god, or Giorgetto Giugiaro, design the body for the refreshed look. In the 80’s, Audi unveiled their turbocharged rally machine, the Audi Quattro, or Ur-Quattro, the “Ur” German for “primordial”, “original”, or “first of its kind” although some would dispute that back in the 1960’s, Jensen the British car manufacture had a system developed for their awesomely regal Interceptor.

Zero to the shops in 6 seconds

Finally the penultimate B series aptly named the “B3” appeared in ’86, it was finally not having to donor from the VW Passat, this was the all new body with an extensive range of specifications. More aerodynamic and a quattro 20V option was enough to make this a very popular car across Europe and further afield.

Mine in particular is a 1.8 litre 80 E in a rather fetching champagne colour.

Or is it gold?

If you’re thinking about starting a journey with a classic, I would highly recommend the Audi range from this era. They are built well, with parts still in abundance. The mechanical layout is straightforward and would only require a fairly standard set of tools to start pulling things apart. It’s a no frills experience with the Audi gadgets wise, but then again I needed a solid reliable car for my commute and this thing has just survived one of the harshest winters I’ve experienced, putting into perspective the sticker in the rear window which reads “Ten year anti corrosion guarantee”. I was surprised however by the quality of the sound system, the acoustics alone are pretty cool but the speakers sound like something decent from the late nineties. In the back parcel shelf is a small black box with two headphone jacks, I later discovered this is for the option for the front and rear occupants to listen to different soundtracks, in case your passengers listen to pop music.

Punch the four rings for horn

You’ll probably notice the wheels are very much not of the Audi range and you’d be correct. It’s currently sat on some Calibre alloys, similar to something from BBS although probably for around half the price. I recently performed an oil change on the car and didn’t expect it to be difficult and indeed it wasn’t, the only reason I needed a jack was because my oil collection tub was too tall to fit under the car. I could reach the sump bolt with ease and the oil filter is placed in the upright position, on the side of the engine, meaning that I could actually unscrew it and not cause death in the environment, unlike some engines where the filter is often positioned I presume, for a joke.

Four cylinders missing but it’ll do

I admit, mine does hold the road a little better than stock thanks to lowered springs and so far the engine gives out enough poke to keep up with modern traffic. In short this is a very usable and cheap classic and with a few upgrades it can bring life back into an old tank, I mean a saloon, like this.

The wet look