
This session was recorded live at the Panama Racing Club of Intergalactic FM in December 2015.

This session was recorded live at the Panama Racing Club of Intergalactic FM in December 2015.

Peripheral Minimal presents Beyond the Zero, the debut album by Brooklyn-based duo Spatial Relation. The eight songs that make up Beyond the Zero were produced, recorded, and mixed in the band’s home studio from 2012 to 2014. With influences ranging from 1980s minimal synth to Skam-styled IDM, Spatial Relation’s music draws equally from the early pop work of Depeche Mode and the later electro sounds of Dopplereffekt. Emphasizing hard beats, thick basslines, and hypnotic arpeggios, the minimalist arrangements onBeyond the Zero are geared for maximum effect. Created with a carefully chosen selection of analog electronic instruments, the album pairs the overtly synthetic sounds of hardware with human vocal experimentation.

This one is yet another debut single by a Belgian project called Querelle. Querelle is one half of :Codes and one half of Jeunesse Fantome. Two dark synth-pop bangers with super vocals reminding you of the Jenuess Fantome & :Codes classics.

Dark Entries digs deeper in to the archives of Severed Heads, one of the longest surviving bands to emerge from the Australian post-punk independent music scene. “Petrol”, originally titled “Lamborghini”, was written by Garry Bradbury and Tom Ellard in 1981.

Medical Records presents a hand-picked selection of home recorded demos from Stoke, UK’s Red Fetish. Armed with a Korg 770, Yamaha CS10, Korg Rhythm 55, a guitar here and there and a Teac 244 four track recorder, the band consisted of Neale James Potts and Mike Richardson. These tracks were recorded in 1982-83 and all culled from various cassettes that the band recorded. The songs are built from very minimal and sparse synth lines yet the overall feel is interestingly dense and warm. Standout tracks include the playful and futuristic “Modern Age” and “The Last Man”. A few of these tracks were previously released (different version) on a 7″ on Anna Logue (Germany) but most have been largely unheard until now. Sprinkled in amongst the catchy vocal pop songs are quite a few very warm and synth heavy instrumentals as well such as “The Immortals” and “Blaze”. This collection will absolutely be another piece of the highly intriguing and ever-deep well of minimal synth acts such as other contemporaries Oppenheimer Analysis, Twilight Ritual, Iron Curtain, and the like. Certainly fans of early Human League (especially The Future), early cassette culture wave and similar will enjoy this collection immensely.


Dark Entries Records reissuesthe LP ‘Experiments in Incest’ from the 80s UK-based Minimal Synth band Shoc Corridor. The founders of this project, Chris Davis and Israel-born Nogi Prass, who eventually had to leave the band because there were problems with her Visa, started making music in 1979, influenced by German electronic bands Kraftwerk, Neu! and recent developments in UK Post Punk like Public Image Ltd., and formed a band, adding by Paul O’Carroll, Paul Humphries and Andy Garnham to the line-up. The departure of Nogi and Chris, who left with her, from the UK in late 1982 made it virtually impossible to continue with Shoc Corridor, but despite that, they released two LPs in 1983 and 1984 (Experiments in Incest and Train of Events). The band eventually disbanded after the suicide of bass player Paul Humphries following the release of Train of Events.

Lord Arthur Savile’s Crime, or simply known as L.A.S.’s Crime around the digging circles, were an Italian cold wave duo who formed at the tail-end of 1984 and produced a timeless bunch of EP’s and LP’s which have become heavily sought after in the last few years. Luckily, Spain’s excellent Domestica label have herein compiled the very best from the duo, an eleven track showcase of the band’s top productions from the years between 1985 and 1989. As you’d expect, the bulk of the compilation is made up of fast-paced drum machines patters glazed in the era’s melancholic sound, where winding, lonesome vocals glide and wash over the Kraftwerk-style beats. There are even bursts of early electro within, such as the gnarly “Five Lies”, and more experimental moments like “Dark Orris” or the EBM-charged “Flax Girl Room”.

5X0D has always been Mark Phillips and Rob Lawrence since it began in 1981 in Bristol UK. Early influences were many going back to pop, prog and krautrock bands of the early 70s, through punk and new wave to industrial, then later Japanese technopop like YMO.
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