Glaciers frosted up Noods Radio again today, catch up with the 14th helping of icy sinewaves and frosty frequencies below! 🎹❄️👌
The 13th punch of Glaciers hit Bristol’s Noods Radio once again, another hour of chilly vibez! Check it out! 🎹 ❄️ 👌
The synth/darkwave scene is a genre, unfortunately, wrought with utter derivatives. Wading through the many generic goth acts that clog up Bandcamp is always worth the drudgery when discovering a Sixth June, SDH, and now, Riki.
Riki, the alias of L.A. artist and former Crimson Scarlet member Niff Nawor, swiftly cemented herself as an exciting new figure in the synthpop world with 2018’s Hot City E.P. and a string of support slots with Black Marble and Light Asylum. Teaming up with INHALT’s Matia Simovich for production duties, Riki’s affection for Neue Deutsche Welle , Italo disco and new wave pop have been poured into a bright debut album with an irresistibly lean, bold, and muscular sound.
The punch of a processed orchestral hit opens Riki, first track ‘Strohmann’ drenched in deeply satisfying ZTT Records style bombast, the pop of the snare and bassy throb leaping straight out of Trevor Horn’s E-Mu Emulator library. Its propulsive rhythm glides effortlessly with Riki’s understated vocals examining projected love onto the titular ‘Strawman’. ‘Napoleon’ is a fittingly confident and strident love letter to the French emperor that rushes to a stirring romance with unashamed killer pop hooks and Some Great Reward era production.
The weighty heft that leads the album is afforded moments of respite. The gorgeously seductive ‘Spirit of Love’ effortlessly pulses with delicate sequencers and brittle but infectious minimalism. Contemplative menace is channelled on the passionate ‘Böse Lügen’, a stirring tale of disenchantment sung entirely in German and a showcase of just how rousing Riki’s voice can be.
There is not a shred of irony or acerbity to be found on Riki, every moment is grounded in sincerity to make honest to god pop which excites the soul. Rich, decadent, and deeply romantic, Riki’s debut album is a fantastic conjuring of 80s pop while cutting a voice entirely her own.
After two months off the chilly punch of Glaciers is back! Here’s your twelfth helping of your favourite minimal-synth and coldwave pop courtesy of the Noods Radio mob!! ❄️ 👌
It’s been ten years since Sixth June’s debut LP Everytime, an exemplary work of darkwave synth-pop that thrust the band at the forefront of the minimal-synth resurgence alongside acts like Xeno & Oaklander, Automelodi and Daybed. Kindred spirits they all may be, Sixth June’s lush production and organic textures belied their cold-wave tag and have since continued to forge a unique sound unto their own, one that’s stirring, dramatic, and romantically European.
With third album Trust, the Belgrade duo continues much where they left off from 2017’s Virgo Rising, furthering their penchant for pared-down sonics that illicit deep emotional feeling from the simplest of synth washes and rich atmospheres. This sumptuous subtlety is established immediately on ‘In Dreams’, a rousing yet introspective album opener of wooden percussion and sax overlays which expertly demonstrate their ability to sculpt a wide traverse of mood with seemingly simple instrumentation. The mysterious ‘Negde Neko’ reaches even greater depths of aural purity, haunting keys and perhaps Lidija Andonov’s finest vocals yet recall the ethereal production of Nick Cave’s Ghosteen were it not for the hypnotic drum machine.
There’s plenty of familiar punch amid the austere restraint. ‘Oh Boy’ is classic Sixth June, an urgent pop number with that unmistakable cinematic evocation that grows and swells to a thrilling crescendo without becoming bloated or grandiose. Laslo Antal takes lead vocal duties (his baritone delivery first heard on side project Diesein) on the electro-pop title track, incorporating funky bass and irresistible guitar licks that mesh beautifully with crisp beats and soaring synth melodies before segueing to ‘Remind Me of the Time’, another example of their uncanny ability to marry the organic with the synthetic.
Ten years can dull any artist, but with Trust Sixth June show they are just as confident and inspired as they were a decade ago and still one of the leading figures in the synth scene.
Your eyeballs become swollen, clammy palpitations take over, then you awaken several hours later with the echoing sounds of unintelligible alien gibberish ringing in your ears. You’ve been exposed to Spit ‘n’ Static!, a raw signal of all things synthpunk and mutoid from sources unknown. Get yer eleventh hit, same slime same face, at Bristol’s 1020 Radio on the 13th Feb! 👽 👌
Spit ‘n’ Static! hijacked Bristol’s 1020 Radio again for the ninth time, a noxious mutation of synthpunk and avant-garde electro with some electioneering worming its way in! 🗳 👽 👌
Frosty coldwave hit Noods Radio for the eleventh time, another hour of icy minimal-synth and its many shoegazey post-punk cousins. This’ll be the last for two months so tune back in in February! 🎹 ❄️ 👌
The tenth Glaciers show hit Noods Radio once again, another hour of the usual minimal-synth coldwave vibez and some additional Belgian avant-pop, haunted choirs, and ice-cool electro from Berlin to boot! 🎹 ❄️ 👌
Christophe-Philippe Oberkampf was an 18th-century industrialist, born in Germany but eventually becoming a naturalised citizen of France. His pioneering production of printed cotton won him the mayoralty of the Parisian commune Jouy-en-Josas, and his legacy is celebrated in the many commemorative place names within the capital’s 11th arrondissement, including the street Rue Oberkampf.
‘Franco-German industrialists’ is an apt tag for the Munich based, Parisian affectionate, cold-wave trio. Formed in 2016 and comprising former DJs Michael Maier, Damien De-Vir, and Julia de Jouy, Rue Oberkampf have confidently established themselves swiftly as one of minimal-synths signature acts, their punchy studio output and thrilling audio/visual live sets praised in equal measure. De Jouy’s cool French vocals atop icy jagged synths struck a chord of subtle menace on last years Waveclash EP, but their penchant for club aggression has been fully explored on debut LP Christophe-Philippe, out via Young & Cold Records.
While chilly analogue production is still present, there’s a greater techno-driven kineticism that aims for dancefloor sweat. Pumped EBM beats pound with chunky sequencer thuds on the primed ‘Glycine’, a propulsive electro-banger which swells to momentous heights with waves of expertly twisting arpeggios and bass lines. Furious club pummeling hits even harder on second track ‘La Course’ (meaning ‘The Race’ in English), an electric six minutes of unrelenting tempos, frosty synth washes and hi-hat claps so lightening charged you could almost mistake it for a Blanck Mass production.
Rue Oberkampf’s minimal-wave shards still cut with satisfaction, but the EBM bite that lurks round the corner lends the record a greater dimension and urgency. Christophe-Philippe is a confident and bold debut statement that stands as one of the best examples of the cold wave scene.