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Leere is an female wave solo project. Emptiness, loneliness and nostalgia of the postmodernism are represented in her music through the sounds of original 80s synth and drum machine, the integration of field recordings and industrial elements. She calls her music style violent romance, balancing between tenderness and anger, expressing love through pain. Daria Leere is a former member of dark-wave duo Monowelt, who’s haunted atmosphere stole hearts to many music lovers.
Convex Model is the new project of Nick K. Maldoror (a.k.a. Nick Kapantzakis, member of Human Puppets, Plexiglas & Dislocation Genders). The sound landscapes of Convex Model are created by analogue equipment, instruments and plastic toys. The project started with Nick K. Maldoror (synths/voice) and Stawi Rastlos (lyrics/visuals). Later, 3 more members were added, Laura Palmer (synths), Kyriakos Tsakalidis (drums) and George Mayo (bass). Life in a Glass Cube is the debut 8-track album by Convex Model that includes 4 re-mastered tracks from previous only on tape release “Intersecting Planes” and 4 brand new tracks.
Couteau Latex is a US-Swiss duo formed by Seth Sutton (Useless Eaters, Life Trap) and Lise Sutter (Maraudeur, The Staches). “Décadanse”, their first EP, comes after two 7″ released by Goner Records, an iconic figure of Memphis’s punk scene. Mostly recorded in 2015 between Switzerland and USA on a 4-track recorder, ‘Décadanse’ delivers mechanic and melancholic post-punk tunes, interconnecting European minimal synth and US punk traditions. Here, the bass is groovy and leading, the vocals are haunting, half-spoken/half-sung, the sound dusty. If we stoop to make comparisons, Couteau Latex reminds us some of our personal French idols like Deux, singing about the cigarette smoke left at night by a bunch of boys ” à la démarche fauve”…
Nadanna is extremely proud and excited to present TOBIAS BERNSTRUP’s new album “Technophobic”. Bernstrup who works both as a visual artist and musician has been touring worldwide since the late 1990s and positioned himself as one of the leading re-inventors of Italo Disco with his unique mix of Italo, Synthpop and Gothic noir. He has created his own unmistakable stage persona wearing androgynous outfits in shiny latex and heavy make-up. Tobias has collaborated with seminal artists such as Trans-X, Apoptygma Berzerk, Martial Canterel, Xeno & Oaklander, Lebanon Hanover, and She Past Away. “Technophobic” contains 10 smashing tracks including the recent single “Utopia”, and “Metropolis of Tomorrow” featuring French dark synth wave artist HANTE. Combining influences from classic synthpop, minimal wave, dark wave in a retro futuristic manner TOBIAS BERNSTRUP has created an album reminiscent of the 80s but in a contemporary context of sound landscape. The CD version contains the “Utopia” EP with sensational remixes by Covenant, Italoconnection, Flemming Dalum and 23rd Underpass plus bonus remixes by Confrontational, Makina Girgir, Nao Katafuchi, and Techniques Berlin.
“There’s nowhere to run to anymore – There’s nowhere to hide from the Third World War, You gotta live each day like it’s your last – You’re gonna lose it all in a nuclear blast.” ART INTERFACE started in Lansing, Michigan, USA, in 1981, when Douglas Vasey (synths, bass, vocals, production), Steven W. Curran (additional synths) and Claes Roswall (drums) were just messing around with a TEAC 4-track, a couple of Moog, Roland and Korg synthesisers, and no real ideas. Having a real drummer is what drove the songs a bit wild, since nobody knew what was going to happen and they kept responding to what each other did. Their first recording was “Secretaries From Heaven” which they sent to John Loder at Southern Studios in London, also known for being the studio of choice for Crass. John invited the band over to re-record it, so Douglas went and did it, and then worked for John for a while, and was a roadie for Crass, too. Back to the States, ART INTERFACE self-released “Secretaries From Heaven” as a single (IF2, 1983). Steven moved on running an 8-track studio and Roger Deason joined on guitar. In the following year they released the famous “Wardance” single (IF3, 1984) and two years later the vinyl debut “Great Big World Of Noise and Shit” (IF5, 1986). Then silence until 2005 when “Adrift In A Dream” was released and 2015, when Vinyl-on-Demand records released a double LP compilation with early tracks from 1981 to 1986 including the Southern Studios sessions and a co-operation with Annie Anxiety. Now, ART INTERFACE are back with a new EP which includes the previously unreleased track “Dance Hit” from 1981 which will appeal to fans of Units, Crash Course In Science and the likes, the newly remastered and still pertinent “Wardance” from 1984, and two new ones from 2017 (“Vox Populi”, “Thumbs Up”). |
