ROSEMARY LOVES A BLACKBERRY is the multi-faceted Russian musician and artist Diana Burkot.
Part of the Anti-Ghost Moon Ray collective, Burkot’s debut album is entitled '❤', because in Burkot’s own words, it is “an image that cannot be spoken, at a time when visual aesthetics are the priority”. As if to reinforce this concept, the previously unveiled ‘Purr’ is shaped by a gentle conceptual slice of leftfield while its accompanying video challenges “Self-identification through social networks” 🐱 Continue Reading ›
Better known as the front face of LADYTRON, Helen Marnie has established herself as a solo artist with her magnificent first opus 'Crystal World', which having been recorded in Iceland, had a feel of cold and serene, yet volatile atmosphere.
And now her long awaited second album 'Strange Words & Weird Wars' announces itself with the first single 'Alphabet Block' a burst of pure pop... Continue Reading ›
Denmark’s Rebecca Molina confesses that she "draws inspiration from the old 70s synth scene and blends it with its intuitive and quirky pop melodies".
Taking you to "a dreamy atmospheric production, with a classic pop form, which is dominated by vibrant industrial drums", the Copenhagen based multi-instrumentalist debuts with her atmospheric EP ‘Corpus’, which presents six tracks of experimental synthpop... Continue Reading ›
This year’s TEC Panel Interview was a truly Trans-Atlantic event. As well as regular TEC contributors Monika Izabela Goss and Paul Boddy, there was Simon Helm, curator of the Nordic-friendly website, Cold War Night Life.
Joining the panel as part of a weeklong visit to the UK were LA based synthpop duo NIGHT CLUB. Pondering a series of questions about the state of the synth nation, it was a lively and forthright discussion... Continue Reading ›
So, here it is, veiled in mystery for months, with an unclear release date and promises of a masterpiece - the fourth album by the Canadian songstress Claire Boucher aka GRIMES.
'Art Angels' is manna for the hungry fans of the extraordinary and self-sufficient Music Dame and a worthy follow-up to 2012’s 'Visions'. Boucher herself has stressed that this production "lyrically, it's more political and less abstract than before..." Continue Reading ›