Combining synth-pop and goth rock, Canada's Psyche built a solid fan base in Europe and a cult following in the rest of the world with their marriage of drama and melody. Initially surfacing as a minimal synth act with a bizarre, confrontational stage show, their work gradually became more pop-minded while maintaining a dark, brooding atmosphere. By the end of the '90s, Psyche had fully embraced their danceable side, asserting their status as godfathers of the EBM/futurepop scene.
Following the success of Insomnia Theatre (1985) and Unveiling the Secret (1986), Psyche turned to a classic wave sound on their third and most polished album, Mystery Hotel. While the industrial influence heard on earlier material is less pronounced, Mystery Hotel is in many ways the darkest Psyche album…

The production quality is slightly imperfect, and the band is still more of a studio band than a live band, but the song selection includes some of the best songs off of Wolfsheim's first four albums, including The Sparrows and the Nightingales, Now I Fall, A New Starsystem Has Been Explored, It's Not Too Late, and Closer Still. The more folk-ish Old Man's Valley and Ruby are a departure from the band's usually excellent Synthpop stylings, but overall this album can be quite good after a few listens, and can serve as a decent substitute for the band's earlier albums if you cannot get a hold of those.

A compilation of their early times (1987-1995) including extended and different versions of tracks from their first two albums.
Wolfsheim is one of Germany's inveterate synth-pop groups, a band that has outlived numerous rock & roll trends by remaining committed to their original sound. The group was formed in 1987 by siblings Markus Reinhardt and Olli Reinhardt and Pompejo Ricciardi (vocals). However, Ricciardi departed from Wolfsheim shortly after they recorded their first demo; he was replaced by Peter Heppner, a singer who was already familiar with the brothers since they were all raised in the same area of Wilhelmsburg, Germany. Olli eventually left the band as well, turning Wolfsheim into a duo…

The acoustic guitar in "Kein Zurück" should be the first indication that Wolfsheim is maturing. It's a tad unusual for this synth pop notable, but this unexpected element fits in acceptably after the initial jolt. Another chance the German duo takes is slowing things down a notch. The first half of Casting Shadows hovers around 100 bpm. After the success of the dance tracks from Spectators, that may or may not be a good idea. Wolfsheim's fifth album shows signs of a band mellowing out but slightly losing its passion. Among the slower tracks is "Care for You," a leisurely excursion that accents Peter Heppner's distinguished vocals. "Find You're Gone" and "Wundervoll" (one of a couple tracks sung in German) are appropriate for the clubs and are memorable just not quite as strong or emotional. There isn't another "Once in a Lifetime," but there is plenty of romantic synth pop here nonetheless.

Masters of synth pop, Wolfsheim's "Spectators" album cannot fail to please any fan of the genre. Smooth and sexy, Wolfsheim's mix of bittersweet electronic harmonies and intense vocal style pave the way for lyrics which serve more than the melody. Spectators hits a mark in the synth pop genre between the reflective intensity of acts such as Deine Lakaien and the more danceable influences artists such as Beborn Beton. From track to track, Wolfsheim go from strength to strength. The dancefloor beats of "Once in a Lifetime" contrast with the reflective romance of "Kunstliche Welten," with tracks like "Read the Lines" giving a jovial relief from the gravity of the rest of the album. The new romatic characteristics have receeded from Wolfsheim's "Sparrows and the Nightingales" days, and what remains is a sound that is more intense than before…

Wolfsheim's sound may bring a variety of moody synth pop duos to mind, including the Associates, Yaz, and even Soft Cell, a trio with the commonality of having European roots. Wolfsheim themselves are a German duo, but Peter Heppner's sad vocals would not be out of place in a duet with Alison Moyet, while Markus Scheidt could very well swap programming tips with Vince Clarke. It would appear that Wolfsheim harbor ambitions of success outside of Germany - Dreaming Apes is divided between material in German and English. Dreaming Apes reveals Wolfsheim as interestingly quirky, certainly. Odd ideas crop up throughout the album, placed as disconnected pieces between songs that sometimes reflect 1980s synth pop, and other times have a slightly uncertain, ramshackle air to them, and even when they have an outbreak of poppy melodicism, the mood becomes fractional and gloomy as soon as Heppner begins to sing. All rather charming, really.

Wolfsheim is one of Germany's inveterate synth-pop groups, a band that has outlived numerous rock & roll trends by remaining committed to their original sound. The group was formed in 1987 by siblings Markus Reinhardt and Olli Reinhardt and Pompejo Ricciardi (vocals). However, Ricciardi departed from Wolfsheim shortly after they recorded their first demo; he was replaced by Peter Heppner, a singer who was already familiar with the brothers since they were all raised in the same area of Wilhelmsburg, Germany. Olli eventually left the band as well, turning Wolfsheim into a duo. Heppner started writing new tracks, and Wolfsheim distributed two more cassettes to record labels. All of them replied with a rejection. In 1991, Strange Ways Records released Wolfsheim's CD single "The Sparrows and the Nightingales"; it sold more than 10,000 copies…

This is a worthwhile electronic/synthpop/darkwave debut album from a two-member German band.
Wolfsheim is one of Germany's inveterate synth pop groups, a band that has outlived numerous rock & roll trends by remaining committed to their original sound. The group was formed in 1987 by siblings Markus Reinhardt and Olli Reinhardt and Pompejo Ricciardi (vocals). However, Ricciardi departed from Wolfsheim shortly after they recorded their first demo; he was replaced by Peter Heppner, a singer who was already familiar with the brothers since they were all raised in the same area of Wilhelmsburg, Germany. Olli eventually left the band as well, turning Wolfsheim into a duo. Heppner started writing new tracks, and Wolfsheim distributed two more cassettes to record labels…

Deluxe hardback CD. ‘Intruder’ is Numan’s 18th solo studio album and follows 2017’s ‘Savage: Songs From A Broken World’, which became his highest charting set in almost forty years when it debuted at #2 on the Official Albums Chart. That commercial success was complemented with wide-reaching critical acclaim from Mojo, The Quietus, PopMatters and more. Whereas ‘Savage’ depicted earth as a barren wasteland in which humanity and culture had been largely crushed by the effects of global warming, ‘Intruder’ presents a fresh but complementary narrative.

As the post-punk dust began to settle, a particular strand of artist began applying a knowingly distant, colder aesthetic to their work. While much of the scene began to be dominated by bigger budget, commercially minded former punk and new wave acts, a darker undercurrent did survive, often more interesting, more dangerous and sexier than anything that could be heard on Top Of The Pops at the time. The first generation of the darkwave movement consisted of bands that were equally influenced by the fractured drama of Depeche Mode, Siouxsie & the Banshees and The Cure as they were by the art damaged experimentation of Cabaret Voltaire, Wire and Throbbing Gristle, always rich in Gothic spirt, societal displacement, urban isolation and sexual energy.

Chelsea Wolfe’s latest album, She Reaches Out To She Reaches Out To She, is a rebirth in process. It is a powerfully cathartic statement about cutting ties, as well as an important reminder that everything we do is ultimately connected.