Bauhaus
Bela Lugosi's Dead - The Bela Session

EM Records: ...These recordings pull back a curtain to reveal the mysterious world of Syntoma and early-80s underground Mexico. Founded by Alex Eisenring in 1980, making use of synths and drum machines and driven by a freedom-seeking DIY ethos but informed by a "rock-jazz-prog-experimental" background. These 70s-born influences throw crazed funhouse mirror reflections onto later Kraftwerk, UK synth-pop, post-punk and pure pop forms. The first five tracks are instrumental, evidencing some intelligent melodic and harmonic conceptions; the same can be said for the remaining female/male vocal tracks, but the sense of otherness is boosted as the vocal stylings combine a definite UK 80s feel with an unplaceable geo-temporal essence, spanning decades and continents. Primarily a trio during the period of these recordings, 1981-84, Syntoma transcends the era and stands apart from their peers with a surprising melodic sense, harmonic adventurousness, interesting arrangements and, above all, an atmosphere of freshness and enthusiasm. Available on CD and 12" vinyl with liner notes and lyrics.

boomkat: ...Killer art-skool avant-pop from 1981,sung in made-up languages and dished up for the first time by Concentric Circles - the personal imprint of Freedom To Spend’s Jed Bindeman, following his issue of Carola Baer’s home-brewed synth-pop masterpiece. Kudos to Bindeman for reaching the point, after just a couple of releases, where we're convinced beyond any doubt that everything on this label is gonna be gold.

Combining frantic, yet taut and rapidly paced rhythms amidst playful, almost child-like riffs and melodies that just about make you want to pull your hair out, Smarts are a sound of their own.The band stemmed out of a bedroom demo that was recorded for fun a year earlier by Billy Gardner (bass, vocals) and Mitch Campleman (guitar) in Geelong. After letting it collect dust for 12 months, they assembled a band to perform the songs live featuring Jake Robertson on drums and Sally Buckley on synth; and released the four-song demo cassette, “Smart World”. Stella Rennex later joined the band, filling out the sound largely with her eccentric saxophone parts."Who Needs Smarts, Anyway?" was recorded by the band themselves over a weekend slumber in Geelong at the DIY studio setup; The Barracks, with finishing coats added in Melbourne before sending off to mix-master- Mikey in Rye. There’s a feeling throughout as if the whole thing could collapse into pieces at any moment, and just when you think it’s about to, Smarts weave their way out and into a new direction.Points of reference could be compared to the quirkiness of LA’s Suburban Lawns or Geza X, as well as citing influence from modern sounds like Japanese band Vodovo and the ever-evolving Midwest American punk scene. It could even be viewed as a refreshing and original extension on the so-called “egg punk” genre.

One of the most familiar faces in the busy Melbourne music scene; Jake Robertson (who you may remember from such class acts as Ausmuteants, Hierophants, School Damage, et al) returns in full-fledged form with another unruly record from his solo alter-ego ALIEN NOSEJOB.Thirteen months on since the hardcore-punk inspired concept album, ‘Once Again The Present Becomes The Past’, Alien Nosejob turns the ship back to front and sails in a new direction, yet again. Paint It Clear mixes sounds of classic 80’s new wave and post punk whilst sprinkling in the occasional disco track on top. But don’t let these descriptions throw you off - it still carries Robertson’s classic screech of cheeky yet witty lyrics and sharp songwriting hooks.After three home-recorded records prior to this, Mikey Young has finally been phoned in to take over the production controls and breathes a whole new way of life into Alien Nosejob. Never before has ANJ been heard in such fidelity. The clarity! The definition! The dynamics! It all shines brighter than ever before resulting in a record that Robertson’s “parents could actually listen to”.There’s a little something for everyone; whether it be 80’s Cure-inspired synths in Duplicating Satan, the robust Devo-like feel of Leather Gunn, the sing-along chorus of Crusader of Coles, or the melodic, minor closer that is Bite My Tongue. There’s even The Butcher; a piano ballad inspired by the Fun Boy Three, showcasing Jake’s skills as not just a songwriter, but a damn fine singer.