Nov 252015
DRIFT – Black Devotion – EP
Black Devotion is the debut release by new London‐based act DRIFT.
Already founding member of the synth/wave trio Phosphor and currently in the shoegaze duo Leave The Planet, young and talented Nathalia Bruno started her own solo project once the band split up after theYouth and Immortality LP back in 2013.

Listening to DRIFT one can tell now how much Nathalia influenced Phosphor back then and at the same time a personal evolution is clearly in full sight. Needless to say Depeche Mode and HTRK, Slowdive and Cocteau Twins exercise some influence here, but Nathalia is shaping her own way to those sounds that bands as Tropic Of Cancer and Northern Electronics’ Född Död have also been pursuing.

There’s a brighter component to DRIFT’s music visible both in shiny tracks like Grave and Hard to Acceptas in the more ethereal Dreams in Silkscreen and Say it Right. Featuring six songs, Black Devotionmarks the birth of what Nathalia herself calls devotional synth. Purity in drifting.

Nov 242015
Mark Lane "Who's Really Listening?" Extended C-60 Cassette in 7" Box
Idiosyncratics  Catalog number: I-15-106
One time printing of 200 artist hand numbered copies. 


-Beautifully printed 7" Box top and bottom.
-Tray card cassette holder and companion acetate insert.
-Two sided card stock credits insert.
-Imprinted C-60 cassette (chrome hi-bias tape) with 5 original songs and 10 bonus tracks.
-Collectors button
-4"x4" UV Sticker
-Archival plastic sleeve with decal.

 Track list: 
Side 1: "Tsar" (6:05), "Who's Really Listening? (4:31), "Sojourn" (6:42), "Das Nicht" (4:12), "White Glove" (3:32), "The Lights of March" (4:10)

Other Side: "The Poison For Me" (3:47), "When  the Candle Burns Tonight" (3:21), "3rd" Party" (3:56), "Quest" (3:04), "Exit" (live) (3:18), America's List (3:16), "All of My Dreams" (1:22), "Pleasure Heist" (2:42), "Il Pleut a Bruxelles" (3:20)
1 copy of Mark Lane "Who's Really Listening? Extended C-60 in 7" Box              @ wholesale $25.00
Postage (first class to Germany)                                                                                                   $16.00
Total                                                                                                                                               $41.00
All payments made via Paypal at','_blank');return false;”> Orders are shipped within 48 hours of receiving payment.

Nov 242015

Venus Fly Trap have just released on red vinyl their 2007 compilation “Methamorphosis”, which contains eleven songs taken from their albums.

The band was formed by Alex (vocals) and John Novak (guitar, vocals), and Tony Booker on bass guitar prior to their debut twelve-inch single “Morphine” in March 1988. They had a mini-album ‘Mars, in 1989 on the French label Danceteria. They made 2 more albums for Danceteria, ‘Totem’ in 1990 and ‘Pandoras box’ in ’92.

Alex reformed the band with Andy Denton (drums), Gary Lennon (guitar), and Neil Ridley (bass) releasing the album Luna Tide in 1995. They toured Europe extensively, building up a large fanbase, but by 2004 the permanent members were down to ALEX AND Andy, bringing out the album ‘Zenith’ in 2004.

At the moment the band is back in the studio working on new material but in the meantime these classic tracks are released on great sounding vinyl in a collectors package.

Get your copy at the Spiral Archive Ebay Store


Nov 032015


I recently had the chance and pleasure to listen to two releases by Japanese composer Chihei Hatakeyma: his solo album “Moon Light Reflecting Over Mountains” (Room40) and “Falling Sun”, a collaborative release he made together with Tom Honey aka Good Weather, released by Rural Colours. I recommend listening to both releases and digging deep into Chihei’s sonic output, but in the meantime I wish to introduce him, his outlook on music and the interesting interconnection between him and Japanese culture.


interview picture 1Chain D.L.K.: Good morning Mr.Hatakeyama! How are you?

Chihei Hatakeyama: Hello, I’m fine.


Chain D.L.K.: Your native country has given a number of very good ambient music makers in recent years, but I don’t express my admiration enough if I say your sound has something more, as it points straight at listener’s emotions, even when it seems to describe an environment. Would you say so?

Chihei Hatakeyama: I would say so. I try not to have a particular awareness or ambition to “make ambient music”.


Chain D.L.K.: Before speaking about your recent releases, could you describe your very first steps on the rich sonic scene?

Chihei Hatakeyama: For “Ghostly Garden”, I already had a clear concept in my mind, so I made the album to meet that concept. I tried to make a drone sound that utilizes the taste of sound files, without using melodies in “Ghostly Garden”.


Chain D.L.K.: Are there any features that distinguish ambient music makers or followers from other sound artists, listeners or musicians?

Chihei Hatakeyama: Modern ambient music has absorbed many different musical styles, such as modern classical, contemporary music or rock influenced Grouper. Compared to other music genres, I think one of the peculiarities of ambient music is that it has not been influenced by traditional communities, countries or regional gatherings. I feel that it is a very personal musical expression within this modern globalized world.


Chain D.L.K.: I remember a quote on ambient music – I think I heard it in a track by Pete Namlook – who described ambient as a music “that angels meditate to”. What do you think about this description? Do you have one for you music?

Chihei Hatakeyama: I think that the phrase is poetic and expanding. It’s a good description. I do not have any description for my music, but I’m always conscious about the sense of time passing by. When I make music, I release the tracks that make the listener feel like he/she is going into the sound.


Chain D.L.K.: You used to play guitar in rock bands when you were younger, but have you ever had any interest in “youngster” genres since then?

Chihei Hatakeyama: I don’t listen often to rock music. I used to listen to rock bands such as Metallica, Megadeth or Pantera. I often listen to old recordings of traditional folk music. The songs of mine workers in Nepal, music from Southeast Asia, India, Africa and so on.


Chain D.L.K.: Japan is often considered as an emblem of the balance between progress and tradition. Do you agree with such a description? How does Japan influence your sound?

Chihei Hatakeyama: I grew up in Japan, so, in some sense, I think you can say that everything of me is influenced by Japan. Sometimes the natural environment or history of Japan directly influences the concept of my albums. I’m inspired by those topics. When we consider the fact that John Cage was influenced by a Japanese Zen Philosopher and Brian Eno by John Cage when he founded ambient music, we could say that ambient music matches Japanese culture. There is also the pioneering role of the Zen influenced tea ceremony, Sen no Rikyu, who made tea utensils very simple and modern. It might be interesting to think about the relationship between the tea ceremony and ambient music.


interview picture 2Chain D.L.K.: Your music sounds ethereal and concrete, at the same time. Do you think that such a coexistence between “tangible” and “intangible” could be better represented than by sound or music?

Chihei Hatakeyama: I like the fluctuations between “tangible” and “intangible”. I like things that are in between things, for example what is in between modern and postmodern.
Sometimes I get lost when I compose music: I sometimes cannot decide if I should use representational sounds or abstract sounds; sometimes, I get confused about how I want to make a track elapse. I find it interesting that these confusions come straight out of the compositions, so, recently, I tried to reproduce those confusions in my tracks.


Chain D.L.K.: Let’s speak about your lovely new album. First of all, how did you enter room40?

Chihei Hatakeyama: I have known room40 since the early two thousands. In 2007, Lawrence English contacted me. After that, I released an album, “saunter”, in 2009, with the room40 label.


Chain D.L.K.: How did you make the textural mantle of each track? Have you manipulated “real” objects or inoculated frequencies around them?

Chihei Hatakeyama: I often record the electric guitar, and later process those materials using a computer or outboard processors. However, for “Moon Light Reflecting Over Mountains”, I think I just recorded the sounds of my guitar without processing them on most of the tracks. I also used an analogue synthesizer on some tracks.


Chain D.L.K.: A title like “Moon Light Reflecting Over Mountains” sounds really poetic. Does it have any connection with the compositional aspects or the way you shaped the sounds?

Chihei Hatakeyama: The title “Moon Light Reflecting Over Mountains” certainly depicts a scenery with the moon shining over a mountain. This album started out with my visit in the Nara prefecture in 2009. Nara has an older history than Kyoto, and is not too refined, having still the atmosphere of early Japan, and it is also the place where many historical events and myths took place. I walked mainly around central Nara, which is the birthplace of the Yamato government. I also did some field recordings. Nara is a basin surrounded by mountains. The title comes from a scene where those mountains are gazed with moonlight. The ancestor god of the current Japanese emperor’s family is a sun goddess named Amaterasu, and Amaterasu has a brother named Tsukiyomi who is a moon god. There is a hypothesis that Tsukiyomi was an important ritual subject, and that is why I chose the moon.


Chain D.L.K.: Where did you take the field recordings of “A Bronze Pike”?

Chihei Hatakeyama: The field recordings used in “A Bronze Pike” were not recorded in one location. I collaged several field recordings from scenes such as a street corner in Nara at night, the front of the Hashihaka tomb in south Nara and also singing workers in Paris.


Chain D.L.K.: In spite of titles like “Mausoleum” or “Phantom Voice”, there is nothing really menacing or horrific in your tracks. Is such a discordance intentional?

Chihei Hatakeyama: I named the tracks on this album following the theme, which is the history of Nara and Japan. “Mausoleum” depicts my impression, actually the shock I had when I visited the Hashihaka tomb. This Hashihaka tomb is one of the oldest tombs in Japan – a very beautiful Keyhole shaped tomb. Onryo worshiping (Revengeful ghost worshiping) has had an important role in Japanese history, and the title “Phantom Voice” comes from an impression, or maybe a delusion that evoked from a spiritual experience I had when I was walking around Nara late at night.


cover artwork of Moon Light Reflecting Over MountainsChain D.L.K.: “Journey To The Imaginary Paradise” is one of my favourite moments of the whole album. Why THE imaginary Paradise and not AN Imaginary Paradise?

Chihei Hatakeyama: This track was inspired from a god named Okuninushi Mikoto, who appears in Japanese myths. He was the king of earth, but he eventually gave away his position and went to another world. I wanted to express the place that he went to by using the word THE.


Chain D.L.K.: What can you say about the cover artwork?

Chihei Hatakeyama: The artwork is a photograph of a Torii built in front of a shrine. This Torii is made out of stones. Although it is difficult to tell from this picture, this Torii faces the sea. Japanese shrines currently have buildings on their grounds, but I think that their early form was simple, just placing a Torii that is made out of ropes, in front of a natural scenery, such as mountains, sea, stones and trees. There was a shrine that had only a Torii in Nara, so I decided to use a Torii for the cover art.


Chain D.L.K.: One of your recent releases that reached my headphones was the collaborative piece with Tom Honey, better known as Good Weather For An Airstrike, on Rural Colours. Can you tell us something about “Falling Sun”?

Chihei Hatakeyama: On this album, we exchanged each sound file using email. “Falling Sun” uses many instruments: electric guitar, vibraphone and field recordings. It creates scenes that people might visit during “Falling Sun” .


Chain D.L.K.: Any forthcoming collaborations or releases?

Chihei Hatakeyama: I have several solo projects in progress now and I am working in collaboration with Dirk Serries, Ken Ikeda and Eraldo Bernocchi.


Visit Chihei Hatakeyama online at:

Nov 032015

Toronto-based Artoffact Records will re-issue Marsheaux’s Inhale record with an ultra-rare vinyl effect. 

Toronto, Canada–

Toronto-based Artoffact Records announced last week that they will be reissuing Inhale, the 2013 album by Greek duo Marsheaux, on vinyl.
Formed in 2000, Marsheaux has surged in popularity in recent years, with releases on Les Disques Du Crépuscule, Out of Line, Artoffact Records, Anna Logue Records, and Undo Records. They have remixed OMD; their music has been used by The Human League and name-checked by BBC radio hosts Tom Robinson and Stuart Maconie; and recently VNV Nation tapped the duo as support on a tour in Germany.
The project’s fourth record, Inhale, sold out of an original vinyl run in 2014. This new reissue of Inhale includes a special effect that is quite rare called shape-splatter. The effect looks a bit like the more familiar splatter effect, but instead of streaks eminating from the vinyl disc’s center, there are geometric shapes.
The effect was so costly and complicated to produce, that the plant which produces it (GZ in the Czech Republic) have stated that they will no longer be making it in the new year. Marsheaux’s record will be one of the last.
Artoffact will be producing 199 copies of this wonderful and unique piece, and the planned shipping date is February 2016.



“I do have a soft spot for Marsheaux I have to say. They have a certain sort of wispy, melancholic charm.”
Andy McCluskey of OMD
“A fun, nostalgic romp through the evolution of electro pop.”
Mumbles, V-Rag Magazine
“This is a really lovely sweet song.” (re: “To the End”)
Everett True, Collapse Board
“Marsheaux are all about pushing upwards and onwards and at their best their potential seems limitless.”
Alex Kennedy, I Die: You Die
“One of the year’s best dance floor albums.”
Music Is Alright
“Marsheaux have perfected their slick and breezy synthpop formula since 2004 and Inhale is, in many ways, their most advanced effort to date.”
Niklas Forsberg, Release Magazine
“This is a great album.”
Nick Walters, It Scarcely Seems Possible blog
“Every last song on this terrific album is a keeper.”
Softsynth blog


Full album stream via Bandcamp.

Supporting VNV Nation
Berlin 12/4
Dresden 12/5
Frankfurt 12/15
Cologne 12/16
Bermen 12/19


HOME BASE:      Greece
MEMBERS:  Marianthi Melitsi and Sophie Sarigiannidou
GENRE:              Synthpop