A Kiss in the Dreamhouse is the fifth studio album released by Siouxsie and the Banshees and was issued by Polydor Records in the UK in 1982: it was reissued remastered and expanded in 2009.
The UK music press was unanimous in their praise for the album on its release.
Richard Cook in NME wrote: "'A Kiss In The Dreamhouse' is a feat of imagination scarcely ever recorded. It's breathtaking. Somehow, a bold assurance of intention has met with a hunger for experimenting with sound to expand an already formidable group of songs into pure, open-minded ambiguity. The flesh of the song will balloon out or contort into unimaginable patterns; indecipherable echoes volley between the walls of the recording; glassy, splintered tones pierce the luxuriant sheen of the mix. Repeated listens trick the sense of balance; tremendous risks are taken." Cook then finished his review by this sentence: "I promise. This music will take your breath away."
Steve Sutherland in Melody Maker also welcomed the new musical direction: "The Banshees achieve an awesome, effective new pop without so much as a theory or qualm. "Dreamhouse" is an intoxicating achievement."
In 2007, Mojo magazine rated it as the best album of year 1982.
Allmusic described the first single "Slowdive" as "a violin-colored dance beat number" with "a catchy melodic hook".
Several bands covered and sampled songs from this album. LCD Soundsystem made a cover of "Slowdive" for the b-side of their single Disco Infiltrator: it was also included on their Introns compilation in 2006. The Beta Band sampled the Nocturne live version of "Painted Bird" on their track "Liquid Bird" from the Heroes to Zeros album.

Five years after his critically acclaimed debut Drone Logic, London-based producer Daniel Avery has announced the release of his highly anticipated second album Song For Alpha, set for release on 6th April 2018
In the years since his debut, Avery has helmed a DJ-Kicks mix CD, resided over a monthly radio show for NTS Live, curated an extensive remix compilation and collaborated on a series of side-projects including a recent release with Nine Inch Nails synth specialist Alessandro Cortini; he has toured relentlessly, cementing a reputation as one of the defining techno DJs of the decade. He has also worked studiously on what he wanted to say next as a producer.
Song For Alpha is Avery’s exploration of the space in which home listening and club music intersect, in no small part inspired by his transient life spent between nightclubs, flights, the passenger seats of cars and hotel rooms. He confirms, “Drone Logic’s spiritual home was the dancefloor. This record’s is definitely the road. Those late nights and hazy mornings, finding inspiration beyond the fog.”
With newfound energy and time to develop, Avery’s sonic vocabulary has expanded. Here, the booming sound of the big room is brilliantly countered by the music of the small hours. Where celestial ambient lullabies ‘First Light’ and ‘Days From Now’ sit perfectly next to the mesmeric techno assault of ‘Diminuendo’ and ‘Sensation’; where both ‘Projector’ and ‘Clear’ evoke early rave records, only ones engulfed by waves of beautiful cyclonic distortion. Much like his recent excursions with Cortini, Song For Alpha sees Avery take his signature psychedelic-electronic sound to new dimensions, a sound that plays to the head as much as the body.
“I’ve become increasingly interested in those moments in a club when the outside world becomes little more than an inconsequential thought at the back of your head. Eyes closed as opposed to hands in the air. A light emerging from the darkness - this is the idea I repeatedly returned to in the studio. The more time you spend with it the deeper you fall. Close your eyes, press repeat.”

Out of print in the U.S., this is the first album byOrchestral Manoeuvres In The Dark, first released on Virginin 1980. 10 tracks, including the new wave hits 'Messages'and 'Electricity'. The All-Music Guide gave this album four& a half stars (out of five possible).

Ambient-ish post-something duo from London

Chvrches are a Scottish synth-pop trio from Glasgow, formed in September 2011. The band consists of Lauren Mayberry, Iain Cook, Martin Doherty and, unofficially since 2018, Jonny Scott. Mostly deriving from the synth-pop genre, Chvrches also incorporate indietronica, indie pop, and electronic dance into their sound.

Hope in a Darkened Heart is a 1986 album by Virginia Astley, produced, primarily, by Japanese musician and composer Ryuichi Sakamoto. The album is noted for featuring former Japan singer David Sylvian on the track "Some Small Hope" and for an alternate version of "A Summer Long Since Passed", which was originally included on Astley's From Gardens Where We Feel Secure album. An additional track, "Le Song (A Day, A Night)", along with lyrics and a biography is available on the Japanese issue.
The tracks "Some Small Hope" and "Charm" were released as singles but were not commercially successful. Two further tracks, "Love's a Lonely Place to be" and "Darkness Has Reached its End", had been issued some years before the album's release but likewise had no impact on the singles chart.

Rosie Carney has spent almost half her life dealing with the impact of depression and anorexia.
Music has long been a place of solace, a meditative realm where she could process the things happening to her.
A tender, beautiful voice allied to a gifted lyrical sense, Rosie Carney has made great artistic strides over the past 12 months.
New track 'Awake Me' might well be her finest offering yet, a moving, and extremely brave document of personal struggle.
Amid a sparse, engrossing arrangement Rosie's voice flutters and spirals: “I’ve been a fool for more than half of my life / I’ve tried to hide...”

2016 looks set to follow 2015 in unearthing new talented musical talent from the UK, as we now introduce you to singer-songwriter Jorja Smith (@jorjasmith_). The teenager has come out of the gate strong with her debut release “Blue Lights”, a social conscious record that shows signs that Miss Smith may very well be a rare diamond found in the rough.

LUMP was born of good timing and predestined compatibility. It began one night in mid-June 2016, when Mike Lindsay – founding member of Tunng and Throws, and a prolific, Mercury prize-winning producer – was introduced to Grammy-nominated, Brit award-winning singer-songwriter Laura Marling after her show supporting Neil Young in London. On meeting, Lindsay and Marling discovered they had long been admirers of each other’s work.
Lindsay had been busy for some months composing an intricate, ambitious new sound cycle. His compositional style had evolved over the course of years of musical experimentation with Tunng, and during his time spent producing other people’s records while living in Iceland. He had arrived at a remarkably visual, colourful sound – a heady blend of wonked-out guitars, Moog synths and pattering drums, set against droning, coiling clouds of flutes and voices.
With the project in need of a lyricist and vocalist, Lindsay and Marling's meeting of minds seemed all the more fortuitous. He quickly invited her to step into his world, and a few days later they retreated into his subterranean London studio in order to unite their energies and create LUMP.
That world turned out to be somewhere Marling felt instinctively at home. Inspired by early-20th-century Surrealism and the absurdist poetry of Edward Lear and Ivor Cutler, she wanted to slice through the apparent emptiness of contemporary life. Her resulting creation is a bizarre but compelling narrative about the commodification of curated public personas, the mundane absurdity of individualism, and the lengths we go to escape our own meaninglessness.
Perhaps the most direct manifestation of the album’s concept is its central song, Curse of the Contemporary. A steady, pulsing bassline divines a road snaking off towards the horizon -– a sense of gazing out of a car window as mountains and palm trees rush by. Marling begins: “If you should be bored in California / I’m sure I’m not the first to warn you,” and as the song goes on, her words drip with ever more cynicism for the new age: “We salute the sun / Because when the day is done / We can’t believe what we’ve become / Something else to prey upon.”
Elsewhere, opening track Late to the Flight tells of a man dreaming about his own death – or perhaps the death of his carefully curated persona – after being advised not to dress in a manner he might regret: “Don’t wear your smiley face T-shirt tonight.”

The composers are keen to stress that LUMP is a creation that passed through them, and they look upon it parentally. It is their understanding that, now it has come into being, LUMP is the artist, and it will continue to create itself from here on. Lindsay and Marling will assist it as necessary.

"In mid 2016 I did a brief tour of the west coast with Philip Jeck, Simon Scott, Daniel Menche, Lee Bannon, Kara-Lis Coverdale, Pye Corner Audio and Marcus Fischer. The music of all these great artists and the experience of playing these shows with them all informed what would become ‘Invisible Threads’, which was primarily composed and recorded in the latter half of 2016. I had not played live at dates in such a dense cluster for many years, and the exposure to so much great music and the artists was inspiring. Other Touch artists were also an influence here - Claire M Singer, Jana Winderen and as ever Chris Watson (who has been an enduring influence from the moment I first heard Cabaret Voltaire in 1979), along with my project ‘drøne’ with Mike Harding… the collaborative aspect of drøne brought up a few new paths in itself.
During the time I was recording the album I was editing audio and sound design for films - this too went some way to defining the structure and sound of ‘Invisible Threads’. At the time of recording several of the titles on the album, I had re-read 'The Conversation of Eiros and Charmion’, a short story by Edgar Allen Poe, and in some ways this record is a soundtrack to that.
The title ‘Invisible Threads’ refers to the intangible connection between all of the musical and personal influences that brought this record into being."
Instrumentation/sound sources:
Modular synthesizer notably using modules manufactured by Make Noise, The Harvestman & Mutable Audio
Software - Ableton Live, Pro Tools and many plugins heavily used were Max, Soundhack and Native Instruments’ Reaktor & Kontakt
Sound libraries from Spitfire Audio.
Fender Rhodes piano, Fender Jaguar guitar. Farfisa Organ, Vox continental.
Notably no analogue synthesizers were used on this album - probably the first time I’ve made a record without them since ‘Aurobindo: Involution’ (Ash International, 1995)
A few recordings made on my very modest Zoom H4n recorder (mainly domestic sounds) made it onto the record
A fair few ‘found’ sources also are present, from vinyl records and YouTube.

Acoustic album。