House News

Berlin duo NNHMN creates moody and evocative music infected with dark synth sounds, eerie ambiances and mysterious female volcals. They are coming back to Oráculo Records with “Deception Island Part 1” where fresh cold beats meets hypnotic techno and avant-garde of a ferociously experimental nature. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

As head of Italian (centric) Slow Motion label (and international artist sister imprint, Wrong Era), and through his own productions and remixes, Franz Scala has been pioneering the retro-futuristic aesthetic of club culture weaving together elements of proto-house, wave and Italo for the nuovo contemporary dancefloor long before it’s current vogue. Now alongside Bordello A Parigi, and supported by Sameheads, Slow Motion presents Scala’s Mondo Della Notte.

This is part 2 of the album, which is also available as 2LP bundle.

Jane Inc is unlike any other project Toronto-based songwriter Carlyn Bezic (Ice Cream, U.S Girls, Darlene Shrug) has been a part of. It’s an incubator for experimentation. A one-woman show where Bezic helms every role, guiding the creative process in a way that feels right for her. It’s an outlet to escape real-world bummers and forge fantasies, a sonic journey through a complex reality. Jane Inc. is an extension of Bezic, a solo persona used to explore the different facets of herself and her artistry.

Number One is Jane Inc’s debut album on Telephone Explosion, a collage of fragmented thoughts, turned into soundscapes that are flowing, dream-like reflections of the world, and how she sees herself in it. Written and produced by Bezic, the early songs for Number One were created with samples and drum breaks on Ableton. She later recruited recording engineer Steve Chahley to record drums and drum machine on the final tracks with Toronto drummer Evan J. Cartwright (Tasseomancy, U.S Girls, Eucalyptus), adding saxophone by Nick Dourado (BUDi Band, Aquakultre, Fiver) and
Wurlitzer by Scott Harwood (Scott Hardware).

Written by: Max Mohenu

A mixture of electro, techno, house and nods to the soundtrack works of John Carpenter

Miami Beach Witches, which is the name of the album, has a sound that has been inspired by the goth and emo music culture from the 90's and 2000. Sonically filled with the high and lows of the teenage angst in a mixture of electro, techno, house and nods to the soundtrack works of John Carpenter. Visually wise, the world is filled with female teenage witches practicing witchcraft while having to deal with their everyday school drama. Sort of like the world depicted in the Netflix series: The Chilling Adventures of Sabrina, but in a more modern setting. It's faded, blurry and sometimes smoky like the mind of a teenager trying to deal with his life in high school.

Minimal Wave present the reissue of a rare self-released record by Plugpoint Music called ‘Last Chance’. Plugpoint Music was the minimal synth project of Reiner Ossmann, who recorded the 12 songs on this album in his home studio in Germany in 1987 and released them as an edition of 200 copies. This gem of a record was never properly distributed and so essentially disappeared until it began circulating amongst various collectors during the last 15 years. The sound has been compared to the likes of Mort Garson and Cluster. It’s a true minimal synth classic in all of its eccentricity and lack of self-consciousness. The record has been remastered and is pressed on 180-gram black vinyl as an edition of 500 copies along with a lyric insert sheet.

"Following two singles, two albums, and a bunch of compilation tracks, we are proud to present Miaux’s third LP.
Mia Prce, originally from Sarajevo and a Belgian resident since 1989, was reared on a psychedelic diet of Krautrock and similarly serpentine music by her artist parents who were part of the Antwerp-based (and over fifty years old) Ercola collective. Beautiful songs that break hearts without using a sharp object! More tears for the creatures of the night." Winner!

Dog Person is the deserved culmination of a whirlwind few years for Kean Kavanagh. His debut project, the ten-track collection prominently features his aforementioned semi-fictional, cigarette-bumming, binge-drinking, lovestruck alter-ego; a persona with just an echo of his real personality reverberating throughout the record.

Kicking off this year with the delectable “Roll Over!”, Kean returned earlier this month with his new single “EMMA”.
A developed sound, the single delved deeper into Kean’s incredible versatility as an artist - drawing a grittier sound
and formulating a high-octane single that wouldn’t sound out of place in a festival headline set. This all served to
prove that Kean Kavanagh had firmly stepped into the limelight; garnering support from the likes of i-D, DIY
Magazine, Clash, Notion and more.
Cofounder, producer and A&R of Irish Label Soft Boy Records, Kean had previously pulled the strings behind the
scenes; but is now becoming one of the most exciting names on the emerging music scene. A story-teller, word-smith
and dexterous musician with a strong imagination, Kean’s career is set to project far beyond his Irish roots. .

Founded in 2015, Soft Boy Records morphed into a cultural behemoth that gripped the Irish music scene and has
refused to let go - alongside his co-founder Kojaque, Kean found himself sharing stages with big names such as
Slow Thai and Lana Del Ray, as well as his consequential solo-slots opening for Maverick Sabre and Vampire
Weekend.
Earlier this year, Kean appeared on the Everything is Recorded project ‘FRIDAY FOREVER’, (curated by Richard
Russell of XL Recordings) alongside Aitch, Flohio, Maria Somerville, Ghostface Killah and others, and aligning
himself with a tastemaker and hot tipped selection of musical peers.
A sensational debut offering showing dexterous musicianship and lyrical magic, Dog Person places Kean as one of
the most exciting emerging talents coming through.

Reymour is a psycho-romantic adventure of a duo sharing both life, and stage, a lovely cluster that originated in Fribourg-en-Uthonie, and found a new home in Brussels, the pulsing heart of Europe.

“Sarabande à Deux” is a delicious arrangement of autumn flavor and forgotten vegetables cooked with love and understanding in a synth-wave sauce. It's the fifth release of 'CAF?', ridding on sonorities of the 80’s, running between synthetic balads, romantic dances and bucolic sceneries in an alcoolic fashion.

Repress

Identified Patient debuts on Pinkman with a brimming 12" with claustrophobia and paranoia. Acrid acid lines have been boiled down and smeared across cranking percussion. Sired in a soup of static, a blackened groove stalks the entire EP. Dusty beats are rinsed in smelting liquor, a smouldering EBM undercurrent surfacing as the noose tightens to a close.

One Synth-pop powertrack & One darker acid track....

'RIDE THE WAVE' is one of the most celebrated V.A. series of ORACULO RECORDS and is coming back.

On this new third edition darkwave substyles as synthwave, post-punk and ebm are perfectly represented again by Vore Aurora (USA), A Silent Noise (Italia), Pawns & Anatomy (USA), SM.Forma (Spain) and Werther Effekt (Brasil/Germany). All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

Great album. Coming in it's original sleeve. Superb !

The three man Austrian outfit ‘Leitstrahl’ debuts on "Bordello A Parigi". With more than fifteen years of band history, the trio of Stoff, Paul Raal and Boogaloo Steve are as proud as punch to announce their debut album: Chromium Dioxide, to be released this summer featuring Jon Jon Foster, Nicole Jaey, Christina Mirabilis and Jimmy Baker.

In anticipation of this release we welcome the band with an appetizer in form of this vinyl-only sampler EP, including two exclusive non-album tracks only to be found here. Get ready!

California Black Vows’ chronicles the groups’ move away from the comfort zone straight into the
dark heart of the west. Since their last album, the band relocated from the suburbs of the Midwest
to the sinister shine of Los Angeles. The cover’s icicle is the last remnant of their time in familiar
surroundings. More change was to follow. A duo for most of its existence, Clay Rendering’s core
of Mike and Tara Connelly chose to invite two allies into their closed circle. The enlisted are Sera
Timms of Black Mare on bass and Joe Potts of Sollilja on drums.
The album reveals itself slowly for the first minutes of “Blood Into Wine”, until the refrain opens
wide and dives headlong into the deep. It’s a statement of intent. Whatever happens after this, we
are in it together. From there, things rev up with uncertainty and a nervous edge. “Another Roll of
the Iron Dice”...whose number is up? Tara takes on more vocals than previous records, haunting the
nocturnal ocean with “Once in the Well,” “Black Vows” and “Take Hold.” Strangers come and go and
dance and die in “We Wait.” Questions remain unanswered in “Don’t Understand You.”
With Dylan Neal (Thief) on production duties, Clay Rendering have delivered their fullest and
most fleshed out album to date. The immediacy of the recording gives the feel that these songs
are taking shape as you hear them. Guitars melt over the keyboards and synths throughout
the proceedings. The record is filled with a noir life force that transitions back and forth from
desperate wails to moonlit hymns.
The vocals are clearer and more direct than ever, letting you know exactly where Clay Rendering
stand. The bass provides the heartbeat of the mission. The drums ensure everything lands in its
place. Insomnia, frantic flailing, body language, staring into the forced and artificial landscape,
finding solace among the chaotic foliage...all these things play a role. The comfort has been shed.
Foreboding stars in the western lands bring out the strangest parts in us all. “California Black
Vows” is the howling cry to let those parts show their teeth and the soothing voice to let you know
it will all be over in the morning.

This selection of ultra rare tracks represents the sound of the postpunk Dutch band Necronomicon and their label Fetisj from the period 1981-1982. All selections have been mastered from the original released cassettes and unreleased demo-cassettes

Berlin’s new duo 'NNHMN' is the new sensation of the european dark synthwave, not in vain NEW NOISE MAGAZINE recently described their proposal as “…a spacious drone of pulses and incantations over layers of shivering synthesizer tracks that feel like panoramic immersion in a gritty and strobed Berlin factory sound installation, while Lee’s vocals culled from the catalogue of classic 4AD…”, you will find all that and much more on their very expected vinyl debut.
All tracks have been specially remastered for LONG CUT vinyl by Eric Van Wonterghem at Prodam Berlin.

2 great downtempo tracks on another fine reissue from Melbourne's Isle Of Jura . Check out Beach for a sublime tropical winner. Tip!

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Plastic Ivy, who has made a name for herself in the underground spheres of analog synth experimentation, has released her first full length for Kraftjerkz, entitled “Spots of Time.” The album is as much a lyrical treasure as it is an analog synth dream, brought to life through abundant melodies and arpeggiations, alluring vocals, and a somber emotional tone that courses through the veins of the album.

Plastic Ivy’s influences are wide ranging; sonically, the nod to cold wave, the new romantics, and early indie is clear. Lyrically, the album draws influence from William Wordsworth to historian Timothy Snyder to jazz composer Billy Strayhorn. “Spots of Time” should be listened to with an ear held close to the lyrics, which are earnest yet detached, cooly crooned, and above all else—poetic. Standout tracks like “Images,” and “New Eyes” are entirely dance-worthy. Plastic Ivy casts a range of emotions in these new pieces: from vulnerable, lonely, and contemplative to nostalgic, romantic and transcendent. Overall, “Spots of Time” is an exquisite example of experimental synth pop.

Greek artist June makes his debut on Mannequin Records with the 'Silver Demon' LP. The album explores a futuristic dystopian world where transcendence and oppression coexist, where claustrophobia and infinite openness coincide. A world of contrasts that is the product of the artist‘s active imagination and conscious effort to confront the subconscious.

The album was recorded using original techniques from the golden era of electronic music (late 70s to mid 80s) with an arsenal of vintage analog synthesizers, drum machines and effect processors (originating) from the same time period. While the aesthetics of the classic precursors emerge through the minimal, deep, dark architecture of June's music, Silver Demon prevails with the artist's characteristic originality.

Mastered by Rude 66.
Graphic design by Lee Douglas.

2nd outing from Jonny Nash & Suzanne Kraft in their MATstudio series. These records are intended to catalogue some of the experiments, explorations, accidents and fortuitous events that regularly take place at their Amsterdam studio. Each record features two compositions created from a collage of works.

Freakish Synthetic Oddity from pervert teenagers living in the remote countryside of our beautiful France.

Having already debuted on the Pinkman main label, Identified Patient now steps up for the Pinkman "Broken Dreams" series for your stripped back content. The whole EP is furnished with the sinister and commanding vocals of Sophie du Palais, also known as 'Vrouwe Fataal,' creating an infectious vortex of panic and scare to abort your dreams. Throughout the release, hazy percussion is carefully seasoned with the bitter synth lines and guitar riffs from Lasznkioff. The first track, 'Peaceful Panic' is in full seduction and fetish mode, setting the scene for the better corners. 'Sleep Without Rest' violently tightens up the leather and gives you your kicks for thrills. The EP ends with frenzy: messed up intermezzos with Lasznikoff, mixing up an 808 with his destructive guitar rig and, as he states, 'everything is done.' Throughout the release, hazy percussion is carefully seasoned with the bitter synth lines and guitar riffs from Lasznkioff. The first track, "Peaceful Panic" is in full seduction and fetish mode, setting the scene for the better corners. "Sleep Without Rest" violently tightens up the leather and gives you your kicks for thrills. The EP ends with frenzy: messed up intermezzos with Lasznikoff, mixing up an 808 with his destructive guitar rig and, as he states, 'everything is done.'

Moustache Records welcomes Senor Chugger to the label family! His debut EP 'One More Tune & One More Pint' (yes come on let's have it!!) aims to encompass the euphoric feeling of being on a dance floor with nothing but your mates and some good music (and pints). Honestly I'd be happy if that's what's awaiting me in the afterlife.

'Press the Flesh' is the head of our proverbial euphoric snake, making no promises other than you'll have a bloody good time listening to it. 'Midnight Scooter Cruise' is about those last few moments before the lights come on; feeling genuinely happy to have been able to live in the present for more than a few seconds throughout the night and have a laugh - followed by thoughts such as 'Goodness me I'm going to feel horrific tomorrow'. Flipping over to the B side (or the snake's ass, if you will), we have 2 tracks competing for the loudest snare award. 'Head in the Clouds of Smoke' is a nod towards the great times had in the peak of the midday sun at festivals, where otherwise non-smokers inexplicably decide to chuff their way through a 20 pack.


Last, but by no means least, 'Newton Abbot Reunion' is about going back home to see old friends - one of the more wholesome hangovers I'm sure you can relate to. Overall this EP wants you to keep on dancing - there will always be one more tune, and one more pint (unless you've had too many in which case don't do that). 'Very very good EP. Possibly the best I've heard this year.' - Count van Delicious 'Will you stop making your Italy disco or whatever it's called and take the dog for a walk please' - Senor Chugger's mum This is the unknown hit everybody is looking for played by Moustache Labelboss David Vunk at numberous parties, club and festivals!!!!

This is the 2020 HIT EP Be fast gone is gone!

hree years on from their debut collaborative album “Passive Aggressive“, Jonny Nash and Suzanne Kraft return with "Knife", the lead single from their forthcoming album, “A Heart So White”.

The single comes with an exclusive bonus digital track, "Processing The Negative", which will not appear on the full album.

“A Heart So White” represents a continuation of the working philosophy adopted during the recording of their debut; immersion in an unfamiliar recording environment with a limited set of tools and the goal of exploring the possibilities that lie within these limitations.

The album was written and recorded in the Willem Twee Concertzaal, a converted synagogue in Den Bosch, Holland. Whilst “Passive Agressive” explored virtual instruments and environments, “A Heart So White” shifts the focus to acoustic instrumentation, breath, air and physical space. Using the hall’s mechanical drawer organ and Steinway piano, the pair craft a delicately balanced suite of compositions, stripping things back to reveal the bare essence of their shared musical language.

Spanning multiple styles and genres in a seamless blend of danceable music, the album reference synthwave, italo disco, fun and blissed-out synth sounds throughout a constantly evolving record, merging modern feels with rich tapestry of old 80's melodies.

Mooring the 'Train Of Thought' at Hamburger Hafen, Latvia's R_R_ delivers aquatic ambience, buoyant electronics and tidal rhythms on the Growing Bin. Hold this shell(ac) to your ears and you’ll hear the sea…

As we hasten towards the inevitable Waterworld of the next century, Latvian composer, sound artist and lecturer Reinis Semēvics charts our safe passage to dry land with his debut album 'Train Of Thought'. Inspired by the rhythmic movement of water and how its rippled reflections bend our perception, Reinis sculpts an immersive sound collage - a precise mixture of field recordings and self-made sounds which swell and swirl as we bathe in their beauty.

Bookended by the Baltic's roar at the Bay of Rīga, 'Train Of Thought' drifts from the harbour to the open sea, conveying the restful calm and frenetic power of a body of water throughout. Misty pads and delicate piano conjure lapping waves and blue skies, bubbling sequences ripple up from the deep and cascading melodies fall around hypnotic rhythms, each distinct droplet offering a different feeling and mood. One moment flows into the next, nine rivers pouring into a single ocean of sonic bliss.
The alias R_R_ is a tribute to his grandfather, the composer Ģederts Ramans, whose influence helped set Reinis' sonic journey in motion. We're very happy he's decided to stop off in the Growing Bin, and we're sure you will be too.
Patrick Ryder

Bunker 4016: Starting off this myriad of dream worlds with 'I wanna dance with you', perhaps the real new divine Donna Summer meets lady boy Marc Almond in a superhot-mixed new wave 80's electronic dance and supersoulseventies disco freak gospel orgasm? Plus some more funky dark whipping beats, add to all this some intense tragic portuguese poetry crying out all the pain and the love of creation, then finished off by the most self-destructive occult arcane darknesse of heavy electro bass industrial nightmare noise of 'mystic derwish or Shiva Sadhu drug-overkill dance' tracks, bringing, no, submitting and delivering all way out of the modern fake reality, yes, back to the cosmic source of all!

Odd synth music project for experienced ears including Deviant Funk, Cosmic Vibes and Upset Synthwave made at home.

Dark Entries and Honey Soundsystem Records have teamed up again to release another volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. Perhaps one of the most revolutionary and influential people in the canon of disco music, Cowley created his own brand of Hi-NRG dance music, ''The San Francisco Sound.'' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco at the age of 21. He studied at the City College of San Francisco where he founded the Electronic Music Lab. During this time, Patrick, along with his classmates Maurice Tani and Art Adcock, would create radio jingles and electronic pieces using the school's equipment: first a Putney, then an E-MU System, and finally a Serge synthesizer. He would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

“When I was asked to put my hands on the original tracks of Blancmange I was instantly excited. They were one of my favourite Bands when I grew up as a teenager in the 80’s. Listening to their music walking around with my Walkman back then was adventurous. Mainly because I was already in love with the aesthetics of synthesisers and drum machines. But also because it was unusual pop music with an extraordinary energy that made it in the charts. Remixing a favorite Band is challenging but I’ve tried to keep the free spirits and playfulness in my mix that makes Blancmange still so special after all these years” – Roman Flügel

Roman Flügel remixes the cult 1980s classic that is ‘Living On The Ceiling’, and the result is a killer, off-kilter slice of club-focussed machine funk that contains the same wonderfully bizarre cocktail of traits, that Blancmange always boasted in spades. Eerie and schizophrenic but also both bright and triumphant. Also features the original and sought after extended mix.

The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.

Music From Memory are delighted to present Fools’ debut album ‘Fools’ Harp Vol. I’ and the first
solo release of American musician Christopher Bear. Drummer and multi-instrumentalist of cult
Indie band ’Grizzly Bear’, ‘Fools’ is a pseudonym that Christopher has been using while working
on his independent music making for some time now.

Often finding the structure and form of a more traditional ‘song’ and the concept of an album too
restrictive, Christopher finally set aside a six week period in the summer of 2019 to explore the
possibilities of jamming alone and seeing where it took him: recording each instrument himself
and then responding through improvisation to his own recordings, Whilst doing most of the
recording in a digital set up, he also set out to capture some of the same mental and sonic
space from his time recording on 4-track.

The results of these Fools’ sessions, he explains, feel “almost more like a mixtape than an
‘album’ per se” to him. With a sense of the dichotomy between nostalgia and the future, ‘Fools’
Harp Vol. I’ seeks to transport the listener to a world both familiar and comforting, exploring
something undiscovered while maintaining a deep sense of openness and curiosity.
The album will be released in vinyl and digital formats with a cassette release to follow including
additional bonus tracks.

Synth-pop pioners OMD return with their dazzling 13th studio album 'The Punishment of Luxury' which sees them combine the wistful nostalgia and idealised romance of their previous work while stepping out of their comfort zone. The LP is out September 1st on 100% Records.

The follow up to the critically acclaimed 'English Electric' (released in 2013) 'The Punishment Of Luxury' is a daring collection of stylish synth pop and masterful songwriting which will certainly rank alongside their very best.

Written, recorded, produced and mixed by OMD - Andy McCluskey and Paul Humphreys - the album is the sound of a band in their prime. 'On this album we have managed to make beautiful things out of noises and repetitive patterns', explains Andy. 'The trouble is, we just cant help but write a catchy melody!'

The album takes its name from an 1891 painting by the Italian Giovani Segantini and contains everything from the Kraftwerkian 'Isotype' and 'Robot Man' to the blue eyed soul ballads of 'One More Time' and 'The View From Here' as well as more traditional OMD songs like 'Kiss Kiss Kiss Bang Bang Bang' and the synth heavy title track.

Described by The Quietus as not just one of the best synth bands ever - they are one of the best bands ever', OMD's influence has become ubiquitous. The xx, the Killers and LCD Soundsystem's James Murphy have cited OMD as an inspiration, and the likes of Future Islands and Chvrches show traces of OMD's DNA.

IN THIS MORBID ECSTASY A RELEASE IS NEEDED is the never commercially released 1987 album by THIS ETERNAL WAITING. A mixed bag of minimal synth, experimental, industrial and electronic body music. The project reached the vinyl test pressing status only, 50 white label copies were pressed and used for promotion amongst djs and distributors. Full artwork was prepared for the album but it remained unused and unseen as the commercial release on the band’s own ‘I Live In Hell Records’ label was cancelled.

For more than 30 years the album has slept a giant’s sleep, highly sought after by collectors looking for a copy of the white label 12” but being absolutely impossible to find. Luckily, the 1⁄4” master tapes and original photoliths for the artwork were salvaged so we were able to work with them and offer you the fully finished, carefully remastered album for the first time ever. An additional track called “Don’t Stop” has been included, a 1988 live session that Frank O’Neill did with Ronan Harris (yes the guy behind VNV Nation). An incredibly powerful EBM killer to round up this awesome album.

We are extremely excited to FINALLY bring you this highly sought after record on a limited, hand numbered

Edition of 120 copies on standard black, housed in a heavyweight matt finish sleeve with black inner sleeve, including a double sided insert with pics and credits and a download code.

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

The fourth part of the Wave Earplug series trying to support the underground wave scene across Europe. Released on vinyl LP limited to 500 copies. This time artists come from Albania, Canada, Germany, France, Colombia, Slovakia, Sweden, Belgium and Hungary.