Fabrika Electro 2 Items

With silent film cinematic aesthetics imbued with unique and 21st-century flair, Ukranian Coldwave Duo The Glass Beads invoke sorrowful sounds, both strange and sensual, on their debut LP Therapy, melancholic life stories focused on the search and struggle of trying to find your way as an individual way and to accept yourself. These themes explored on the record are filled with pain and anger as well as hope. The Glass Beads feature the talents of musicians Mark Arshynnikov and Morin Sane, a pair of musicians whose Slavic features construct an appearance that is altogether commanding, beautiful and timelessly Gothic, yet gracefully tempered with a modern and tasteful style woven between two eras of the centennial: 1920, and now. In collaboration, Mark and Morin conjure melodies that reverberate like footsteps through the hallways of an abandoned house, haunted by memories of love, sickness, and death. Their melodic music is interwoven with sighing keys, palpitating drum machines, sauntering basslines, and disaffected vocals like an eastern european version of Velvet Underground chanteuse Nico. It has been 4 years since the two made their debut with “Going”, a song that would two years later make itself part of The Glass Beads’ 4 track debut EP Phobia issued on cassette via Squall Records. For that release, The Wave of Things spotlighted the pair in their Sounds of Ukraine episode, Describing them as a cross between Lebanon Hanover and Drunken C, and highlighted their mesmerizing video for the title track “Phobia” where a blindfold vocalist Morin Sane drifts amongst a field of sunflowers in stark black and white.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat