Instant Hit: Trem - My Robotic Friend

Here’s another minimal-wave obscurity from 1983, this time by the little-known trio Trem, led by Robert Rendall, who released only this single, “My Robotic Friend.” There’s a certain charm to this analogue-synth-driven, futuristic-sounding artefact of the early UK minimal-wave scene that deserves to be rediscovered.

 

Diesein – I Don’t Want You

Diesein, the solo project of Laslo Antal, known from Sixth June (Lidija Andonov featured on backing vocals) and Cult Club fame, released his third album, I Like It / I Hate It, a year ago. Mixing synths with artpop and alongside with that sharp, signature saxophone tone, this overall recalls the elegant minimalism of Fiat Lux. The latest video, “I Don’t Want You,” has just been premiered in YouTube. 

Simple Minds Announce New Album "Sacrosanct"

 Simple Minds have recently premiered their brand new single "Beginner Boys" which also announces their 19th studio album, Sacrosanct out in January 2027. Inspired by their recent global touring, the new tracks draw heavily from the band's early art-rock and new-wave roots.

Retrovision: The Lotus Eaters - It Hurts

Released in February 1985, “It Hurts” was the final single (in the 80s) from Liverpool sophisti-pop duo The Lotus Eaters. By then, singer Peter Coyle and guitarist Jem Kelly were already heading in different creative directions, and the band would soon part ways with Arista and effectively disappear. Its striking monochrome video, built around footage of silent-film icon Louise Brooks, almost feels like a farewell. Coyle conceived the video’s winning storyboard, while Kelly reportedly reacted to its rejection by performing his parts during the shoot with a blindfold over his eyes.

 

Jonathan Bree Returns With New Album 'Don’t Call It Love'

Jonathan Bree returns with the title track from his newly released sixth studio album, Don’t Call It Love, out this week. Featuring Adah Dylan on vocals, “Don’t Call It Love” unfolds as a dark, cinematic piece of art-pop, combining Bree’s deep baritone with atmospheric synths. Released on August 26, Don’t Call It Love is a 17-track double album featuring collaborations with Princess Chelsea, Bambi, Rachel Clarke and others. 

 

Next Wave: Paycheque

Paycheque are a new Los Angeles synth-pop duo bringing together Allison Goldfarb and Jackson MacIntosh, two musicians whose backgrounds already connect them to the city's and Montreal's alternative music scenes. Goldfarb is a musician and filmmaker from St. Louis, while MacIntosh is known as a member of TOPS.

The duo met in Los Angeles during in 2020 and bonded over a shared love of Sophisti-pop and Italo disco. Their subsequent experiments with synthesizers and drum machines eventually developed into Paycheque's unique sound.

Their self-titled debut album, Paycheque, was released in June 2026 and with only a handful of singles including "Heatwave" below, the duo has already made a name which intriguing enough to be featured here under Next Wave.

https://paychequemusique.bandcamp.com/album/paycheque

Interpol Return with Atmospheric New Single “This Mirror Weighs a Ton”

Interpol are back with “This Mirror Weighs a Ton,” the title track from their forthcoming eighth studio album. This Mirror Weighs a Ton arrives August 28 via Partisan Records, marking Interpol’s first album in four years and their debut release for the label. The album expands Interpol’s established palette with synthesizers, strings, acoustic guitars and experimental sound design while keeping up with atmosphere that have defined the band since their 2002 debut.

Small Pleasures Return with New Single “Driving At Night”

Victoria, BC post-punk duo Small Pleasures have returned with their new single “Driving At Night,” released July 21. The songs is the first preview of Small Pleasures’ forthcoming second album, following their 2025 debut Songs For Lovers. 

 

The Drums & Mareux Team Up for “It Didn’t Matter”

The Drums and Mareux have joined forces for a new song collaboration for “It Didn’t Matter.” The track blends The Drums’ indie pop sensibility with Mareux’s dark, synth-driven aesthetic. The song was released on August 19, 2026.