Synth-aesthetica: synth pop, indie electronic & other synthethic beauty

Will You Remember Me?

Everything's Alright

Closing In

Crowdfinding

Maybe I'll Stay in a Different Shadow

Deny

I NEED YOU

Produced and engineered by Kevin Marksson and Abe Seiferth.
Mixed by Abe Seiferth.
Mastered by Jennica Best.
Written and performed by Endearments (Kevin Marksson, Anjali Nair, Will Haywood Smith).
Additional guitars performed by Abe Seiferth.
Additional vocals performed by Ben Godfrey.
Additional engineering by Anjali Nair and Will Haywood Smith.
Photography by Isabel Lojo.

Cannon

Best Life

Faith

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

Them!

Listen/download ➤ https://ffm.colortheory.com/thisbrightcircumstance

I lost my father last year to Alzheimer's and my mom is in the advanced stages. If I’m to befall the same fate, at least I left instructions.

WHEN I CAN'T REMEMBER YOU
©2025 Brian Hazard (ASCAP)

In the gathering dusk
I will fade to a husk
Vital systems will fail
Trains of thought will derail

What you think of as me
[in a healthy body]
Will in time cease to be
[promise]
Can you give me a clue
When I can’t remember you?

Every name, every face
[every precious moment]
Getting harder to place
[over]
Like a verse left unsung
On the tip of my tongue

We all end up as dust
[out of love or duty]
So we do what we must
[help me]
Hold my hand, guide me through
When I can’t remember you

“You’re going to lose it all”
A whisper in the gloom
Feel like I should apologize
For what I’ll put you through
The faithful will testify
That true love never dies
But nobody knows for sure
What’s going on behind those lost eyes

Recollection recedes
[in the final stages]
Strangers tend to my needs
[helpless]
Play this song in my room
When I can’t remember you

COLOR THEORY
@colortheory
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When I Can't Remember You

A wonderful 5-track EP of melancholic indietronica from hedfog, aka Peter Greasley,  who is one of the pioneers of Brisbane's electronic music DNA, through his bands Tainted Violets, Atomic Beat Squad and Dream Circle of the late-80s and 90s, including support for Blondie and The Sugarcubes. 

Since 2017 Peter’s creative drive has seen focus through hedfog, and this ‘Mind Making’ EP is a brilliant selection, which Trans:Com is proud to release. The vinyl record release is a very limited pressing.

Anyone who is a fan of rich, epic, darker electronica - think late-period Depeche Mode for example - would connect with this amazing release.

Buy the Record

I Won't Go

chasing shadows

Obligation of Joy is a song that explores modern forms of love.
The chorus, almost overflowing with romance, stands in sharp contrast to the darkness of the verses, whose atmosphere evokes an industrial world.
The word Pleasure echoes endlessly, like a voice resounding through a factory : a haunting injunction from a mind saturated with serotonin, whether in love or under the influence.

www.instagram.com/parker_leftlover/

Obligation Of Joy

From Parker Leftlover's debut LP "Obligation of Joy"
www.instagram.com/parker_leftlover/

Five Eyes

GHSTMEAT’s new single “Social Life (Core)” is a darkwave reflection on connection and isolation in the digital age. Centered around the lyric “I picture a social life where I can hide my deepest darkest thoughts from whoever I want,” the track captures the unease of living behind a curated identity. Hypnotic synths and post-punk minimalism make it a natural fit for playlists featuring Cold Cave, Boy Harsher, and Depeche Mode.

Social Life (Core)

This Bright Circumstance (Matt Mancid Remixes)

The Last Time (Matt Mancid Remix)

From Grimes' "Visions"
Arbutus Records 2012

Visions

Oblivion

Grimes - Oblivion

The Bones Of What You Believe out now. Standard: http://po.st/TBOWYB | Special: http://po.st/TBOWYBSpecial

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Synth-aesthetica: synth pop, indie electronic & other synthethic beauty

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