10. Morgan Willis – Miami Calling

At 25 tracks (!), Miami Calling, the debut LP by the Frenchman Morgan Willis is a bit a of a slog to listen through in one sitting, but it’s undeniably one of the most interesting albums this year. Coming in right at the end of the year, it plays as an unabashed love letter to Miami Vice and Jan Hammer’s score, and gets us as close as possible to the 2nd part of the soundtrack of the mythical series.

9. Hyboid – Terrör of the Üniverse

An album that went largely unnoticed by the larger synthwave fandom, Hyboid’s Terrör of the Üniverse is a feat not just because it was recorded entirely with vintage synths (Oberheim DMX, Roland TR-606, CSQ-600, Juno-60, SH-09, Korg Polysix, Mono/Poly, Arp Axxe, Octave Kitten…) and effects. It’s also a window into the producer’s childlike creative mind and fascination with 70s Kraut sound and pop culture of the yore and shines a bright beacon in our often stale musical niche.

8. Makeup and Vanity Set – Brigador Opus

Makeup and Vanity Set is probably one of the most overlooked modern retrosynth (thanks Vehlinggo for making me confident to use this term more ;)) artists, especially in the increasingly crowded (and derivative) dystopian, “darkwave” subgenre. His releases stand on top of his peers, and his Brigador that came in 2 parts and an EP is definitely worth your attention if you’re into sprawling, narrative soundscapes.

7. Trevor Something – Soulless Computer Boy and The Eternal Render

After the gloomy Death Dream LP, the world sighed in relief when Trevor came out of nowhere in August 2016 with a brand new waporwave-tinged album that marks his return to more classic Trevor Something sound, but also shows his irrefutable growth as a musician. Next stop, we’d like to see some growth as a vocalist *wink*.

6. John Carpenter – Lost Themes II

John Carpenter fans squealed in unison when the Master of Horror himself showed up in 2015 to deliver a whole album of original, dark synth compositions that seemed ripped straight from some unreleased movie of his. The fans hollered in climax this year when the Master delivered a swift sequel of dark, brooding compositions that was a harbinger of a sold-out tour in summer and fall 2016.

5. Peter Zimmermann – Eine Nacht Mit Peter Zimmermann (Part I)

Anyone trying to break the boundaries of retrowave today deserves at least a shoutout, but Peter Zimmermann, a young German dude, delivers that in droves and so deserves a spot in this list. Your go-to album when you tire of the usual tropes, Eine Nacht is a mix of synth styles and feels with a tongue firmly planted in cheek.

4. Waveshaper – Station Nova

Released in April 2016, Waveshaper’s follow up to 2015’s Exploration 84 deepens the space saga this masterful producer is weaving and further cements Sweden as one of the bastions of modern synthwave. Perfect listening while landing on the Moon.

3. Robert Parker – Crystal City

Robert Parker has already established himself as one of the retrosynth names to look out for in the years past capable of hitting a wide range of styles and registers in the synthwave spectrum. Crystal City is then his flagship album, that establishes his core sound and prowess with keys and knobs. An album to make you dance – and long for the years long past at the same time –  from the first minute.

2. The Midnight – Endless Summer

A sequel to the fan-favorite Days of Thunder from 2014, Endless Summer epitomizes the most emotional, wistful of modern retrowave. Tim & Tyler are an amazing team and champions of great production values, and while the worldly charm of their vocal tracks really helps bring new audiences into our beloved music genre, personally I preferred the bare-naked brilliance of the instrumental version of the album (The Comeback Kid is perfection).

1. Atlas – FM-84

By far, the best – and one of the most anticipated (hi MN1984!) – release of the year, Atlas is a dream modern synth pop album, mixing the right amount of nostalgic wistfulness with a knack for superb production. Equally a fruit of labor of Col Bennet and Ollie Wride, the main vocalist on the album, it is a super-potent cocktail of emotion, flawless vocal delivery, clever pacing and FM-84’s signature synth work.

Honorable Mentions:

Droid Bishop – Lost In Symmetry: Just under 30 minutes, didn’t really qualify as an album, but is full of awesome.

Syntax – Transmissions:  Sequel with more chilltronica-meets-synthwave by one of the nicest guys on the scene

CONFRONTATIONAL – Kingdom of Night: Massimo Usai nurtures his sound that outgrows the boundaries of the genre and paves a way to a possible trilogy.

Ludrium – Through Sentient Eyes: Apple doesn’t fall far from the tree and Cody Carpenter thrills us with each new volume in his prog rock meets 16 bit RPG meets retrosynth space opera.

Ben Businovski – Gotanda’s Maserati: Ben delivers at first glance typical italo-disco tropes with lots of style and self-awareness.

Satori in Bed – Short Notice: the master of lavish arrangements and one sexy mother ducker, Satori in Bed continues the teachings of his gone-too-soon master Prince

Absolute Valentine – Police Heartbreaker: Not many know Johann Derimme has his fingers in plethora of retrowave releases. His latest LP shows the guy has solid skills as a producer as well.

Unrelated to albums per se but I want to say big thanks to unsung heroes of the scene such as Marko Maric of Synthetix Sundays and Noah Kaufmann of Synth Waves on KFAI 90.3 who relentlessly promote our ever expanding scene!

Filip Galetic

Filip grew up on a diet of Masters of Universe, Nightmare on Elm Street and MTV.

Email: fi***********@**********ve.com

Art by Signal Noise

A SUNSET-TINGED, IMAX-SIZED EPIC

Let’s get this out of the way: Atlas is a profound masterpiece of an album done with an almost unfathomable attention to detail. The wait after FM-84’s Los Angeles EP from 2015 was rather long but well worth it.

FM-84 a.k.a Col Bennett, a Scottish-born transplant to Northern Cali, luckily resisted the impulse I’m sure he had, and that is to quickly churn out a sequel to his much revered short-play release, universally praised by critics and audiences alike.

Instead he embarked on a thorny path of really figuring out what he wanted to do and then really made sure that his vision came true.

The result is this breezy, brazen, cinematic journey of mere 46 minutes, but filled to the brim with genuine heart, soul and some unmatchable synth wielding chops.

I said brazen because in 2016 we still haven’t really seen a mass breakthrough of the classic synthwave sound (the kind established now quite a long time ago by the „fathers“ MN1984, Mitch Murder and others) that cherishes cinematic scope, heavy sense of nostalgia and clinging to carefree days.

No, that remains a steadfast niche genre, while the offshot of synthwave, dark synthwave is quickly gaining new audiences and almost mutating into a genre of its own.

So yes, it’s pretty brazen to stay true to your own artistic calling and make an album that might not get chewed up by horny adolescents, but will surely be remembered as a pinnacle of the craft among those that care.

The reason it works seems to lie in the fact is that Mr Bennet doesn’t just play, arrange, mix and master his creations, but truly uses all of the tools availabe to him to paint with sounds. And he paints gorgeous, sunset-tinged, IMAX sized odes to summer, feeling deeply and falling in love madly, and looking back fondly on the experience.

The emotions Atlas stirs are not easy to describe but this comes close: you know how when you just come to the beach for the first time in the year, every cell in your body sort of exhales everything it’s been accumulating and you truly start being present in the moment? That’s what Atlas does to you.

Or another way to describe it: you know how when sometimes, when you’re in the middle of having a time of your life, you catch yourself looking back at the experience BEFORE it even ended, and you become a little bit sad? That’s what Atlas will do to you.

‘Saying a lot without using any words’ seems to be the operative phrase for FM-84, so then it’s pretty surprising he actually added tons of vocal tracks on this album as well, the majority of them penned with the vocalist sensation Ollie Wride from the UK.

The chemistry between the two was immense which resulted in three synth pop 32-carat diamonds that are absolute highlights of an otherwise near perfect album and can be listened over and over again in new ways each time.

To say Wride has a good set of lungs would be a complete understatement, as there seems to be simply no note he can’t hit with total command and perfection.

His singing hits the sweet spot between Freddie Mercury’s sheer vocal range and pitch and Roland Orzabal’s (Tears for Fears) expressiveness and vulnerability.

On the closing track aptly named Goodbye (hopefully not for long – at some point FM-84 was resolute to end this project and start something new – luckily he didn’t – chalk it up to artistic pressure) his vocal guest is not just someone born in the 80s but someone who actually made a name for himself in that decade.

Mr Clive Farrington, of When in Rome, borrows his warm vocal chords to sing out this ambiguous ballad (did they say goodbye in the end?). If you’re not sure who When in Rome were, like I wasn’t, know that in 1988 they had a hit called The Promise that sounded A LOT like New Order.

‘Goodbye’ is actually a much better song than that one. Musically belongs somewhere in the late 80s (maybe even very early 90s) as well, with it’s sophisticated, marine feel. It’s practically begging for a video featuring a yacht and the sailor pattern.

On Atlas, FM-84 lovingly honors the fans of Los Angeles (including yours truly) by giving plenty more of that sublime, picture perfect cinematic epicness.

But we get to have the cake and eat it too.

This closing track as well as Tears and Jupiter for example, prove that FM-84 decided not to stay firmly in one place, dared to enter new territories and expanded his repertoire. And boy oh boy, he made it.

At a time, when retro synth production – and not to mention music production at large – can seem very cerebral and almost calculated, FM-84 sends us a gentle message in a bottle reminding us music is about listening with our hearts.

9,5/10

COMMUNITY RATINGS 

 

 

 

]]> https://newretrowave.com/2016/05/03/fm-84-atlas/feed/ 0 https://newretrowave.com/2016/04/26/what-is-the-summoner/ https://newretrowave.com/2016/04/26/what-is-the-summoner/#respond Tue, 26 Apr 2016 14:30:00 +0000 http://new-retro-wave.com/2016/04/26/2016426what-is-the-summoner/ The Summoner is a love letter to the Eighties and the Synthwave scene. 

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Written by Filip Galetic

Filip grew up on a diet of Masters of Universe, Nightmare on Elm Street and MTV.

Email: fi***********@**********ve.com

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The Summoner is a love letter to the Eighties and the Synthwave scene. It’s set in an alternate reality where vengeful ghosts haunt every property and the only way to “clean” your house of these unwanted guests is to send in a Summoner. Who will forcefully drag them from the property, banishing them forever, this is called an “eviction” The film follows a hard drinking Summoner played by Adam McNab (The Cocksure Lads and singer in Le Cassette) who has lost everything he loves in this cruel, violent world. The only thing he lives for is his dangerous job, and this day is going to change his life forever. Mhairi Calvey (Braveheart, Abduct) is also attached to star.

 

Who is on the soundtrack?

 Waveshaper, Nightstop, Maxthor, Irving Force and Vincenzo Salvia will be creating the original soundtrack for the film. I have been working closely with the artists to get the right sound and tone for the film. We honestly can’t wait for you guys to hear the soundtrack in it’s entirety. It is going to be something truly special. As huge Synthwave fans, it is an honour to have some of the best in the scene on this project with us for this journey.

 What sets it apart from Kung Fury, Turbo Kid and other new retro movies?

 Our film has a much more serious tone, it will be as if you picked it straight off the video shelves in the late Eighties. Not that it is set in the Eighties, it’s sort of in limbo, like the Synthwave scene itself, modern with a nostalgic twist.

The visual inspirations for The Summoner are Blade Runner, Hardware, Suspiria and The Wraith. Expect stunning colours lighting up each scene, shadows crawling up the walls and plenty of smoke pumping out to fill the sets.

We also brought in Adam Skog (Irving Force) on editing and visual effects duties after seeing his fantastic music video for The Violence Suppressor. With his skills, the team can’t wait to see what he brings to the project.

 

The film is currently crowdfunding on Indiegogo, what rewards are in store for the backers?

 Backers can take home limited edition Summoner merchandise, a one of a kind VHS of the film, a digital copy of the original soundtrack, limited edition signed posters, tickets to the first screening, executive producer credits and much more!

 

What is the final goal with the film?

 The team are aiming for a festival run of the film at the end of this year, with the original soundtrack being released digitally in October. The film will then be put onto Youtube and Vimeo for everyone to enjoy. 

We have a superb team in place, all we ask is that people please contribute and share, so we can make one of the best and unique short films of the year.

You are going to love it.

 

Teaser Trailer

 The Summoner Theme Song Teaser – https://www.youtube.com/watch?v=vCFVfLV3k3k

 Link to the Indiegogo page: https://www.indiegogo.com/projects/the-summoner-short-film#/

]]> https://newretrowave.com/2016/04/26/what-is-the-summoner/feed/ 0 https://newretrowave.com/2016/02/08/dance-with-the-dead-the-shape-2/ https://newretrowave.com/2016/02/08/dance-with-the-dead-the-shape-2/#respond Mon, 08 Feb 2016 15:31:54 +0000 http://new-retro-wave.com/2016/02/08/201628dance-with-the-dead-the-shape/ Dark synthwave is booming, even spawning a couple of small specialized live festivals in Europe. Perturbator, Carpenter Brut, all enjoy cult status and are very often a starting point for all the newcomers to synthwave.

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DANCE WITH THE DEAD – The Shape

Dance with the Dead showed up on the radar in 2013 with their solid debut album titled “Out of Body” and quickly became regular guest of many Retrowave playlists. It was a good mix of 80s pastiches with a dark twist. Dark synthwave just sort of started forming as a subgenre and this release perfectly complemented Lazerhawk’s “Skull and Shark” LP released around the same time.

Fast forward to 2016 and DWTD have several releases behind them and what seems a frenzied following. Dark synthwave is booming, even spawning a couple of small specialized live festivals in Europe. Perturbator, Carpenter Brut, all enjoy cult status and are very often a starting point for all the newcomers to synthwave.

The basic formula – faster tempo, minor keys and distorted arpeggiated synths – is now generally known to all and has truly helped to carve out a strong niche. The Shape alone has generated incredible buzz from raving fans, the kind that orthodox synthwave producers can still only dream of.

In fact, there seems to be a trend developing where dark synthwave acts no longer really list themselves as anything retro, synthwave, 80s and such. For example, Carpenter Brut simply states “electro” on their Facebook page and DwtD use different tags on their Bandcamp but none specifically “retrowave” related.

It’s telling that the artists enjoying greatest attention are the ones seemingly doing away with ties to the retrosynth labels – but that’s best left for another discussion. Their other common denominator is the big sound and – what used to be just flirting with metal conventions – a full blown love affair with plenty PDAs.

And “The Shape” is full of exactly that. While the debut was plenty more balanced and told a more rounded story, The Shape stays firmly in the territory of “bigger is better” and really doesn’t feature that much of a synth sound. Here, heavy guitar takes center stage and other sounds are more of the Skrillex school than Sellorekt.

Obviously, the intention here is to provide the optimal live show experience (DWTD) for all those ex metal heads who sometimes seem to make up the majority of the fans of darker Synthwave.

And nothing wrong with that, in fact I, otherwise nonplussed by Carpenter Brut’s stuff when listened at home, had quite a lot of fun seeing them live recently. Their music finally clicked with me and made much more sense with a proper light show, a cleverly edited video background and yes, big motherfucking speakers.

I’m guessing DWTD dudes are going with the same intent as unfortunately, otherwise their album really doesn’t quite hit the mark. Stripped of much what made their debut great – melodic variety and the retro feel – “The Shape” is best enjoyed as a dance record in a club performed live.

Listening at home, the repetitions and production veering on the one dimensional side become a little too obvious and none of the track really transcends the filler status. Probably works well as a good workout or driving album though.

That’s not to say the album is not okay, it’s just not great. The high-water mark of the album comes in the middle with Screams and Whispers, the track that stands out with its sheer energy and an epic main motif.

It’s immediately followed by Adrift, an outlier on the album and the only respite from the sense-devouring sound of the rest of the album. It’s really full of emotion and longing and you simply can’t help but wish we had another pit stop like this on the album (minus the mega cheesy guitar solo).

All in all, The Shape will satisfy the hardcore fans and the fun-seeking male 20-something college students not really looking for sophistication. For the rest of us, the crescendo-to-the-crescendo approach could be a little too much and the main feeling will be of a déjà vu.

6.5/10

COMMUNITY RATINGS

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Filip grew up on a diet of Masters of Universe, Nightmare on Elm Street and MTV. Born in Croatia, currently lives in Brussels but considers himself a citizen of the planet.

fi***********@**********ve.com

]]> https://newretrowave.com/2016/02/08/dance-with-the-dead-the-shape-2/feed/ 0 https://newretrowave.com/2016/01/25/ludrium-unity/ https://newretrowave.com/2016/01/25/ludrium-unity/#respond Mon, 25 Jan 2016 18:04:05 +0000 http://new-retro-wave.com/2016/01/25/2016125ludrium-unity/ Hot on the heels of his 2015 LP release, Ludrium a.k.a. Cody Carpenter is back with new songs that came to be in the second half of 2015.

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Hot on the heels of his 2015 LP release, Ludrium a.k.a. Cody Carpenter is back with new songs that came to be in the second half of 2015.

Unity is the name of the album but there is not that much unity here. Still, Cody admits as much saying it’s more of a collection of songs rather than a cohesive album.

And while it’s certainly no concept album in terms of homogeneity, it still manages to make a coherent whole.

What does unify the album it is the common thread in the form of love of sophisticated riffs that Cody weaves into much of its tracks. He is an excellent guitarist and the synth riffs are equally baroque.

Another commonality to the tracks that make up Unity is the overall sheen in production that is now Cody’s trademark. It’s simply instantly recognizable and makes Ludrium one of the most desirable masterers in the business in my opinion.

Track-by-track look:

Drop Kick – A typical exuberant Ludrium track. Melodies are all over the place (in a good way) and you’re jumping face first into a pool of warm synth virtuosity.

Sentinel – Romantic overtones, slower tempo, rolling baseline. Shifting moods, from mystery to romantic.

Machines of Man – Harkens back to 16-bit era gaming with its common settings in hi tech, cyber-punkish, magic-meets-science locales. I can imagine an important mid-game boss battle in Final Fantasy 6 playing out to this song. The tempo is slower but that makes it more epic.

Save Your Mysterious Power for Dancing – This tracks has a really bubbly and danceable main motif, which is equal parts disco and 16-but gaming soundtracks. It quickly switches places with a more prog rock and it becomes an interchange between those two. Fun and high emotion at the same time.

The Sacred Tree – Another love letter to 16-bit gaming, this one would play during an intermission between battles when you learn about a sacrifice by an important character or that a vital part of the planet is dying and needs saving. Nobuo Uematsu would rejoice hearing this (maybe he is a fan already!). Very serene and poignant.

Cyber Attack – the most pure synthwave track on the album, Cyber Attack shows Ludrium is capable of dishing out some “true believer” stuff as well. The synths are so crisp and the mix of the suspense and the radiance really shines on this track. There is a whole movie stuck in just 3:35 of this song.

Bramble – Love the word “Bramble”. It just evokes the days of playing 16-bit platformers as a kid. One of the best pieces of video game music from SNES are is from a Donkey Kong game called “Bramble Blast”. Coincidence? This track has a decidedly different feel but could fit right in as, say, opening theme of a Chrono Trigger (an epic 16-bit RPG about time travel if you’ve lived under the rock ;))

Plot a Course for Earth – for those in the know of JRPG tropes, this track would play during a sequence where the heroes are stuck in orbit around the plant and just faced a major defeat and after some deliberating, reaffirm their resolve to fight for their home and discover a newfound unity and readiness to sacrifice. The tracks feels just as epic.

Trails Between Worlds – Whoa. This track comes out of nowhere after the space opera-eque first half of the album. This time we’re knees deep in eastern melodies, with gorgeous Middle Eastern guitar intro making way for a blood pumping chase track. Intricate and exciting.

We Have One Chance – if so far we have only flirted with the JRPG sound, this tracks outright pays tribute to it with one of the licks pulled right out of the mega-epic JENOVA battle theme from Final Fantasy 7. It covers really immense narrative ground, from moments of pure determination, to self-doubt to the great triumph and a feeling of togetherness.

This would make for a fantastic closing battle theme. But really even if you’re not a video game fan, this is simply music filled with emotion and sense of grand adventure and should be heard by anyone with a sensibility greater than that of a mushroom. True climax of the album.

Cherished Memories – Goosebumps material. Atmospheric and evocative, this one conveys a feeling of standing in a 2405 A.D. techno-cathedral right after regaining your lost memory. The kind of track you can lose yourself in if you let it happen.

Fortress – Although now we’re rethreading familiar territory with a classic Ludrium ode to wonder and exploration, I totally understand Cody’s choice not to close the album with the previous track as it really transports you elsewhere. Fortress, then, brings you back to Earth so you can go about with your daily business. Thank you for that.

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I’m the kind of guy whose heart flutters when my synthwave is on the minimalistic side, with repetition, deconstruction of tropes and the unexpected coming from new sound colors and flow, rather than showy riffs and overcomplicated progression.

However, I am still able to really appreciate the brand of retrosynth that Ludrium produces. His take has always been very much progressive rock which shows in plenty a syncopated beats and fluttering melodies. Yet, it never comes off as pompous and overcooked, rather it contributes to the overall feeling of innocence, amazement and wonder that I believe brings many of us to the retrowave genre.

8/10

COMMUNITY RATINGS

by Filip Galetic

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Filip grew up on a diet of Masters of Universe, Nightmare on Elm Street and MTV. Born in Croatia, currently lives in Brussels but considers himself a citizen of the planet. Eagerly awaiting 2015 to try out self tying shoes and the hoverboard.
 

Email: fi***********@**********ve.com

]]> https://newretrowave.com/2016/01/25/ludrium-unity/feed/ 0 https://newretrowave.com/2015/12/28/top-10-synthwave-albums-of-2015/ https://newretrowave.com/2015/12/28/top-10-synthwave-albums-of-2015/#respond Mon, 28 Dec 2015 14:37:30 +0000 http://new-retro-wave.com/2015/12/29/20151228top-10-synthwave-albums-of-2015/ You don’t need me to tell you that 2015 was the biggest year in synthwave since Drive came out – just as we expertly predicted somewhere around the end of last year.

]]> You don’t need me to tell you that 2015 was the biggest year in synthwave since Drive came out – just as we expertly predicted somewhere around the end of last year.

Countless uh-MAZING compilations, some incredible EPs (shoutout to FM-84!) and of course not one but two cinematic releases mired in retro glory – Kung Fury (did it bomb or not? Tell me what you think in the comments – but wait, read the rest of the article first) and Turbo Kid. There was plenty of retrosynthastic events to occupy you from January to December.

But perhaps where 2015 shined the most is in the immense quality of albums that were released.

These are my top 10 favorites:

10. SELLOREKT/LA DREAMS – On and On

Someone give this guy a trophy! LA Dreams has shown time and again that he is the most prolific synthwave artists out there having released 3 full albums in the last few months ALONE! But this wouldn’t be of interest if these LPs were a disposable cookie cutter trash, oh no! Quite the contrary. Mr Sellorekt somehow manages to dish out albums full of tracks that are each unique and not a slight rework of previous work. On and On is my favorite of the albums he released this year overall. The only gripe? In the effort to get as many albums out the door as possible, the emphasis is not put that much on the overall story and cohesion of each album. But still, these should feed any hungry retrosynth epicure for days.

 

9. CONFRONTATIONAL – A Dance of Shadows

The dark synthwave subgenre seems to never have been been so crowded. Yet with A Dance of Shadows, Confrontational manages to assert himself a unique auter with a story of his own. Visually, he boldly lets go of the subgenre cliches and replaces them with his own personal expression. Musically, his longing vocals blend nicely with the booming basslines and wailing synth pads and there’s plenty of carpenteresque accents. Most obviously on To Live And Die On The Air where he enlisted Cody Carpenter, the son of the Horror Master himself for help on the lead synth. Favorite track: Like A Curse (Feat. Monte Pittman).

8. DYNATRON – Aeternus

Dynatron latest album, while not necessarily my cup of tea in the aspect of style (a little bit too cold to be my personal favorite) still manages to be “required reading” for any retrowave fan. Its vision, sense of infinite space it conveys and production values are second to none. Mr Jeppe Hasseriis knows what he wants and knows how to get it and he does that with incomparable eye for detail and devotion to his mission.

 

7. SYNTAX – Island Universe

Sometimes you want to listen to synthwave so you can feel like a brooding anti-hero going on a night rider and facing untold dangers, or to connect with the primal side of you that enjoys the world as depicted in the slasher horrors of the yore. But sometimes you put on an album like Syntax’s debut Island Universe and instead you’re taken on a space journey that both shows you new wonders and rejuvenates you. Equal parts retrosynth, and chilltronica, Island Universe enthralls you with its refined and layered vistas and lets you inhale some fresh synth oxygen.

6. DUETT – Borderline

Due to the extremely busy 2nd half of 2015, I kinda came late to the party that is Duett – Borderline. I did see some of the rave reviews in passing and made a mental note to come back to it and so this list was a perfect occasion to finally take a crack at it.

WHY WASN’T I NOTIFIED OF ITS AWESOMENESS SOONER??

Seriously, this records really stands out with its uniqueness and really mind-blowing melodies and flows. It’s really hard to pick out a track that isn’t a banger and doesn’t stand both on its own feat as well as a part of the overall narrative of the record. The themes are familiar yet presented effortlessly fresh: you might have heard this before but you haven’t heard it like this. Most stylish record of the year for sure.

 

5. HIGHWAY SUPERSTAR – Endgame

If I was to give out a title for the Most Evolved Synthwave artists of 2015, it would surely go to Alex Karlinsky a.k.a. Highway Superstar. Not that I didn’t like his 2013 Take My Time but it’s just that compared to Endgame it feels like a completely different artist (were it not for Dana Jean Phoenix’s presence to give us a hint). Mr. Superstar not only made a ballsy move to feature his own vocals that paid dividends (VERY reminiscent of Phil Collins’ best days), but also embraced the pop side with a gusto and added some middle eastern flavored memories (he hails from Israel). The endgame: a self-assured, masterly produced record that will shine even more in the next spring/summer season.

4. GUNSHIP – Gunship

Probably one of the most ambitious releases in the history of synthwave (does Synthwave have a history? Funny to talk about it since not many can even agree what should be the name of the genre and what it is and what it’s not – perhaps that’s a good thing?) and definitely among the most hotly anticipated LPs in 2015, Gunship just about delivered on the promise of The Big Synthwave Record. The boys showed they are able to shape memorable synth landscapes that deconstruct old tropes and the emotional lyrics uttered by the charismatic Dan Haigh helped bring in the wider audiences that the band unabashedly aims to conquer.

 

3. TREVOR SOMETHING – Death Dream

As I wrote in my recent review, Trevor Something returned in 2015 with a vengeance. He not only expanded but also transcended the myth of a faceless womanizing producer and showed us new sides to who he is. This expertly paced album works both as a personal confession and edgy party background. Absolute cutting edge of the retrosynth scene as far as I am concerned. Favorite tracks: The Possession and Analogue Soul.

2. LE MATOS – Chronicles Of The Wasteland / Turbo Kid Original Motion Picture Soundtrack

Le Matos’ ultra epic double side album acts as both a standalone release and the soundtrack to the much anticipated Turbo Kid film. It would deserve to be on this list for its sheer size and ambition alone – if it wasn’t also one of the best produced, effortless, most consistent releases on the scene EVER. I somehow missed the 2013 “Join Us” LP until recently. But with this album the Montreal duo belongs on my – and anyone’s – radar forever. Even if the only track on the album was No Tomorrow feat. Pawws it would still end up here.

 

1. TIMECOP1983 – Reflections

I’ve never felt the need to spell it out so far in my reviews, but I belong to the school of thought that music reviews are inescapably both objective and personal affairs. And nowhere has this been proven better so far than with this summer’s Timecop1983 LP. Released right around the time my grandma died and during my summer holiday in Barcelona, it served as a perfect backdrop to the sun-bathed emotional rollercoaster that played out that month. Sorry (not sorry) guys – I can no longer see this as just another synthwave release, it’s too interwoven with the fabric of my life. If pressed I would have to say the following about it though:

·         Perfect blend of instrumentals and sweeping vocal tracks

·         All the vocalists are unique in their own way and bring out a different tonality to Timecop’s consistently superb instrumentals

·         Full of heady summer anthems both uplifting and melancholic that touch your inner core if you let them

·         Timecop1983 distills all that’s good about the genre and bakes it into one breathtaking journey (and he never bombards your ear to prove his a pro producer either)

·         Let’s Talk feat. Josh Dally. Need I say more?

I never really got into Timecop1983’s Journeys LP but he totally won me over with this one. This is an album I’ll be listening when I’m 72.

 

NOTABLE MENTIONS:

Kristine “Kristine” – a beautiful love letter to the 80s female rock from Athens

Action Jackson “Miami Kill” – a renegade cop takes on the world in this solid LP that tells a story expertly

Ludrium “Pleasure of a False Past” – prog rock meets synths heavily infused with 16-bit video game nostalgia

Betamaxx “Plug & Play” – the ultimate album by one the scene’s greats

Kung Fury OST- Closest we got to a full blown Mitch Murder release this year + Lost Years + The Hoff

 

MOST ANTICIPATED ALBUMS OF 2016:

Miami Nights 1984

FM-84

Jordan F – Timelines (out 1 Jan 2016 on NRW Records: https://newretrowave.bandcamp.com/album/timelines)

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]]> https://newretrowave.com/2015/12/28/top-10-synthwave-albums-of-2015/feed/ 0 https://newretrowave.com/2015/10/26/trevor-something-death-dream/ https://newretrowave.com/2015/10/26/trevor-something-death-dream/#respond Mon, 26 Oct 2015 13:54:22 +0000 http://new-retro-wave.com/2015/10/26/20151026trevor-something-death-dream/ Nearly two years after his debut single, we still don’t know a lot more about Trevor Something’s true identity. However, on his third LP, Death Dream, that was just released, we are allowed a small glimpse into who he REALLY is.

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Nearly two years after his debut single, we still don’t know a lot more about Trevor Something’s true identity. However, on his third LP, Death Dream, that was just released, we are allowed a small glimpse into who he REALLY is.

While the first two albums served to flesh out the foundation for his mythos of a faceless, promiscuous, party-weary producer that came from the dead, this third one sees Trevor step further into the dark parts of his soul and offers his findings to the world.

It gives a human touch to his synthetic persona and – it should be said right away– makes for one of the top synthwave albums of the year.

This year was one of the strongest yet for the retro synth scene, yet expectedly there’s a lot of forgettable material too. Trevor Something blows all that out of the water with a sound that is as much a quintessential example of the genre, as is personal and his very own.

At a time when the scene has probably never seen so many producers and releases, Death Dream comes as a soothing breath of fresh air and really reinforces Trevor as lone-wolf in a league of his own among the dime-a-dozen me-too productions.

The album opens up with the haunting rhyme of If I Die and you immediately know you’re not in the sex, drugs and discotheque zone anymore. “If I die tonight in my sleep, I prey (sic) the lord my soul to take”, croons Trevor and you can feel chills going up your spine.

Could Trevor be turning religious? Ah, but no: “But if I already lost my faith, Would it be to late?“, he adds. Still, this is probably the first time we’re seeing Trevor this vulnerable and it immediately changes the paradigm.

The Possession segues from the opener nicely, and while Trevor contemplates the nature of one of his relationships, playing on the double meaning of the word „possession“. All the while, musically we’re in the dark synth territory, with a rumbling, sawblade-ish bass and the feeling of being at an abandoned industrial plant.

Brain Waves immediately breaks the mold, keeping just the overall dark tones but doing away with percussion altogether. The scene we might envision is of the shuddering realization of being the last person on Earth. Maybe Trevor is saying that’s price of being a living myth: being completely alone in the world?

With The Touch of Your Skin we’re back in the more club-ready waters. With the bassline that might have been borrowed from Perturbator, Trevor assumes the role of a predatory observer serenading his object of his desire.

Someone newer to Trevor’s modus operandi might be slightly annoyed with his monotone, droning vocals but at a certain point you accept it as one of the basic principles when you enter his world. His vocals are not so much vocals in the traditional pop song sense, but an instrument track in its own right that can be just appreciated for it’s color and consistency.

It sounds insincere giving someone this much praise, but Trevor really doesn’t hesitate with switching things up and playing with expectations. The following track, Artificial Feelings, shows the more melodic side to his new shadowy sound but with plenty of unexpected chops and breaks and a playful attitude towards atonality.

It’s nice to see someone not just emulating the core of what makes up the synthwave sound, but also not being afraid to deconstruct it and use it as something new.

Run Away gets closest to the club sound and definitely steers away from the tenets of the genre. It sounds more like a bonus track from Power Glove’s second album. This is a track you would hear in a dark cyberpunk disco.

Your Sex is a Dream, previously released as a single and as part of the The 80’s Dream Compilation Tape – Vol. 3 by NewRetroWave, is the most conventional basic-Trevor track of the album.

But it serves only to trick you as it’s immediately followed by the uber trippy Analogue Soul. The equally trippy album teaser video featuring this track is still haunting me weeks after it appeared. Who did we see in that vid by the way? Was it really Trevor? The track itself really shows the playful side of Trevor what with the disturbing pitch change that goes well with the stalker lyrics.

Can You Feel It is another typical Trevor number, a track celebrating debauchery and the sensory pleasure of drugs.

And right after that we’re back in the indescribable territory, with what seems to be a deconstruction of the phone ring sound and plays – unintentionally? – as a throwback to Hotline Miami.

Staring at the Sun and No One Knows Your Name are two chillwave-ish tracks that come next and drive us to the end of the album. It seems appropriate to start closing the album with a track called Trip where Trevor beckons you/me/them to come on a lil old road trip with him – only to realize we’ve been on a very, very unique trip for the last 40 or so minutes.

The very last track, is an abrupt return into the darker vestiges of Trevor’s soul. It seems despite the euphoria displayed only a couple of tracks ago, there’s something darker behind Trevor’s self-destructive escapades. Could we be seeing something like… regret? The wish to be saved? At the very least Trevor seems to have come to terms he does need a little bit more: someone or something.

Not as a producer though, as with this release Trevor deeply entrenches himself as a “gold standard of synthwave” to quote a YouTube commenter.

Trevor’s a producer who knows very well what he is doing and is not afraid to go his own way. In my review of his Does not Exist album, I said it would be interesting to see where we’ll go next in the Trevor Something saga, and I’m glad to report he seems to have accepted the challenge – and delivered too.

9/10 Stars

COMMUNITY RATINGS

]]> https://newretrowave.com/2015/10/26/trevor-something-death-dream/feed/ 0 https://newretrowave.com/2015/07/29/gunship-gunship/ https://newretrowave.com/2015/07/29/gunship-gunship/#respond Wed, 29 Jul 2015 15:35:32 +0000 http://new-retro-wave.com/2015/07/29/2015729gunship-gunship/ GUNSHIP, a.k.a. Dan Haigh & Alex Westaway & Alex Gingell, love for all things “80s sound” is evident in every note on the album, but instead of another exercise in style we got something more.

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GUNSHIP’s eponymous debut album manages to bridge the divide between a pure synthwave experience and a modern indie rock radio-ready sound.

It’s an ambitious release that will please both the genre purists looking for yet another synth fix and the less niche, general indie rock crowd that enjoys solid songwriting and a good share of angsty lyrics.

If you’re expecting something more orthodox like the King Fury soundtrack or Timecop1983’s latest album, you’re in for a surprise.

GUNSHIP’s (a.k.a. Dan Haigh & Alex Westaway & Alex Gingell) love for all things “80s sound” is evident in every note on the album, but instead of another exercise in style we got something more.

The guys obviously worked with a bigger budget and years of experience as touring musicians (Haigh and Westaway have been in an alternative rock band Fightstar for years) than a typical synthwave producer/artist which makes any real comparisons clunky.

The production of GUNSHIP (the album) is thus impeccable, benefiting from the years of honing tracks the band members racked up.

A strong focus on vocals is evident and that alone makes it a different retro wave release. Vocals are clearly the backbone and centerpiece of every song with synths enveloping them.

In my view, the album shines most when the strong songwriting skills, high fidelity mixing/mastering and the underlying love affair with the 80s style coalesce together to be more than the sum of their parts.

This is the case with the tracks Pink Mist, Kitsune, and to a lesser extent Maximum Black.

Pink Mist already entranced us on Retro Promenade’s “Carpenter” comp earlier this year and gave us thirst for more.

Kitsune is like a perfect slow dance for two lovers caught up in some dystopian cyberpunk turmoil.

Maximum Black has an epic 1 minute intro that is dying to be coupled with a montage of Blade Runner landscapes.

The album is also very interesting when at times – quite often actually – the grand tradition of British indie rock comes through.

For example, The Hegemon sounds like early Keane coated in a retro-synth finish.

Tech Noir might trick you into thinking it’s the synthwave-iest song on the album with no other than John Carpenter uttering the opening fictional movie voiceover and those haunting synth pads.

But don’t be mistaken, the track’s true core is its super catchy chorus sang by Charlie Simpson of Fightstar himself, that sounds like early Coldplay or Bombay Bicycle Club.

The Mountain, the opening track and single, really serves as a manifesto of GUNSHIP’s sound: a bit disturbing, helicopter-like bassline, set against the tangy, high pitched synth bells and arpeggios.

Then there is the Haigh’s warm, slightly fragile vocals. The only thing marring the track are the EDM-like drops.

Another track where GUNSHIP approaches the big room sound and structure is Revel in Your Time, that sounds highly sample-able and with small changes, ready for the Tomorrowland crowd for example.

Another weaker point on the album for me is also Fly For Your Life, that with its combo of inane lyrics and singalong pretensions sounds like it was written as a hopeful contender for the newest Hunger Games soundtrack.

Yet other songs really balance these weaker points out, resulting in a record that really flows from finish to start while each song sounds different.

Other than that, it’s clear GUNSHIP have their eyes set firmly beyond the usual synthwave niche horizon.

We’re yet to see what kind of influence this album might have on the more mainstream music scene, but it could easily earn a place in synthwave history as one of the first crossover albums.

4/5 Star

COMMUNITY RATINGS

]]> https://newretrowave.com/2015/07/29/gunship-gunship/feed/ 0 https://newretrowave.com/2015/07/21/kristine-kristine/ https://newretrowave.com/2015/07/21/kristine-kristine/#respond Tue, 21 Jul 2015 17:54:46 +0000 http://new-retro-wave.com/2015/07/21/2015721kristine-kristine/ Lyrically, Kristine is preoccupied with summer love, lovers lost and burning desire. It mixes nicely with the musical arrangements. Musical arrangements are actually more sparsely decorated with synth riffs than you would expect with a lot of guitar present.

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Kristine nurtures a very particular style of sound that exudes confidence, dedication and sophistication. Being one of the few, if not the only female synthwave artist/producers on the scene right now, makes this whole release a special one.

You don’t want to discourage more women taking the helm in front of their synths and mixing panels.

The fact that she plays so many roles – from vocals to playing instruments to producing – gives even more cause for celebration of her presence on the scene.

Lyrically, Kristine is preoccupied with summer love, lovers lost and burning desire. It mixes nicely with the musical arrangements.

Musical arrangements are actually more sparsely decorated with synth riffs than you would expect with a lot of guitar present.

My favorite Kristine tracks are her remixes. Especially that remix of The Deepest Blue by the master himself, Miami Nights 1984 – definitely worth a listen if you already haven’t.

Nonetheless, the album is really finely produced and in that respect, it’s immaculate.

Best enjoyed on your summer holiday where the aural landscape can blend into the palms, sea and sun rays you see around you.

Standout tracks: Rhythm of Love, The Deepest Blue

 

Track by track breakdown

1.       MODERN LOVE

Already released as EP in 2012, this is Kristine’s manifesto in terms of sound and lyrical focus. It’s pure longing mixed with tight production and that epic retro sound.

2.       DANGER

The follow-up “Danger” keeps the BPM in dance territory. Fierce blend of Kristine’s vocals that pack a punch, guitars and synths.

3.       SUMMER LONG GONE

Summer Long Gone. Thank God, not yet. It’s just @kristineoffcial feeling the pain of leaving the summer tryst behind in the 3rd track of the album. One of the few tracks with a more pure synth sound.

4.       RHYTHM OF LOVE

This track has that Latino, Gloria estefan vibe, summery dance number. The really bouncy and rubbery bass really makes the track standout.

5.       RADIO

A whispery retro ballad, Radio is Kristine reminiscing of good times with her beau once again. Guitar-laden, it’s an ultimate Bangles hit that never happened (oh come on you saw that comparison coming ;)).

6.       WILD HEART

Wild Heart is Kristine retreading similar territory, with first listen its hard to tell songs apart, probably get better with each listen. But it’s true, the song is same tempo and key as previous one which could’ve been handled differently.

7.       EVERYBODY

Everybody is the culmination of the stadium rock thread in Kristine’s sound. It’s a perfect encore closing number where the whole arena has the hands clapping and feels the collective climax. Personally, this is not my favorite sound, but stylistically, Kristine shows she’s done her homework.

8.       BURNING FEVER

Great vocals! But I got slightly bored at this point. It is quite similar to couple of songs before. I probably should listen more to lyrics. I can definitely see someone enjoying this more than I did  though.

9.       HEROES

Heroes brings a much needed different feel. Singing in lower register, Kristine sings an ode to everyday heroes in her life (correct me if I’m wrong). The main synth riff is full of longing and pride and really works well.

10.   THE DEEPEST BLUE

The Deepest Blue is the track previously released and really helped put @kristineoffcial on the map. It’s a perfect uptempo summer dance ballad with some nice lyrics that evoke images of palms, sunsets, hand holding and passionate kisses.

11.   SLEEPLESS NIGHTS

This track has more of that romantic feel and Kristine fiercely delivers this torch song with a lot of sensuality. Her vocals shine again in this one.

12.   THE CITY

This tracks is one of the weaker on the album. Piano and sax make an appearance but the overall feel is not as polished as with other tracks.

13.   LAST LEFT STANDING

Kristine rock credo shows again with a long guitar solo. This track can be seen as the end credits of the album where you look back on the trip Kristine took you with a smile on your face. I’d definitely love to see where the next trip takes us.

Overall

3.5/5

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]]> https://newretrowave.com/2015/07/21/kristine-kristine/feed/ 0 https://newretrowave.com/2015/05/18/action-jackson-miami-kill/ https://newretrowave.com/2015/05/18/action-jackson-miami-kill/#respond Mon, 18 May 2015 16:33:25 +0000 http://new-retro-wave.com/2015/05/18/2015518action-jackson-miami-kill/ Miami Kills is the sophomore LP by the genre veteran Action Jackson who brings back his tight production skills and great storytelling on this record.

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Miami Kills is the sophomore LP by the genre veteran Action Jackson who brings back his tight production skills and great storytelling on this record.

What might seem a paint-by-numbers synthwave affair, is actually a very solid entry in the cop revenge sub-(sub?)-genre.

The beats are mostly classic with not too much deviation from the form but we forgive that as Action Jackson firmly steers the wheel moving down the corrupt cops of Miami.

It’s like a less demented version of the Hotline Miami soundtrack, with clear focus on the range between outrun to darkwave.

ONE WAY OUT

This sounds like the opening title screen track if this ever became a 16-bit game. The snares are sharp and you can feel the bass in your plexus.

PALM KILL

Outrunesque and frantic, you can’t help but to imagine a lot of casualties and smoking barrels, screeching tires and bullet wounds wherever Action Jackson makes his way.

BEACH RELOAD

Evocative of Jan Hammer, this track screams shady deals or some kind of betrayal.

DEAD LIST

Whoever is on Jackson’s Dead List beware, your days are numbered. This track puts you in the shoes of our renegade cop as he preps for the pending showdown(s).

US FLAG

The flow on this one is mad, really has a lot going on but never seems overproduced. Gives almost an upbeat feel to massacre dished out by Jackson.

SHOOTING RANGE

The only track I didn’t really feel that much. It’s like a good interlude between the first and the second part of the album.

MACHINE GUY NERD

This is track with one of my favorite lead riffs on the album. It has a slightly sexy feel and could easily just as well be played during a sweaty interlude Jackson has along the way.

POWER

Untypical in structure and with unexpected touches – and because of that slightly without momentum – Power powers through to…

FLORIDA DISCO

The definite standout track, makes the pulsating rubbery bass sound fresh again. Transports you to a Miami disco circa 1984 and allows you to feel the lust and danger lurking in there.

JACKSON’S THEME

Every cop revenge B-movie needs a closing credits theme and this fulfills that nicely. At almost 6 minutes, it’s just tad overlong but provides some quite sleek, energetic moments especially towards the end.

All in all, Action Jackson confirms his status of one of the lesser touted, but deserving synthwave stalwarts. Miami Kill provides an octane ride that will especially bring pleasure to those seeking a classic, synth wave sound and high production values.

Verdict: 3,5/5 stars

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