Hailing from the city of Toronto, Mecha Maiko is the brainchild of none other than one of Synthwave’s most recognizable voices. Be it through her previous work as one half of Dead Astronauts or her prolific output as a guest vocalist for the scene’s biggest
French House and Nu-Disco vanguard LIFELIKE, aka Laurent Ash, is no stranger to the music industry.
From the ground-breaking inception of sampling to the world-renowned French Touch movement, it surely is no secret by now that the French are among the chief innovators and forbearers in the world of electronic music.
Australian retroheads brace yourselves! It’s time to clip on your fluorescent fanny packs and dig up your flashy neon windbreakers, for you’ve got some funky synth waves washing over your sunny shores this November.
Returning with yet another EP release to entice us before her (hopefully imminent) full-length release, UK pop singer NINA unveils what may very well be her most intimate, personal work to date.
Whereas some artists keep the label at an arms distance, Futurecop! stands tall and proud in its indulgence in all things “retro”. Hailing from the UK, the duo is currently celebrating its tenth anniversary as a band, a ten year run still spearheaded by the
Ten years into his creative endeavor as Com Truise, the New York-based artist is preparing to release his third full-length album, a closing chapter in the artists’ narrative arc influenced by his recent move to California.
“Planet Earth, 1980s C.E., a miraculous tune swallowed every other sound on earth, transcending time from East to West. It was the sound of the Japanese idol. The essence of the idol sound long thought extinct has achieved its own evolution within the legendary satellite,
Since having proven their potential and durability, the question amongst North American Synthwave fans has not so much been whether or not the French figureheads would someday reach the US venues, but rather WHEN that time would come.
Dark, heavy and epic are the first three words that come to mind when one first experi-ences the music of darkwave project Technophobia.
You’ve worked professionally in sound design and music for a long time, when did you realize you wanted produce music?
I started out playing bass in a rock band when I was a kid. And I have always been playing in bands.
In 2006/2007 I started composing
Steering clear from some of the obvious clichés that would turn the project into a mere parody or pale imitation, MaVS’s score constitutes the real backbone to the films action and atmosphere all the while delivering a terrific standalone release expanding upon the films’ universe.