In the four years that have gone by, something cold, alien and deadly has been frantically cutting through the fabric of reality.

As the night grows ever darker a brutal, systematic rhythm can be heard coming from a distance.
A sound of metallic heels colliding against black basalt stones, the hissing of a blade gleaming wildly through the shadows, a low, regular rumble that amplifies the vast darkness that surrounds us.

“Late Night Calls” features uptempo tracks like “California Nights,” “Hotel Crowne,” and “Caroline” that are instant classics with incredible hooks, solid melodies and a-grade vocals. But juxtaposed against those bright summer tracks are also meloncholic pop-crooner break-up tracks like “I’m Still On Your Side” and “We Were On Fire,” and also brilliant instrumental synth tracks like “End of the Line.” This range of compositions really makes “Late Night Calls” feel dynamic, and leads to a diverse retro listening experience that keeps pulling you back in.

A followup to At 1980’s debut album, “A Thousand Lives,” “Late Night Calls” features more of the same electric songwriting that pulls on your nostalgia strings, but this time with a bit less emphasis on the synths and bit more influence from 80s arena rock artists like Bon Jovi and Bryan Adams. All of these influences are melded with more modern pop sounds, creating an incredibly satisfying retro experience.

While “Late Night Calls” is still soundly a synthpop album, even containing a few entirely instrumental synth tracks like “End of the Line” and “Somewhere” (which are amazing in their own right by the way,) this subtle shift in tonality with the addition of more rock influences imparts an interesting update to the At 1980 sound – giving tracks a much wider, more anthemic feel – and arriving at that 80s nostalgia from a slightly different angle.

With these slight changes, “Late Night Calls” carves out a distinctly new retrowave (heh) feel while still retaining their established sound. Overall, this album is a great addition to their discography, building on the elements of their last release while also looking towards the future.

Grab a listen to “Late Night Calls” here!

The single was released alongside a flashy music video directed by Cliqua, who previously directed two of Abel’s music videos for After Hours.

*EPILEPSY WARNING*

Filled with fantastic vocals from Dora Pereli and Jaki Nelson, “Just Drive (Part 2)” answers the call of fans clamoring for more after their “Just Drive (Part 1)” earlier this summer. But “Just Drive (Part 2)” doesn’t just give fans more of the same. While Wolf Club retains their signature synthpop / indie rock/ synthwave sound, they mix it up on this album just enough to keep things sounding new and refreshing.

Releasing a two or three-part album is a tricky thing, especially when the releases are only months apart. Many artists who go this route end up releasing more of a collection of 20 tracks than two separate albums, and I’m extremely pleased to hear that each album really does sound and feel different than the other.

Steve Wilcoxson, half of Wolfclub, also related in a recent interview that they tinkered with the idea of making “Just Drive” a trilogy, but now “… I don’t know if that would work, because I think – given the sort of direction of the latest few demos after Part 2 – I’m not entirely sure if it would fit.” They also related that they really tried to turn it up to 11, saying “Most of our songs are usually about escape – which everyone needs at the moment – driving away, great nights, skies, stars. All of that imagery that gets pushed a little further.”

With “Just Drive (Part 2)” we hear a bit of less emphasis on indie rock, and more of an emphasis on the synthwave and electronic sound. However, the album is still grounded soundly in those wonderfully catchy signature pop vocals – “California Days (feat. Dora Pereli)” is probably one of the catchiest tracks we’ve heard all summer!

Laid over the amazing blend of pop and synthwave with a hint of indie rock influence is an incredible twist of nostalgia that only a seasoned retro band like Wolf Club can muster. It gives every track on “Just Drive (Part 2)” a floating, ethereal quality that feels incredibly wistful and instantly memorable.

Just Drive (Part 1) and Just Drive (Part 2) perfectly compliment one another, taking the Wolf Club sound to new heights. We can’t wait to see what’s coming next – though after a double release it’s probably some time away. For now, just make sure you grab a physical release if you want one – because they’re going fast!

Grab a listen here.

The France-based synthwave wizard Morgan Willis dropped the original “Sophie Teenage Dream” way back in 2017 as a digital self-release. Then, after growing attention from fans, Morgan Willis went through two rounds of successful Qrates crowdfunding to get it pressed on vinyl.

All this attention makes perfect sense when you realize this album is an absolute instant classic! “Sophie Teenage Dream” is a pensive, uplifting mix of immaculately produced synthwave and dreamwave that perfectly encapsulates the lush and reminiscent 80s retro synthwave sound. Something about this mix of sounds is just so incredibly nostalgic.

If you missed out on the original presses, now’s your chance! Don’t buy from overpriced resellers on Discogs, get your own copy here today!

The first part in the “Just Drive” series of albums came back in March, and instantly sold out. Wolf Club’s signature blend of synthwave and indie rock just keeps getting better, and “Just Drive (Part 1)” was no exception. Filled to the bring with awesome melodies and catchy pop-rock hooks, fans just can’t seem to get enough!

“This album split me apart in ways I never realized I could. W O L F C L U B has always been able to find the magic behind sadness, love, and so much more outside and in between. I love an album that beckons me to dig deep to my core – and that it did.”
(Read the full album review here!)

Well, shortly after that release, Wolf Club did a series of interviews explaining how “Just Drive” came to be, and also hinting that “Just Drive (Part 2)” was coming just around the corner!

Well, now with the crooning anthemic “Flashbacks (feat. Dora Pereli)” we finally have our first sneak peek at the upcoming “Just Drive (Part 2)!” I’m very pleased to announce that this track is full-on fantastic, continuing the trend of excellent unique music we’ve come to expect from Wolf Club. Although their sound hasn’t changed too much, they continue to deliver high-quality music like almost nothing else in the synthwave scene right now. They really know how to play our heartstrings like an instrument. Something about the blend of indie rock, pop, and synthwave gives the tracks an almost 90’s feeling while still sounding completely retro.

In a previous interview, Steve Wilcoxson, half of Wolf Club, said they even thought about making “Just Drive” a trilogy, but now “… I don’t know if that would work, because I think – given the sort of direction of the latest few demos after Part 2 – I’m not entirely sure if it would fit.” They also related that they’re pushing their sound further than ever before with “Just Drive,” saying “Most of our songs are usually about escape – which everyone needs at the moment – driving away, great nights, skies, stars. All of that imagery that gets pushed a little further.”

Grab a listen to the new single here!

Although he’s been producing music since at least 2015, “Wanderers” is The G’s first release with NewRetroWave (his previous fantastic releases “Cosmopolis” and “Concrete Island” being released on TimeSlave Recordings.) To celebrate this astounding album, we reached out to The G for an interview to get a peek behind the scenes at his equipment, production style, and how he makes the magic happen!

The G’s Background and Production Style

Thanks for doing the interview! Can you tell us a bit about your background?

I’ve been making synthesizer music since I was 12. My parents got me a Roland D-50 from one of those guys who’s always selling stuff out of the garage – unopened and still in the box! Who knows where it came from.

Anyway, I had no idea how to program it so I just did stuff until it sounded cool. Then I got more into guitar and started playing in bands. Later, in college, I discovered techno and house music and decided I wanted to do that. So I took a bunch of studio engineering classes and taught myself how to spin records. I started DJing at local clubs in Michigan and producing a bit. So I’ve been working on stuff since then. 

A couple years ago I went back to some of those old tunes and realized they are basically me trying to make synthwave before I knew what that was. It’s all ‘80s synth sounds and LinnDrum samples. It’s just that I was trying to shoehorn it into a techno framework back then.

“When I first listened to those, I knew I’d found what I was looking for.”

What initially drew you into Synthwave and its subgenres?

I was working on a thing called Cyberpunk Revisited for a science fiction blog. It was a retrospective on the cyberpunk literature of the 1980s, as well as related media. I wanted to find music that could go along with writing. I’ve always loved Cybotron, and eventually, I found a Spotify playlist that had the whole album “Enter“ on it. It’s basically cyberpunk itself – “Enter” came out at almost the exact same time as “Neuromancer.”

Anyway, the playlist also featured “88:88“ by Makeup & Vanity Set and “Skull and Shark” by Lazerhawk. When I first listened to those, I knew I’d found what I was looking for. Not just music to write to – this was the sound I had always been looking for. I went down the similar artists’ rabbit hole and discovered all the other big names of that era. Then the smaller ones. After a few months, I was spending more or less every night trying to make some of my own.

What is your go-to production gear?

I use a combination of hardware and software. Basically, hardware is more fun but software is more convenient. On the hardware side, right now I have a Roland Ju-06, Sequential OB-6 and ASM Hydrasynth, but when I did “Wanderers” I was also using a Roland JX-3P. It’s all over the record – that opening arpeggio in “Wanderers” and the chords in “Can’t Wait,” for example. I’ve got a few guitars and a bunch of pedals. I’m obsessed with pedals. 

All that said, I do use a lot of software. Logic is my main DAW, though I sometimes produce in Reason too. I love U-He’s plugin synths, like Diva and Repro. They sound so big and full, though also a bit too clean – but you can always dirty things up with effects. I really like TAL’s U-No-Lx, which is a Roland Juno emulation, and I’m a big fan of OP-X Pro II by Sonic Projects. OP-X doesn’t sound exactly like the Oberheim synths it’s trying to emulate, but it does a great job capturing oscillator drift and the “warming” effects of age that you get with vintage analog hardware. For creative effects and sound processing, I use a lot of stuff by Soundtoys, FabFilter, UAD, Softube, Brainworx and BABY Audio. A bit of Waves too, but I find their plugins are really hit or miss.

“A lot of pros will tell you that’s ass-backwards…”

How do you go about creating music – what’s your process?

So I usually start with an arpeggio or chord progression – something I get in my head. I throw a kick drum underneath it, then a snare. Then I start messing around with bass progressions to see what hooks. I usually build that up to a loop, then decide if I want parts (like a pop song) or shifts in pattern (like a dance track). I do both. The arrangement I choose is determined more by the vibe than anything else. Whatever works, basically. 

I’m a tinkerer – so I’m working on the mix as I go along. A lot of pros will tell you that’s ass-backwards, that you should put the track down and then mix as a separate process. But I’m an audio engineer at heart, so I can’t help myself. It’s just fun to me. And I can’t focus if the mix sounds off.

How “Wanderers” Came To Be

“Wanderers” takes synthwave back to its roots. What made you want to go in that direction now, when so many others are branching out and incorporating new genres into synthwave?

I’ve always loved synthwave in its purest form. “Deja Vu” by FM Attack, “Plug and Play” by Betamaxx or basically anything from Timecop1983. The synths are so lush and shimmery, the music so evocative – it’s like you’re being transported to another place and time. A place and time that may never have really existed, but it’s also capturing something genuine. Steve OSC recently said on Twitter that synthwave isn’t reflective of the actual ‘80s, but the ‘80s how people remember it. That rings true for me, and I think it fits “Wanderers” pretty well. The ‘80s were really the last time when people dreamed big about the future. And in the end, that’s what the album is about. Staring up at the stars and dreaming about the future, and the futures lost. 

At the same time, I am bringing in some external influences that aren’t that common in synthwave. A few of the songs – like “Away” or “Spiral” – incorporate sounds, textures and techniques from Dreampop, which is another one of my favorite genres. “Gardens of the Moon” and “Remember” have elements of post-punk, specifically The Chameleons. About half the songs feature guitar – and acoustic drums aren’t something you hear much in synthwave. So in that sense I am trying to do something different. But I’m not saying you’re wrong – for me at least, “Wanderers” sort of is and isn’t purist synthwave at the same time. Like Schroedinger’s cat I guess!

“I’ve always loved synthwave in its purest form.”

Your last album, “Concrete Island” had a much darker, more late 70s early 80s vibe with nods to Vangelis – why the change in tone now?

I get a lot of ideas, but only some of them gel. For “Concrete Island” I had something really specific in mind – I wanted to score the soundtrack to an imagined film, a post-apocalyptic art film set in 2017 but made in 1983. The kind of thing David Cronenberg would have directed. Black and white, slow-moving and atmospheric as hell. 

As much as possible, I tried to only use sounds and effects that were available at that time. Old Oberheim, Roland, and Sequential Circuits synths, mainly. Analog delays and plate reverbs for the effects. Most of the drums were generated on a Roland Jupiter-8 and a Prophet 5, then sampled.  

“Wanderers” emerged more organically. I had a couple of pop songs and a couple of harder, darker tunes. They didn’t have the same energy or vibe, but I was making them with the same sounds – so they did kind of make sense together. And then it occurred to me: most synthwave albums give you ten songs with one vibe. Chill, dark, dreamy or whatever. And there’s nothing wrong with that approach – Concrete Island is like that too, after all. But when you go back to classic albums of the ‘80s, that’s almost never the case. You get upbeat songs after downtempo songs, or angry songs that fade out into ballads – all in 45 minutes. The best albums of that era take you on an emotional journey, the kind of journey most people go through in life. I wanted to make something that had an emotional range. Something that takes you on a journey.

Did any of your gear or process change when creating “Wanderers?”

Definitely. I started the album way back in 2017, and was originally planning to release it in 2018 – before “Concrete Island.” But what I had at that point was fairly primitive compared to “Wanderers.” So I’m definitely glad I took my time. 

There was also a big delay in the middle, which sort of reset the production process for me. Basically, in mid-2018 I moved back to LA from Singapore. There was a lot going on and I had to sell a bunch of gear too. Stuff that just wasn’t going to make it in a cargo container across the Pacific. Plus I had access to some vintage synths when I was in Singapore, which I didn’t have anymore after the move. So I spent a lot of time sampling into Logic. Then, after I arrived in LA, I got some new gear – like the OB-6 and Hydrasynth. I wanted to really learn them well, and that took time too. 

Process-wise, well, I’d done one vocal track before, “Stars that Fade,” which is a collaboration with Vandal Moon. “Wanderers” has five vocal tracks – two with Michelle B, one with JJ Mist, another one with Vandal Moon and then one where I’m singing myself. Producing and mixing vocals is one of the hardest things to do well. At least, it is for me. 

And the album features a lot of elements I’ve never done before on a synthwave record. The drums are a mix of electronic and acoustic, there’s a ton of guitar and I consciously borrowed some effects techniques from shoegaze, which you can hear most clearly on “Away” and “Spiral.”

The Future

People are saying “Synthwave is Dead” nowadays – and yet here you are creating really fantastic tunes that remind me of the early days of the genre. Where do you think the genre as a whole is headed?  

Appreciate that! I have a lot of love for the genre’s early history, so I definitely take that as a compliment. 

To answer your question, I don’t think synthwave is dead, dying, fading, or anything at all like that. It’s thriving, actually. Off the top of my head, I can think of 30+ synthwave artists making fantastic music right now. It’s just that the scene has been around for a while now – so the thrill of newness has faded, and you’ve also got an avalanche of releases. As a listener and fan, that can get fatiguing.

I think a few things have been going on the last few years, all of which are related to that. First, the idea of synthwave has been growing more diffuse. There are more things synthwave can be and still be considered synthwave. A lot of the best records these days are mixing in stuff from outside the genre, but it’s still recognizable as synthwave. 

Second, the scene has started coalescing around labels that do physical releases. It’s hard to get noticed if you aren’t on one of those platforms. It’s not impossible, just harder. And you probably have to pay for professional services. Meanwhile, traditional netlabels are dying. Collectors want something tactile: vinyl, cassettes – even minidiscs are back.

“I don’t think synthwave is dead, dying, fading, or anything at all like that. It’s thriving, actually.”

The most successful labels right now all do physical releases. NRW, Fixt Neon, Timeslave Recordings, Electric Dream Records, Electronic Purification Records. There are probably more but those are the ones I can think of off the top of my head. You also have the big independent acts like The Midnight, Gunship and FM-84, but I think it would be harder to embark on that path in 2021 than it was in 2015. At a high level, I expect both of these processes to continue. I also expect that we’ll start to see more nostalgia for first wave synthwave. Kavinsky, College, the Valerie Collective, early Miami Nights 1984 or FM Attack. We’ll probably start seeing acts that are specifically trying to sound like that.

Besides your previous releases Cosmopolis and Concrete Island, what other synthwave related projects have you worked on?

I’ve also got an EP out on Timeslave Recordings called The Pacific Coast. It’s palm trees and pool party music that I made in 2016. Sounds fairly primitive when I listen to it now, but simplicity can be fun too. Looking beyond synthwave, I’ve got a shoegaze project that I’m working on. I’m very excited about where it’s at right now, but we won’t launch it until 2022.

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Out now via Innerworks records for the digital release and NRW for the physical, this EP is a fantastic offshoot of the Tonebox sound.  The last full length we heard from Tonebox was the astounding “Cloud Highway” back in 2019. “Cloud Highway” was filled with dark basslines and lush textures, but it was still distinctly synthwave in many respects.

With “Last Encryption,” if you’ll permit the pun—the tone has changed.

Distinctly darker and more beat-oriented, at times “Last Encryption” feels almost more like 90’s influenced bass music than the traditional sci-fi influence darksynth we heard from Tonebox in “Cloud Highway” and “Nocturn.” Replete with stunningly devilish and HEAVY deep reese basslines more commonly used in bass genres like wave, dubstep, bass house, and drum and bass. Tracks from “Last Encryption” would be a perfect fit for those underground bondage club scenes that always seemed to crop up in 90’s movies like ‘The Matrix’ and ‘Blade.’

In spite of the bass overtones though, “Last Encryption” is still chock-full of absolutely radical synth leads… but they all feel distinctly 90s—at least to this humble editor. And of course – as you might have guessed from Tonebox mastering many NRW releases – the mix & master here is perfect. Not an easy feat for bass music! This all adds together to make “Last Encryption” an absolutely bonkers release perfectly suited to the club. It’s an interesting new direction and one that works very well with Tonebox’s already-cultivated sound.

Grab a listen here!

The Concept

“We Are Stardust” deals with strong themes of death and rebirth – perfect topics for a genre so drenched in nostalgia. But LukHash goes a little deeper than most, actually leaning on science to construct the album’s narrative. The title itself is likely a reference to the fact that every element that makes up our bodies was once created inside the foundry of a dying star, billions of years ago. Carl Sagan famously said, “We are made of star-stuff. We are a way for the universe to know itself,” and… it’s true. We are literally Stardust.

Similarly, the opening track “Cyberiad Theory” is a reference to “The Cyberiad,” a series of short stories written by the brilliant Polish science fiction author Stanislaw Lem. The themes of the Cyberiad deal with the “vain search for human happiness through technological means,” creating perhaps the most perfect literary reference we’ve ever heard in a cyberpunk album!

LukHash himself explained to The Electroscope:

“[LukHash] told me he has spent much time as of late thinking about what happens after we die. He created a story guided by the idea that we are all born from stardust.

The plot thickens, though. After we die, we are reborn into another dimension, a parallel universe so to speak, where we reunite with those we lost and love to relive our experiences or create new ones together again. In LukHash‘s words, songs orbit around themes of ‘loss here’ and ‘reunion elsewhere.'”

Rad.

The Style

LukHash himself is a Polish-born UK-based producer and classically trained guitarist who grew up playing retro video games and listening to his parent’s 80’s pop collection. Now, he focuses on creating an intricate fusion of complex chiptune and retro synthwave. Some chiptune can be a harsh listen, but not so with LukHash’s tracks. The chiptune elements work seamlessly together with various synthesizers, which melt together like butter instantly forming lush cinematic soundscapes.

In fact, the combination of these two genres feels very organic, maximizing the 80’s retro aesthetics of both while creating a totally radical and fresh take on the synthwave genre. To top it off, LukHash combines his advanced production capabilities and unique sound with a refined cyberpunk aesthetic that’s often pensive and dystopian, which makes every track a truly memorable listening experience.

But LukHash doesn’t simply boot up a DAW and start making 8-bit sounds. He’s well known for experimenting with hacked Gameboy and Commodore 64 systems, resurrecting them for one purpose – to make some truly bitchin’ tunes.

The Album

Aside from the backing narrative and technical finery, there’s really something to be said about how LukHash actually crafts the melodies and mixes the tracks on “We Are Stardust.” Each track’s melodies feel familiar yet futuristic, merging 80s pop tonalities with almost baroque synth leads. There’s also a deep sense of wistful nostalgia throughout the album that blends together perfectly with the other elements. The result is astounding, really amplifying the crisp cyberpunk tropes he’s built the album around.

In addition to using chiptune for simple pieces of melody, LukHash also uses them to build a dramatic atmosphere. This experimental use of chiptune combined with expert use of his synthesizers results in an intensely beautiful and cinematic album.

The final element of greatness here is the darksynth. Coupled with the lachrymose sounds above, a hint of doom and dystopia pervades “We Are Stardust,” bringing the album full circle and underpinning the themes of death and rebirth.

Overall, this album is an absolute must-listen. At the time of this writing, there are still some physical copies available via CD, with the rest having sold out quickly – and it’s easy to understand why. Grab your copy here before they’re gone!

January Highlights

Neko Milkshake – Neko Milkshake 

(Future Funk )

Listen

Donor Lens – Live At Pink Bird

(Vaporwave/Synthpop)

Listen

Useless – Octa & Hexa

(Vaporwave/Retrowave)

Listen

Listen

Collection Privée – Ready.Go.Disco

(Synthwave/Future Funk)

​

Listen

Pan!c Pop -5!ve 5tar

(Vaporwave/Future Funk)

Listen

Absolute Valentine – American Nightmares

(Retrowave)

Listen

Kick Puncher – LiveDieRepeat

(Retrowave/Darksynth)

Listen

Ultraboss – Gravitas

(Retrowave/Darksynth)

Listen

Lazer Station – Time Blazer

(Synthwave/Darksynth)

Listen

Dead Astronauts – Silhouettes

(Retrowave/Darkwave)

Listen

Singles & Honorable Mentions

Tokyo Rose & Johnny Craig – Dark Knights

Lau – The Cards

John Carpenter – Alive After Death

Ulver – Machine Guns & Peacock Feathers (Carpenter Brut Remix)

Night Tempo – 集中 Concentration

Paradise of Yesterday – 1994

蒸気YAMTA – 蒸気YAMTA

Iden Kai – Disco Fortuna

​

Biosynthesis:
This next vibe starts off simple enough with a steady climb, but the more you listen the more details come to the surface. Laser beams and sci-fi themes showcase “Biosynthesis” as a track that I could easily place in Destiny, No Man’s Sky, or Mass Effect. The gentle cymbals and building tension prepare the suspenseful succession of chords, and the temptation to keep listening never ceases. As the song comes to an end, the distortion gravitates to the aesthetic that flows through the album. Earmake builds a universe around us that we can only hear but manage to see via imagination and intrigue; the major drivers in any album concept.

Synthetic Memory:
This tag-team album title is a collaboration between Earmake and Arwelone. This spectacular result of musical genius is an entanglement between the expanse of ambient middle-tone frequencies and the environmental feedback from the outer limits. We’re interrupted by the punchy kick of the drum and bass as it compliments the synthesizer. The serenity of the chimes, bells, and the echo of a tambourine create a fantastic flow. This entire track embodies a resonance of discovery because you can hear each instrument in and out of sync. The guitar presents itself but doesn’t have full control of the direction of the song. It intensifies beautifully, and unapologetically without overshadowing the rest of the instrumentals.

The Stone Giant:
Next on the collaborative, we have Dynatron alongside Earmake, and from what we know of both artists, we’re in for a ride. The trumpets resound the start of something epic on its way, and the synth gently follows their lead. A unified march matches the melodic opening. Nostalgic details captivate me and instill suspense. The Impactful percussion beats amplify the intensity and the colorful loop of keys coordinates alongside the kick drum. Towards the ending, there is an ominous intrusion of descending chords and dismal drums. “The Stone Giant” enraptures the listener to feel a warm fusion with the music, and I’d be out of my mind to deny it.

Waves:
The uplifting cascade of “Waves” is enthralling, to say the least. This duo between VHSToyko and Earmake is nothing short of a feel-good hit. If you need a track to listen to alongside your trip to Nirvana in space – here it is! I’m reminded of distant horizons as the synth serenades me into visualizations. I reminisce over glorious sunsets as a resident of Earth, however I find it easy to imagine scenes where the sun is coming up just behind an unknown planet. The whimsical bridge clashes dramatically with the drum, and my visualizations have evolved into floating along the vastness of space, admiring nebulae and red giants. 

Interplanetary Overdrive:
I know I’m not supposed to pick favorites, but I’m claiming it out loud anyway. “Interplanetary Overdrive” has everything a girl could want, speedy arpeggios, an aggressive kick, synthesized seduction, punchy beats, and these are all essential ingredients to a mind-blowing experience. We’re traveling at the speed of light, dodging asteroids, and what I could only describe as the “powering up” effect of the rise, has me tightening up internally as we go overdrive! I recommend listening to this on repeat. The celestial bodies across the expanse of time are merely blurs outside of the spacecraft as we’re traveling at light speed. The destination is unknown, but we’re landing in 3….2….1. 

The Signal:
We’ve made our way to a strange planet, and from what we know, we’re chasing after “The Signal”. Our sense of uncertainty and curiosity stirs as the bass writhes itself awake and the sound of the synthesizer fills our ears. It’s only a matter of time before the kick changes course, and the element of the chase unravels into a melodic ascent. Earmake channels the 80’s in a number of ways, but none of which overcome the overwhelming allure of synth keys, mechanical feedback, and the atmospheric immersion. 

Starlight:
Slightly similar to the latter track, “Starlight” serves to comfort the transition, while implementing more of that raw mechanical disarray. As the song progresses, the emotion escalates into an enigmatic arrangement. The chimes compliment the bells, the claps echo, and the body rolls with the beat. An eclipse of the ethereal chorus dislodges the sense of familiarity we had in the beginning, and it becomes an entity of its own. I’m loving how Earmake correlated the tracks as an extension of each other, complimenting this chaotic journey of imaginative space exploration.

Crepuscular Rays:
A piano arrangement in the middle of so much action can be a shock to the system. Dreams Beat as the co-star of this rhythmic epilogue is a serendipitous touch to the ending of this chapter. I’m dazzled by the dimensional co-creation of “Crepuscular Rays” because it’s the perfect ending credits arrangement. Together, the piano and the synth make use of the theme as the space dust settles on our minds. The percussion picks it up a notch, and the orchestral descent slows our heart rate as we listen to the lullaby of the smooth landing.

Immersion to the Unknown:
Earmake’s bonus track reminds me of that final scene after the credits when you get too comfortable with the ending. Y’know the one, when you see the villain survived or there’s another threat to humanity that is hiding in plain sight. There’s an ominous tension surrounding this track, and the drum beats and resounding echoes of steel pipes can’t help but intrigue me. What is the cliffhanger of Cosmic Hero 2, and what lies beneath the barriers of this fantasy? As fans, we’re always left in the dark of whatever stories surround the true meaning behind the music we hear

Cosmic Hero 2 is an incredible album. It plays on the nostalgic themes of 80’s science fiction films, subtle vibes from interstellar shoot-em-ups, complimented by our modern views of the universe, and what resides beyond our imagination. Whether we’re aware or not of what the meaning, direct reference, or obvious inclusion is – there is a level of awareness while listening to this album that resonates deeply with what we’re uncertain of. This album has atmosphere, attitude, and less of the typical, predictable paradox of what synthwave dilutes – a modern class of character that thrives off of the old without drowning out the new. 

Old World Death:
The prelude of Dark Nation, a track called “Old World Death”, is a culmination of effects that I can only describe as dystopian demolition. Whether it’s from this world or the next, this track certainly prepares us for departure with a suspenseful lead by way of ominous keys. The bombing of bass gives us a reason to be wary of what’s to come. An unintelligible voice breaks through and provides little comfort. A monolith of sound and untraditional influences of what we know as Dark Synth is no longer present. DEADLIFE introduces us to the landscape of a grim future that is inescapable, and the theme of discord emanates throughout this track. It certainly gives me an appetite to discover the entirety of Dark Nation and what more is left to uncover.

Complete Meltdown:
The howling winds accompanied by a showering noise-fry surround us. The coaxing synth serenades us deeper into calm. However, all mystery and sense of safety is temporary once the chords take over. We’re blasted away by hefty bass and a sequence of synth keys alongside an adrenaline-inducing arpeggio. The chimes are well met with the shatter of each clap. The climax of “Complete Meltdown” is fueled by the fire of a fantastic ladder that dissipates back into the calm before returning to the action. The track itself gives me the impression that DEADLIFE has more in store for the remainder of the album, and there is a bit of pep in me to tread forward enthusiastically.

Out of Anger and Avarice:
The glitchy nuances are something I can’t help but have a taste for now that we are three tracks into Dark Nation. “Out of Anger and Avarice” opens with a tone in mind just before the loop takes over. It carries us full throttle into a fury of modular keys, creating an impactful dive into a choir unbeknownst to us as anything less than the occupants of the Dark Nation. The bass and I are past the friend-zone and it’s all benefits from here. DEADLIFE creates a world that we can not only see ourselves in, but we’ve seen before. The apocalyptic scenes from Terminator, the horrors of Dead Space, and the gruesome memories of Operation Dark Storm from Animatrix.
All of these references and more come to the surface as I listen on. Behind each rhythm and melody is an unseen force of influence, and we as the audience can only assume what they are for the artist.

Drift:
This track harbors many emotions, and within them lies an undeniable sense of self-absolution. The climb and pacing of the synth make way for a robust acoustic that sets the stage for the monologue in between. “Drift” shares with us the precipice of a new chapter with the percussion leading us by ear. The distortion delivers within it an emotional resonance. One of poignant memories and distilled disturbance. This makes for a slower arrangement than the previous few we’ve encountered so far, but also the most consistent in mood throughout its duration. Whether it’s in the synth keys or the pronounced beat of the heart on the bass – DEADLIFE knows how to set the mood and significantly change gears for their audience to follow.

Health is a Currency:
I love this track title because it reminds me of not just the ethos of video game mechanics but also life itself. There are elements of music that give me life, however, and it’s the usage of a choir and bells in electronic tracks. DEADLIFE uses these details to raise the stakes and offer an ethereal anguish from one thread of sound to the next. The delicate, industrial strings of what sounds like a shamisen eloquently introduce the cryptic discorded notes being played ominously. Like a haunted music box in space, or a futuristic house of mirrors. I’m astounded by the whine of soundwaves as they fill my ears and direct my attention to what lies beneath the bridge.

Her Broken Smile (feat. Tessa Hedrick):
Sometimes there’s one track that beats them all. There’s always a toss-up situation between tracks with lyrics and tracks without. Tessa delivers a hauntingly angelic vocal ambiance to “Her Broken Smile” that makes for a showdown of chronic satisfaction. Mixed with the synthesized vibrance from DEADLIFE, the lyrics only further highlight the polarizing emotions we’ve picked up with every track leading up to this moment. Heartbreak devoid of healing and an overall demise of character mirrors the words that Tessa sings, and an unraveling of personal resonance has us thinking, “Yes, I’ve felt this way before.”

Dreams of a Variant:
As we dial into our next track, the first thing we hear is mechanical feedback, followed by an ascension of keys as it smacks us into the new reality of Dark Nation. The chasm of curiosity has led us into a traditional 80’s drum kick, inevitably rushing time forward through dazzling chimes and bass. There’s a gradual climb from one pillar to the next, and the choir returns, ushering us into their pilgrimage of sound. Discordian keys guide us back into the calm of the storm. I relish in this transition because it doesn’t last long enough for me to get comfortable. We’re slammed again by that beauteous bass and synthy-goodness. DEADLIFE recreates a resurrection of old versus new, and I’m here for it!

Modern Gestalt:
A foreign planet awaits our arrival as we listen to this next track, “Modern Gestalt” and beyond its atmosphere, are heavenly arpeggios, and distorted choirs. If one could call themselves human at this point, it’s only because you’re not focusing on the world-building going on. I could call this album a soundtrack to the future at this point and moving forward. There are introductions, climaxes, and fight-scenes. There’s renewal and there’s ruin, and despite this being an album review, I’d like to consider this as more of an opportunity to imagine a world that DEADLIFE created. The satisfaction and seduction of sound and its varieties, some familiar, and some unique, offer the imagination to reach beyond the limitations of mere mortals. Something cybernetic lingers, and the future is nigh.

Drenched in Dead Wires:
If I’ve learned anything it’s not to get too cozy in the lingering lullabies and interludes of gentle melodies; not while DEADLIFE is in control. Always brace for impact and embrace the unrelenting interruptions of drum kicks and bass-heavy leads. It’s coming for you, and there’s no escaping it; not while you’re trapped in Dark Nation. Alas, the choir is back and excites the senses. There’s an underlying serenade of synth, and it turns into a futuristic Eldrich horror track before you realize it. Beyond words, the ladder reveals the revelation of the differences between electronic sound. The artist alone holds their individuality, and this album reaches those heights as it ebbs and flows from comfort to chaos.

Fragile Stratum:
Ah, the delicacy of gaming samples and all the fruit that it bears encompasses this introduction. I feel as though I’m viewing my own inventory, except mine is not as badass. A phone, a laptop, a bottle of water, and Dark Nation. Okay, maybe the album in my arsenal makes it a little kick-ass. This dancey beat uploads a variety of visions aside from the game-like, “first-person shooter equipping the big gun” details in the beginning. I find myself enjoying the reload of rhythm, and once we meet back at the base of the calm, it’s light and airy with the 8-bit companion of keys. The choir welcomes us and the rise beckons us to continue the good fight.

Displaced Anomaly:
The beginning of this track takes us back to the dimly lit alleyways of the ’80s. A nostalgic serenity is interrupted by the thrilling escalation of a threatening vibrato. This track is a bit of a playful amalgamation of what we’ve heard so far from Dark Nation. Within “Displace Anomaly” are subtle reminders of our desire to remember the eras of old. A ballad that bursts into a final form of freakish discordian sequences. The progression escalates into a feeling of moving forwards and backward through time simultaneously as the modern and darker approach to synthwave mingles with and disrupts the sounds we recognize. I’m eager to find out what awaits beyond as we near the end of the album.

Outlier:
“Outlier”, and the surprises that lie within it blossom from the way DEADLIFE arranges the transitions. The moment you feel comfortable with the keys, they shift the sands beneath you. Soon enough you’re traveling through a futuristic version of Conan the Barbarian if he suddenly walked through the neon lights of Tech Noir. A true parallel universe that would surely be the furthest from mind had I never mentioned it – but now that I have – I need it. “Outlier” would be a great soundtrack to hear through Arnold’s battle cries. We can’t help but engage in the way the bass carries us through each synthy solo, and the unapologetic progression begs for our attention.

New World Birth:
DEADLIFE’s great unveiling grants us passage to a new world order. We hear a delicate voice, and as it emerges, we’re barraged by the ongoing kick-drum and mimicry of the underground deliverance of bass. It’s a habit at this point to gauge when and where DEADLIFE will plant his chorus or verse, and I’ve gotten fairly good at depicting it. Knowing what details are used to shroud them, however, are where they differ from each track so far. The cascade of thunder and rain accompany the calm before the storm, and I’m reminded of Outlier, the track ahead of it. This ending to Dark Nation is albeit, an interesting one. The story of Dark Nation will trigger the imaginations of many and announce itself aggressively in any quiet room.

Now that we’ve reached the end, I’d gladly revisit the realms of DEADLIFE time and time again. So long as the soundtracks hit as hard as they do! I’m extending the invitation for you all to listen for yourselves and tell us what your own imagination cooked up! What lurks within the depths of your fantasies, and did any come to life while listening? Deliver us the details, and venture past the boundaries of your mind!