Carpenter Brut teams up with Seth Ickerman once again to create another visual and sonically pleasing masterpiece. If you haven’t already, check out the film “Blood Machines” by Seth Ickermen, and the music video to Carpenter Brut’s “Turbo Killer”. Both solid pieces of work. Watch the new Carpenter Brut video below:

† CARPENTER BRUT – SPEED OR PERISH † Directed by Seth Ickerman (Official Music Video)

But, believe it or not, this brilliant collaboration almost slipped through the cracks of history. Heck, even this interview almost didn’t happen!

“…would it be possible to reschedule the call for tomorrow? Eric’s been out of commission today with a migraine…” – Makeup and Vanity Set (hereafter referred to as MAVS)

My heart sank. I’d been interested in interviewing these two “reclusive” synth pioneers (separately) for years. But the truth is, in spite of MAVS infamous robber mask and Sferro’s disdain for being photographed, neither of them are truly reclusive. They’d just rather focus on what really matters – creating music – instead of being a “brand.” MAVS is also notoriously busy, often working on multiple film soundtracks and albums at once.

Sferro’s Only Known Photograph – Trust Me, I looked!

All that work and a surprise bout of COVID almost stopped this album from being produced. Thankfully, sometimes the stars align even in this, the darkest of timelines. Never say never.

Looking back it was kind of like a very nice,  “…you blew it.” – MAVS

So, what was the genesis of the album? How did you two come to work together?

Sferro: “I reached out to Matt just to see if he was busy…. if he had time to maybe do a track. I thought it was just gonna be a single track…and yeah, he’s a very busy guy so it took a while.”

MAVS: “I had a million things going on – and I just sort of sat on it. It was totally my fault. He had followed up a few times, and I said “I still want to do it!” but… it just kept slipping to like the bottom of the stack.”

I’ve loved Eric’s stuff for so long – and we have the Ohio connection – and I thought this would be super cool to do. So finally I scratched out some time and I sat down one day and did a track…and immediately after, I got COVID. So I was bedridden for a week, and Eric DM’d me on Instagram and said, “Hey, man if you’re not gonna do anything with these tracks, I think I’m just gonna… uh, finish them.” Looking back it was kind of like a very nice,  “…you blew it.”

Sferro: *Laughter*

MAVS: “So I replied back and was like, “NO no, no, no, no – I did one! I did one!” and I sent him a dropbox link and he was really into it. I got better from COVID, and we just… kept going. After that the record itself came together super fast. I mean, it took like three weeks.”

That’s a great story! But what’s this “Ohio connection”? I’m from Ohio myself.

MAVS: It’s funny, Eric and I have never met in person – but he actually lives in [Northern Ohio,] which is where I’m from. He’s actually super close to where my family lives.

Sferro: We had no idea until he posted a picture while visiting and I was like, “Oh Shit you’re like two minutes away from my house!”

MAVS: *Laughs* “Yeah, so we had flirted a few times by having our remixes featured on the same album. More recently we were both on the Demin Initiate (Remixes) album – but yeah we’d never worked together properly before this one.

A lot of people seem to think Demin’s work is actually a Com Truise side project.

MAVS: “I don’t know man…Having talked to Seth over the years, I know he’s into drum and bass and some other stuff. It would be kinda weird for him to just do another project so close to his sound, sonically.”

That tracks. So, other artists have started making more music in that “Com Truise” style and calling it “Datawave” – and your new album “Wavefinder” definitely seems to fit that category. Was that intentional? what’s your take on that?

MAVS: “Don’t get me wrong, I love Seth’s work – and the idea wasn’t just to make something derivative… But we had just finished the Demin remixes, and…man, I really loved Demin’s track. I didn’t want to deviate too much in the remix… because I just liked the sound. I was curious about it. I had never done anything in the sort of “Datawave” space.

The last couple records I’ve been working on have also been masted by Ben Braun – Hotel Pools. I’m a big fan of his music. So, I started listening to a lot more chillsynth… and one of the things I thought was really interesting about it is that the tempos are way slower… I started to think about the fact that it really took my back to my roots-roots. Like, as a kid, finding Autechre… you know, all those guys were Hip Hop guys. And I feel like, chillsynth, datawave, these kinds of artists have a similar root. They have one foot in that genre – that kind of “head nod” feeling. There’s something appealing about that.

So no, it wasn’t like, “Hey this sounds like datawave” – that was the last thing on my mind. It was more that I just enjoyed going back…so I thought, “How can we slow this down even more?” And then the when you slow things down, the resolution gets a little wider. So you can suddenly like, bit more, you know, interesting things and have more interesting sort of syncopation happening musically.

So later on when I started to dig into the stuff Eric had sent me, it just seemed like the logical progression, like the place to go. You always want to do something that’s exciting to you – you know? And so in that moment, that was what was exciting.”

I also felt like there were some strong 90s references in “Wavefinder,” and you seemed to have really delved into the 90s vibes on “Emotion Engine” too. Was that move away from the 80’s intentional – or a sort of spontaneous occurrence like the “datawave” sound?

Sferro: “I will say that at least one, maybe two of the tracks were actually “Emotion Engine” outtakes I had sent over…but [in general, it does feel like a progression.] I definitely don’t want to do the typical synthwave stuff anymore. I’ve done that, beaten that to death. It just kind of felt right and it’s what seemed attractive to me: an early 2000s, late 90s kind of thing.

I don’t think the next Sferro album will be datawave though. I think “Wavefinder” is really awesome, and I think it’s awesome as a collaboration – but I don’t think I’ll explore that direction myself. It’s not the direction I want to go. I think I’m going to lean more heavily toward the early 2000s kinda… well, you’ll see in the new Hyperlinked Dream Sync album! It’s more like, Portishead-y.

“I definitely don’t want to do the typical synthwave stuff anymore. I’ve done that, beaten that to death. It just kind of felt right and it’s what seemed attractive to me: an early 2000s, late 90s kind of thing.” – Sferro

BUT, I do think datwave is awesome. The term is still kinda fresh to me… honestly I only recently heard of it when we started making [Wavefinder.]”

Eric, you’ve mentioned in interviews that your workflow is mostly digital – and Matt, you seem to mostly like analog – or as you like to say, “Play with the noodles.” Did those difference cause any conflict?

MAVS: “First of all, in spite of the room around me, I’m not an analog purist. Whatever works, you know? If you can make cool stuff in GarageBand, go for it. I’m not precious about that. What’s exciting to me is figuring out new ways to approach a workflow.

MAVS In His Studio

Anyway, Eric had sent me fully formed ideas… that I thought was really cool, I dug it. But, it was different that what I’m used to and I had to totally reorient my thought process. I had to come out of that comfort zone and be challenged a little bit by someone else’s thought process – sonically.”

It was awesome trying to experiment while still being reverent to it too. It was it was fun – I had a blast working on it!”

“I’ve put out a lot of records, and when you go through that process, there’s always at least one thing that totally shits the bed….but with this one, none of that happened.”

Sferro: “That reminds me – at one point Matt was saying, “I think we need a couple songs in here without drums…” So I’d send some stuff over without drums… and then drums ended up on it. It just had to have it.”

MAVS: “Right? …Other times he would add stuff on the back end and send it back…. It was a total democracy the whole way through. We were just trying to make something that was exciting to the two of us.”

It sounds like perfect match! Was there anything that caused conflict? You know, caused some sort of problem?

MAVS: “The thing came together in a way that was the least forced, you know, like it, it all happened really fast, it all felt really good!”

Sferro: “That reminds me of one track in particular, I sent a demo over and said “Uh…I don’t know if this will work…. And Matt said “Never say never!” and then sent it back – and it sounded sick!”

MAVS: “Right? I gotta say… I’ve put out a lot of records, and when you go through that process, there’s always at least one thing that totally shits the bed. You’re forced to work with an artist you don’t want to work with, or you can’t release on a certain date, or there’s a huge backorder on vinyl…”

Right? Thanks Adele! 

MAVS + Sferro: *Laughter*

MAVS: “…but with this one, none of that happened. We went back and forth and thought, “Okay, we have an album here.” Then we sent it off to Ben Braun [Hotel Pools] to get it mastered, and that guy just knows how to make bass happen in ways that, well, I’m both comfortable and uncomfortable with! Then we started talking to Andrew from Stratford Court. Stratford Court was almost a shot in the dark… [I’m] a huge fan of the label. It’s so well curated. We waited a while, and then Andrew reached out and said he’d love to do it!”

And honestly, I was floored. I hadn’t sent it anywhere else, but I had a list of [labels]… I just figured you know, Stratford Court to me was like swinging for the fences…and there’s no preorder. It’s all ready to go on Friday.” [Today]

MAVS + Sferro Wavefinder Vinyl From Stratford Court Records

Sferro: “I really love how “into” the record [Andrew] seems. Every time he replies to an email he says how he’s like… ‘really excited about this.’ It’s so cool – it’s awesome!

I’m excited too – and not to spoil the review, but I really think this album is special. Do you two think you’ll be working together in the future?

MAVS: It’s funny with this record, this is the most PR I’ve done for a record in a long time. But I think it’s just because I’m proud of the thing we made, you know? I want to make sure that we do our due diligence to Stratford and present it to the world in the right way.

Really.. I’m just, I’m happy to make music. I’m happy to be able to process the all of the shit that’s happening around us through music…and I’m super happy to have somebody like Eric to collaborate with…

Sferro: “Likewise!”

MAVS: “…and to you know, to see it, see it go out into the world man. It’s all good at this point. So I’m just happy to be here.”

Sferro: “I mean, I have ideas for the future. Things I’ll bring up to Matt eventually, in due time.” *Laughs* But I’m just super stoked we got the opportunity to do this. Matt’s fucking awesome. He’s a super chill dude. I’ve loved his music forever. And it’s cool that some OG’s Got to work together. So… I’m stoked.

So perhaps this isn’t the end for this dangerous duo?

Sferro: “Never say never.”

Editors Note: There is so, so much more to this interview. Both MAVS and Sferro discussed their creative evolution, how they came to find electronic music and two kids stuck in Ohio, and how the digital age affects nostalgia, and their own approach when it comes to organic-feeling synthesis. For more of that, keep an eye out for my upcoming review of “Wavefinder” after it drops!

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.

Below is the list of our top 10 collaborations from this year from some of the best acts in the scene….

10. Dreamreaper & MAGNAVOLT – BLOODRAVE

9. Earmake & Stilz – Artifact Hunt

8. ALEX & Mono Memory – SOCIAL MEDIOCRITY

7. Futurecop! – Home (feat. Parallels)

6. Fury Weekend & Ollie Wride – Soul Survivor

5. All the Damn Vampires – I Can’t Go (feat. Mint Simon & Sunglasses Kid)

4. DRYVE – 80s Song (feat. Cassiopeia)

3. Josh Dally & Timecop1983 – Take Me Back

2. PYLOT – Invisible (feat. Ezra Hyte)

1. Miami Nights 1984 – Only When It’s Dark (feat. Gunship)

Whereas 2021’s ‘Face in a Frame’ reeled us in with its blissful melancholic sounds, ‘Brighton’ keeps us immersed in a deeply intimate mood, where dreampunk-like soundscapes meet heartwrenching hooks. William Ryan Key seems to have embraced a neon-shaded aesthetic, melding synthpop sounds with a lo-fi ambient touch to create a truly distinct sound print of his own, and we can hardly wait to hear what the rest of the record has in store for us.

Everything Except Desire will be released on February 11^th, 2022.

Starting off strong, we’re talking about Kavinsky. Even for those who aren’t devout
followers of synthwave, this name might ring a bell. Born Vincent Pierre Claude Belorgey and
arriving on the scene in early 2006 with his EP Teddy Boy which immediately set the tone for his
future work with standouts like “Testarossa Nightdrive” which was followed up by the legendary track “Wayfarer” from his 2007 EP 1986. Most will have become familiar with Kavinsky with the 2011 release of the movie Drive, featuring the now iconic track “Nightcall”. With Drive itself being a major influencer on the synthwave scene itself with its gorgeous aesthetic it is no wonder why the two go so well together. Like many artists in this scene, Kavinsky is heavily influenced by his favorite movies and we can definitely feel the nostalgic vibe in each track. Widely considered one of the greatest
tracks of the entire genre, “Nightcall” cemented Kavinsky as a titan of synthwave and set the
gold standard for how music in this genre should sound.

Next up is another artist brought into the mainstream spotlight by Drive for most listeners. We’re talking about Electric Youth. Consisting of Bronwyn Griffin and Austin Garrick, the synthpop duo Electric Youth is perhaps most famous for the track “A Real Hero”, which basically
became the theme song for the main character of Drive, The Driver. Written about the crash landing of US Airways Flight 1549 it became an instant classic with its rolling synths and silky smooth vocals. This track single-handedly showed what Bronwyn and Austin are capable of and it is no question that “A Real Hero” will continue to be remembered as a staple of the genre for years to come. While “A Real Hero” was arguably the standout track on their 2014 release Innerworld it is just one of many memorable experiences on this album. You would be remiss to not lose yourself in the soothing synths of “Runaway”, “Innocence”, and “WeAreTheYouth”.

Having collaborated with Electric Youth on “A Real Hero”, the spotlight now falls onDavid Grellier hailing from Nantes, France. Known to many around the world for his musicalproject, College. Grellier is a member of many different projects each with their own unique sound. Like nearly all artists in this genre, Grellier was inspired by the aesthetic of the ‘80s and shapes his music around these influences. Through College, Grellier has consistently released great material always following his own unique sound but managing to make each release fresh and interesting. Many of his best work as College can be found on the 2008 EP Teenage Color, especially the opener “Can you kiss me first” featuring sounds that deliver instant nostalgic callbacks. Contrast this with the track “Save the Day” featuring Nola Wren from the 2014 release of the same name and we can hear the same soft consistent beats and vocals that he is famous for. The list of artists that pioneered the synthwave genre goes on and is nearly endless. No matter how long you have been creating music, each artist can honestly be considered a pioneer all working to deliver an experience of their own through this style of music. We’re proud to consider Kavinsky, Electric Youth, and College to be the golden standard and it goes without saying that we will continue to watch all of their careers with great interest, as always.

]]> https://newretrowave.com/2021/08/18/the-origins-of-synthwave-part-1/feed/ 1 https://newretrowave.com/2021/08/13/gost-rites-of-love-and-reverence/ https://newretrowave.com/2021/08/13/gost-rites-of-love-and-reverence/#respond Fri, 13 Aug 2021 10:00:08 +0000 https://newretrowave.com/?p=36495 From the darkest depths, the behemoth of darksynth depravity emerges once more.

Rites of Love and Reverence marks the sixth full-length release by Michigan-based producer Gost. Having established his moniker amongst the most successful in Synthwave with Behemoth, Gost has since broken free from the stylistic confines of the genre, starting with Possessor, an album still unmatched in its sheer sonic brutality.

With this sixth album, Gost keeps the ball rolling with some hard-hitting, cavernous subterranean club bangers. After a spellbinding introductory sequence, the record blows up right in your face with a face-melting barrage of distortion and pummeling drums. The album keeps a great balance between dance-friendly, industrial post-punk sequences and blood-pumping thrillrides through the nine circles of hell. Listeners best be warned, however, for Rites of Love and Reverence offers very little respite for the uninitiated and locks you into its cavernous, club nocturnal decadence with a compressed, loud mix sustained nearly all throughout its 44-minute runtime. On tracks like ‘We are the Crypt’, ‘Coven’ and ‘Burning Thyme’, Gost delivers some of his best vocal performances to date. More than the mere add-ons you hear on all too many Darksynth album, the raspy, filtered vocal melodies complements the sonic aggression with a sensual yet harrowing edge. Bold as the album may be, Rites of Love and Reverence is an album built on a solid foundation of darksynth. What sets the album apart is how seamlessly it incorporates its coldwave and extreme metal influences… and how unapologetic it is about it.

Overwhelmed as some listeners will undoubtedly be after listening to this album, one can’t help but praise the sheer boldness of Gost’s output. Rites of Love and Reverence may not be the album some of you wanted to hear, but every second of it sounds like an album its creator was dying to make.

In an age where commodity trumps personality, Rites of Love and Reverence is an album that forces you to meet the artist on his own terms in order to deliver nothing short of a masterpiece.

Gost ‘Rites of Love and Reverence’ is out now via Century Media.

In turn, the band has also released a remix of John Carpenter’s ‘Turning the Bones’ (Lost Themes III).

Screen Violence certainly holds a lot of promise for retroheads with its thematic focus on onscreen violence and the band’s doubling down on eighties influences (Robert Smith of The Cure has namely collaborated on their recent single ‘How Not to Drown’).

Both remix tracks are available on vinyl via Sacred Bones records.

John Carpenter’s ‘Lost Themes III : Alive After Death’ was released on February 5, 2021 via Sacred Bones Records.

CHVRCHES ‘Screen Violence’ is scheduled to be released on August 27^th, 2021 via Virgin EMI Records.

It all started back in 2019 with a simple clickbait headline from Iron Skullet. The title read, “Synthwave is Dead. Long Live Synthwave.” Note that I do think the article was well written and thought out, but it’s the overall title and conclusion that is the issue.

It’s a common phrasal template you’ve probably heard before, in articles like “Vaporwave is Dead, Long Live Vaporwave,” from 2016. Decades before that we heard “Punk is Dead” and “Disco is Dead,” and on and on. (Ironically, the saying originates from “The King is Dead, Long Live the King,” to essentially announce the accession of a new king or queen – and the continuation of the monarchy.) But I digress.

More recently the title of a Metal Hammer interview with Perturbator echoed the same saying… even though at no point during the interview did Perturbator say that anything was dead. In fact, he explained that although he’s branching out from the synthwave genre, it’s an ingrained part of his sound.

“I pretty much told myself, ‘Don’t try to sound like synthwave’, but I cannot completely remove it from my music. There’s always going to be this DNA of synthesisers… “

Honestly, it’s totally understandable why those writers chose that phrase for their titles. Announcing something is dead is a surefire way to draw attention – especially so in today’s age of breakneck-fast article skimming.

We writers have to claw ourselves up the muddy shores of the internet from a sea of obscurity on a daily basis. And make no mistake, I don’t fault them for that at all, and I’m guilty of a few clickbaity titles myself. While I do disagree with the content Mr. Skullet’s article (we’ll get to that later) and Leivers’ choice of title for the Metal Hammer interview, they are both very knowledgeable writers in their own regard.

So why do I feel the need to say Synthwave isn’t dead two years later?

In the growing age of Search Engine Optimization, headlines like this can frankly be dangerous. The all-powerful algorithm decides who sees what, and when an article is popular it gets pushed higher up the food chain, meaning many more people see it. Ironically, because so many people shared the Skullet article to disagree with it, those increased clicks pushed it straight to the top until the first thing you saw when you searched for synthwave was its eulogy.

Big G’s top featured snippet (Those questions you see when you search for something) about synthwave was also, “Is Synthwave Dead?” followed by a “Yes.” The clickbait headline had worked all too well – and now many newcomers to the synthwave genre are leaving the party when it’s just getting started.

Note: These rankings have very recently changed because Mr. Skullet rebranded his website damaging his rankings – but rankings usually do recover after a short period.

Anyway, that’s totally bogus. It’s not good for the fantastic artists making a living (or even side-income) from their work, their managers, or for the wide host of labels who represent those artists. It’s bad for the many synthwave artists gearing up to tour after the close of the pandemic, and it’s bad for promoters trying to throw synthwave shows. It’s just flat-out harmful to the scene, just like it was harmful to the vaporwave scene or the punk scene or whatever. I don’t want to be preachy or bash anyone, but it needs to be said.

As dumb as it sounds, negative clickbait can be dangerous.

Now, aside from the search rankings alienating new fans – on to the main feature.

Is Synthwave dead?

No, of course Synthwave isn’t dead. Genres don’t die, ever really. They evolve. Even with that evolution aside, Synthwave is literally more popular than ever. According to Google Trends, synthwave reached it’s highest popularity ever in 2020 – a full year after the article declaring its demise was published.

Right now, even six or seven years after its own “death” fantastic new vaporwave is still being released over at Business Casual, AMDISCS, DMT Tapes, Dream Catalogue, and more. The list of labels goes on and on – and it’s the same for any “dead” genre, really. With the advent of the internet and netlabels, we’re moving into a time period when new music from every genre is easily accessible, and new genres are being created faster than ever.

Mr. Skullet understood this, of course, and even made the same point in his original article:

“Synthwave has grown from a niche underground genre into a low-key cultural phenomenon, pulling in a host of modern influences and finding its way into major motion picture soundtracks… hundreds of others in Indie Pop, EDM, Alt Rock, and mainstream Pop incorporate its retro synth sounds into their creative approach and have erased the boundary lines in the process. At the start of a new decade, Synthwave is already bigger and far more popular than ever. For those willing to embrace the changes, Synthwave is not only alive and well, but thriving.”

So, why did he announce that it was dead in the first place?

From my read, the original article made three key points. To be honest, I think they’re all at least partially true, but arrived at the wrong conclusion when gathered together. I’ve listed them below along with some refutations, but I do want to note again that while I disagree with Mr. Skullet’s conclusion, I do very much respect his opinion and writing.

1. New synthwave releases lack that old, original wonder and sound. They’re also generally not very good.

◙ Sturgeon’s Law is an old adage stating “90% of everything is garbage.” I hold this to be very true. As synthwave has grown in popularity and more artists have begun producing it, there is frankly just so much more “average” synthwave to weed through. But I totally disagree that no one is making good ol’ fashioned OG synthwave. “Wanderers” by The G, just released less than a month ago, is a perfect example. There are artists still creating great synthwave with that original sound – they’re just harder to find.

2. Synthwave has become mainstream, with big music artists, films, and tv shows aping (imitating poorly) the sound and aesthetic. Popularity has killed it.

◙ This is very true, but not necessarily a “bad” thing. As much as it leaves a bad taste in my mouth when corporate production studios steal our homegrown aesthetic, it really helps spread awareness of the genre. After all, the major film “Drive” helped launch the synthwave genre altogether anyway.

The original “Vaporwave is Dead” article leaned on this idea heavily – but that was primarily because Vaporwave was partially created to mock advertisements and corporatization. As different brands ironically began using the vaporwave aesthetic to peddle their wares, it was easy to see where the genre lost some of its mystique. However, synthwave is a genre heavily rooted in the excesses of the 80s, so large companies using synthwave to advertise actually fits perfectly with the synthwave aesthetic instead of spitting in its face.

◙ Another common trope among all genres and subcultures is that when they become popular they “die.” Frankly, I think that this idea is really backwards and gatekeepy. Sure, there’s more “bad” synthwave to sort through, but we should always be accepting of new fans instead of going “Oh that? I was into that years ago.” Disliking things simply because other people like them is not really “cool.”

3. Many new synthwave releases are branching out into newer, different subgenres. New synthwave just doesn’t sound like the OG synthwave.

◙ Again, this is true – but this is a good thing. Synthwave has grown from a micro genre into a full-fledged genre with its own subgenres like darksynth, chillsynth, and many more. More innovation and growth is always GOOD thing.

So, to close out this article, No, synthwave is not dead. It’s alive and well.

Even though it will eventually fade from popularity, as all things do, its mark on music as a whole will continue to echo forwards through time like ripples in a pond. Rest assured there will always be someone, somewhere, creating great synthwave (or, in the very least, one of its subgenres.)

“That is not dead which can eternal lie, And with strange aeons even death may die.”

 

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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Odyssey
There’s nothing quite like a soothing introduction at the start of an album. I’m surprised at the choice of style, which starts off somewhere like a new age track, then slips gradually into the strumming of guitars. We’re lulled into the cradle of sounds colliding and dissipating at the end of the track, parting the way to the next track.

Michael Oakley & Ollie Wride – Wake Up!
It’s always a good time when Ollie Wride is involved, and this partnership of vocals is no doubt a dream come true. This feel-good track has lyrics that could warm the coldest heart. Living life to the fullest, accepting the good that comes, and setting fear aside are just a few golden tokens of motivation that can be found. Falling asleep at the wheel of life is not an option, so you better “Wake Up!” The harmonization between these two talented vocalists is hopefully foreshadowing more collaborations in the future.

Is There Anybody Out There? [Jon Campbell Radio Edit]
There’s a familiarity in the melody of this track in particular, and with it, the teenage angst and rebellious vibe are infused and uplifted by the chorus. The lyrics are endowed by the heavenly voice of Michael Oakley, and that familiarity supplements the spiral of repetition with the arpeggio. Chords lead up to the bridge, bringing us to the final blow of the choir. Finding someone we can relate to is the core message behind the track, and as we get older, we become further apart from who we thought we were in our younger years.

Babylon
The tone of this track opens up to a gradual climb, and Oakley’s voice entrances us into the next phase of the album. The biblical references continue forward, speaking of a heaven-like love endowed with a strength of proportions most dream of. The harmony of vocals paired with the proclamations of protection really bring the chorus together as it resounds through my speakers. The synth truly illuminates the culmination of percussion as the climax is reached, leading up to the delicacy of the sax, opening up a whole new wave of emotion.

Glasgow Song [Ft. Dana Jean Phoenix]
The city streets are bustling with life, and you can almost see the rain on the sidewalks, the grit beneath your feet, and I’m right there as the music befalls the atmosphere. This ballad between two heart-palpitating vocalists is exactly what we needed. The shatter of drums complements the ever-present synth keys and the clash of perfection fills my ears by Oakley and Phoenix’s duet harmonization. The lyrical tone expresses the longing of fate, the destination in the distance, and reaching out for what’s yours. I love that I can visualize the city lights and wet pavement of this journey well-traveled by two amazing artists who are dedicated to the nostalgia we crave. It feels almost like a testament to where they’ve been, where they’ve gone, and where they are headed. The bagpipes are a nice touch to bring reference to Glasgow full-circle, and I can’t help but appreciate it.

Real Life
What is “real” anyway? This song is a fantasy unencumbered by reality. Oakley’s revelations of love and broken hearts have always been irresistible to me in the way of lyricism and the way it manifests in his music. The saxophone returns pulling us into its somber solo moments. The way Oakley combines unique percussions with delicate chimes throughout this track makes it impossible not to keep track of its progression from verse to verse. We’ve all been brought to our knees when desire suppresses our hold on the buzzkill of what’s real. If there is any hope of returning to our memories, we easily trick the mind by reminiscing on what was.

Queen of Hearts
Starting off the track we have a slow and steady melody from the synth and Oakley opening with the main chorus. Roaming old home towns, unrecognizing yourself, and being unrecognized by familiar faces is a feeling we can resonate with to a certain degree. To Oakley, that might be more obvious. I find myself thoroughly enjoying the increase of bpm as the song progresses, and I’m also a little homesick myself so the kick-drum allows me to give into it. The tempo is familiar, the guitar chords dance along with the rise, and by the end, we’re laid down by the calm dissipation of the reverb.

When Stars Collide
I haven’t heard an intro like this since Dido’s “Thank you”, so I’m surprised, but I listen on. I notice the reference to Icarus and as a mythology buff, this is pleasing to hear. The pulse of the chords and the echoes of each word proceed to cradle me in a warmth that is uncommon. Is it the lyrics? Is it the melody? Perhaps it’s both. I’d say this track is more nostalgic of the ’90s and perhaps that was the goal Oakley had in mind. I think the synthwave scene is in the middle of an interesting shift between some of the other notable bands that have been incorporating more of

The harmonizations throughout this album remind me of a lot of Christian rock bands, which I can’t help but point out. Is Christianwave a thing? Anyway, my ADD brain aside, the lyrics point to signs of a love song, and perhaps a bit of overextending the gesture of what it is to be a person of faith. The way that I can interpret these verses vs what Oakley really meant to say may be far from the truth, but throughout the album resides multiple biblical references and verbiage that make it quite obvious to me that whatever kind of love Oakley shares with us is, perhaps, heaven-sent. This is solely an observation, and I invite you to listen and let us know what your thoughts are!

Set on familiar grounds in the green wilderness, the 17-minute concert is largely dedicated to his latest work on the Haven Soundtrack and sees Danger in complete control of his craft, having animated the entirety of the video (with the exception of the light design, done by Gabin Mayoux).

Haven’s Original Soundtrack by Danger was released on December 3rd 2020 and is available on Spotify and Bandcamp via G4F Records