This exclusive track incorporates those dreamy and melancholic elements that The Midnight does but with an extra layer of sheen in its production that helps the vocals convey a sense of sincerity that is palpable. The first half of the chorus is one of the most powerful vocal performances anywhere in the genre. The second half follows by deconstructing it with glitchy vocal manipulations that feels right at home in synthwave despite being more common in future bass and trap.

You can check out the premiere of The Midnight’s “Lost Boy” here.

Be sure to support the band by purchasing their music through their Bandcamp and Spotify. Subscribe to NewRetroWave on YouTube to receive the best that the synthwave, retrowave, and outrun scene has to offer, and follow us on Facebook and Twitter to stay up to date with the latest news, retrospectives, reviews, and more!

Get ready for an awesome October!

UPDATE: (6/15/2017) FM-84 has stated this project will now be a full fledged album, set for a 2018 release. Even more too look forward to. 🙂

Scandroid has also announced ‘Dreams of Neo-Tokyo,’ a full-length remix album featuring remixes of each of the 10 vocal tracks from the debut album. ‘Dreams of Neo-Tokyo’ is available on pre-order now from FiXT & Bandcamp, and available world-wide on March 31st, 2017.

Following the international success of the debut Scandroid album (Top 10 iTunes Electronic Album USA, Russia, Canada, Germany, United Kingdom, Australia & #5 Billboard Electronic Album), each vocal track from the eponymous release has received official remixes that take the synthwave epic to new horizons on ‘Dreams of Neo-Tokyo.’

‘Dreams of Neo-Tokyo’ is available in multiple formats, including limited edition cassette, so grab your Walkman and crank this album to 11 with remixes from Blue Stahli, Dance With The Dead, Daniel Deluxe, d.notive, GosT, Makeup and Vanity Set, Maks_SF, PYLOT, Scandroid & Waveshaper.

Pre-Order Scandroid – Dreams of Neo-Tokyo Now:

FiXT: http://fixtstore.com/scandroid 
Bandcamp: https://scandroid.bandcamp.com

Follow Scandroid:

Facebook | YouTube | Twitter | Soundcloud | Instagram | Spotify

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. With the hype slowly calming down and the scene’s demographic transition finally reaching its final stages, the announcement of Perturbator’s first US tour seems to have given us the answer.The mortality rate amongst cheap copycat acts spared none but the most innovative and mature creative minds, mister Kent and Carpenter Brut standing out as the most obvious examples of the latter group. Sure enough, here we are less than a month away from Carpenter Brut’s first North American Tour. Given the difficulty with which European bookers have sometimes had when trying to contain audiences within a large enough venue, we best be bracing ourselves for what is heading for us. In anticipation for his upcoming tour as well as his newly announced Turbo Killer movie sequel project Blood Machines (alongside Seth Ickerman), we caught up with the mysterious magus of distortion for a quick interview.

You state that you weren’t particularly into electronic music when you started Carpenter Brut, your musical background stemming more from the metal scene.  What drove you to learn how to make electronic music rather than pick up, say, a guitar?

I wanted to write music alone rather than being in a band. Electro music is perfect for that, especially when you’re not a good musician like me. I don’t know how to play guitar; it would have been a poor decision.

Was there a form of rejection or a need for renewal with regards to what you were hearing in the metal scene?

Modern metal bores me. I only listen to old stuff, Judas Priest, Maiden, Metallica etc. I do love the new Meshuggah album though, these guys rule.

Is the “metal” tag something you embrace and aim to preserve or is it something you want to transcend?

It kinds of bother me a little since I don’t play metal. It’d be like saying Trent Reznor plays EDM because he uses synthesisers. I’m very happy to play for metalheads or in metal festivals though, it remains my favorite scene, but I don’t play metal dammit haha!

What about the “Synthwave” label?

People like labeling everything: wine, chocolate, music… I can’t care less, just call it as you wish.

Having been 5 years since the release of your first EP, how has your outlook on electronic music evolved?

I bought some equipment that I couldn’t afford before: some hardware, analog synthesisers etc. Musically speaking, however, I still don’t listen to electro, except a bit of synthwave to check what’s going on. But other than that, I’m still clueless haha.

Your music carries a hybrid imprint between “song” structures and club-format dance tracks. What is your main point of focus and approach when it comes to shaping a track?

That’s a good summary. I think a good song must tell something while being entertaining. But people should remember that song. That’s why I try to write simple structures, not unlike pop codes, keeping some groove so that songs can be entertaining and allow people to dance and have fun.

Given that your influences include 80s scores, do you work with a “narrative sense” to shape your songs?

There is always a story, a script, which I use as a thread in the composition of my tracks. If you have nothing to tell, better be quiet then.

You’ve recently released new original material for the Furi game soundtrack. The three tracks namely seem fitted for the game’s narration rather than a mere jukebox feature. How was the writing process compared to your previous work?

I have to adapt the music according to the scenes that the video game designers sent me.  It’s a lot less free than to compose an album for yourself, there are codes and a timing to respect; you work on loops that can go on for several minutes if the player decides to stay in the same place, or has a hard time to kill the boss haha. It was a good experience but I’m not sure I’d do it again, I’m more interested in movies soundtracks. 

This year you will be working on the score to the Turbo Killer space opera film sequel, Blood Machines, directed once again by Seth Ickerman. How did you and the guys end up talking about doing this project?

They wanted to make a movie for a long time with me composing the music way before the Turbo Killer’s video. After the success of Turbo Killer’s video clip (which they directed) and all the comments on YouTube asking for a sequel, they had the idea to make a movie around Turbo Killer’s universe.  The movie will also be a video for my next album. We have come full circle.

Given that this will be a collaborative process, have you outlined the way you and the Ickerman team will be working together?

Nope. One doesn’t change a team that plays well together.

You’ve launched your own record label No Quarter Prod, which only includes your own project so far. What are your future plans for the label?

For now, No Quarter prod acts as my exclusive producer so no future plans scheduled yet in terms of having new artists. There’s enough work already, just dealing with the merch is crazy. For the moment, there’s no way we could manage another artist.

Next month marks the beginning of your American live debut across the US and Canada. What do you look most forward to on your upcoming trip ?

Nothing in particular. Hope everything will be ok and that people will have a good time.

Any particular locations you look forward to seeing?

Montreal. I love this city.

To finish off with my trademark interview closer: could you give us an album, movie and book recommendation?

Police Academy II, Song from The Big Chairs, 1984.

A big thank you goes out to Carpenter Brut and Monica for helping us set up this interview!

Carpenter Brut

Bandcamp: https://carpenterbrut.bandcamp.com/

Official Facebook: https://www.facebook.com/carpenter.brut/

Youtube: https://www.youtube.com/user/carpenterbrut

Soundcloud: https://soundcloud.com/carpenter_brut

Twitter: https://twitter.com/carpenter_brut

DC are upping their game and promise to deliver an EPIC 6 part comic book series on pure awesomeness. This is great news for DC fand and Thundercat/ He-Man fans alike. Finally, a crossover that we can really lose our hats to!

More info HERE

Prepare yourselves for awesome vibes!!

BACKGROUND

TO LIVE AND DIE ON THE AIR was really the track that defined the whole writing process for the new LP. I happened to hear the bass line very distinctly, straight out of nowhere, while watching the final scenes of William Friedkin’s TO LIVE AND DIE IN L.A. – a certain segment of the film that had no underlying score to it. I had to literally pause the movie and run to my DAW to let the song out of my head. The whole thing was practically ready after that one quick session. I thought it sounded good, so I asked the very talented Mr. Cody Carpenter if he felt like checking it out and, eventually, coming up with something. He did like it, then went on to record a lead synth section with absolute creative freedom: when I heard his temporary mix for the first time I was almost in disbelief, completely blown away. I’m very much in love with the final results and I’m forever grateful for Cody’s incredible contribution, as I’m thankful to Mr. Friedkin for the raw inspiration that exudes from all of his works.

A DANCE OF SHADOWS is to be released on OCTOBER 1st.

PRE-ORDER TODAY: https://confrontational.bandcamp.com/album/a-dance-of-shadows

Cody Carpenter’s LUDRIUM bandcamp: https://ludrium.bandcamp.com