Favourite tracks: Crosswind, Hiding My Love

Sørcery ‘Runic Collection’ is out now via Puget Sound Collective on Bandcamp and Spotify.

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!

Hey Now

Off the bat, I admire Siamese Youth for their pop-rock essence as it’s infused with the electronic details that a synth provides. The vocals hit me like a truck right away! I ADORE how the melody interacts playfully with the lyrics. There’s passion in the percussion that amplifies the intensity of the chorus, and the scene is set like a cult classic movie ballad montage. “Hey Now” is the ultimate lovestruck getaway track to run away to, or win back the beau of your dreams.

So Far from Home

The next track takes on a slower note, and while there are widely arranged chords to strike nostalgia, there’s a taste of modern retrowave here and there. The dazzling chimes in the wake of the progression make themselves known against the airy, breathy seduction of the vocals. These lyrics are wise and methodical, in the sense that there’s a conversation between either one and another, or with oneself. It reminds me of the challenges we face living life as a loner, resorting to escapism rather than facing our demons.

Young Nights

Ahh, Summer Lovin’ is upon us. “Young Nights” is the perfect vibe for infatuations, blind naivety, and true love. I love the stadium feel that each of these tracks provides so far from the echoes and reverb. Instantly I appreciate the sample at the start of the track, which is from the 1959 film “The House on Haunted Hill”. It’s a conversation between Vincent Price, as Fredrick Loren, and Annabelle (Carol Ohmart) regarding their surprise ghost party and their guests. Interesting choice for a track that is so uplifting and pop-centric. I would have sooner expected this to be used in a darksynth track!

Making Me High

Ooof, these funky beats are dangerous and I love it. A night at the disco is just what the Doctor ordered. I’m enveloped by the smooth twang of the keys, and it’s over for me, I’m locked in and ready for the dance floor. These references within the lyrics, such as “chemical romance” {in track one, “Hey Now”) and “call in the wild” makes me smirk each time I catch them. Getting high from the first bite makes me think of edibles, and how edible a person could be under the right circumstances, romantically speaking.

Can I Be Me

The track begins with stadium-like nuances. There’s an energetic fusion between the guitar and the echoes of the vocals. As the suspense begins to build, the electric chords of the synth radiate with the guitar. A brilliant arrangement from the kick-drum combined with the melody is elaborate and entrancing. I enjoy the way the lyrics passionately express a message we can all resonate with. In a world that praises people for being influential and fake, being yourself is and should be valued beyond all else.

Where the Sun Shines

It’s 80’s montage time again – and Siamese Youth doesn’t hold back from these epic vibes. The synth is “radical”, the drums are “bodacious”, and I feel myself slipping back in time. Visions of being a mall rat come swimming back, and there’s nothing holding me accountable for enjoying these highlights of youth. This song, I believe, is the ultimate testament to 2020, and how it discouraged our dreams, isolated us, and confused our foresight into the future. Even now, during an age of uncertainty, we’re reaching for the memories before covid. We took so much for granted, and I firmly believe that we’ll be ever more appreciative of the little things moving forward.

Let’s Love

A neo-disco melody introduces us to this light-hearted track, and the inter-galactic rhythm takes us for a ride through a love story within the lyrics. Its powerful pop chord placements grip me to the core and provide a taste of what Siamese Youth is trying to portray with this song. If I follow the lyrics, it’s like the make-up from a breakup conversation. Internally, it’s adding further ambiance to the funk, and smoothly transitions from what we know and what we remember about our own love stories.

Take On Me Too

I enjoy the main chorus of this track and the claps really tie it together from the start. There are playful chimes and chip-tune-like elements throughout that making this a special testament to retro-classic dance beats. Lyrics like these bring out the most in me, in that I can apply them to any scenario, and maintain a groove. The interwovenness of love’s lost appeal and a confessional tale elevate the overall tone, and for that, I can appreciate it further.

United States of the Mind

The unification of differences has become the influx of the song’s message, and I’m here for it. I enjoy the way Siamese Youth uses chiptune generously throughout the track, and have applied some subtle similarities to EDM in between. I’m grateful for the vocals in how they shine a light on current issues with heavenly serenade. Encased in this electro-pop feel is the realization that coming together is the answer to our country’s problems if taken literally.

In Love

When summer is nearing the end, the question remains if the love found will continue on. Such a song as this fits the bill and answers the question is this eternal or a letdown. The lyrics speak to the parts of us that have had to let go and uproot our conviction to see a relationship through its trials and tribulations. The percussions play on our heartbeats and the colorful chords keep us lukewarm after a cold realization that the love we had wasn’t what we hoped it was.

I’d like to sign off with a note that I enjoyed the uniqueness of this album, and the way Siamese Youth bridge the gap between modern and retro-classic 80’s references. I look forward to what they have in store for the future and welcome them into the fold as artists that started with a cover of “All the Small Things” (totally worth the listen, by the way)

Just Drive (ft. Summer Haze)

WOLFCLUB’s first track serenades us into the getaway car of long-lost love with electric guitars and saxophone. Dreamy vocals encourage our flight response to “Just Drive” into the drum kick of the deeply nostalgic energy of our teenage summers of yesteryear. The way the lyrics carry bittersweet memories of those angsty runaway vibes sends chills up my spine! My late-night drives needed a boost of upbeat, poppy tracks to sing aloud to – and this track curbs that craving to roll the windows down, and jam without a care.

A Sea of Stars (ft. Dora Pereli)
You know when you read lyrics to a song you love, and it reaches too close to what you’re been feeling all along? This is the queen of heartbreak albums, with “A Sea of Stars” at number two on the album list, it’s no wonder why these emotions brew hot as I listen carefully to Dora wistfully and woefully sing into the night sky. Sailing away with a lover, wishing those moments could last a while longer. The melody adorns the melancholy tone of the lyrics in a deceptively light and happy rhythm. It’s difficult to walk away from such a beautiful song – but we have so many more to explore together.

Fever Dream (ft. Dora Pereli)
I find myself carried off the whimsical beat of drums, bass, and that warm guitar encloses in on the impersonated feeling of welcome, only to be whisked away by resonating vocals. Chasing the love we thought we had – who can’t relate to that feeling? As a writer, I admittedly get lost in the vocals of the song, and the story being told in each track. This track gives me “forgotten on prom night” vibes; tear-soaked tulle dresses and mature drinks at a bonfire. I love this inescapable trap of dismal desires that W O L F C L U B has created. Underlying this feeling of my heart being torn in two, I keep listening and contextualizing for the sake of fans everywhere feeling, singing, and dancing along.

Shoulder Blades (ft. Jaki Nelson)
There’s nowhere to run away from the intoxicating vocals of Jaki Nelson, and you won’t want to either. This retro dive into forlorn backseat breakup ballads is a deep-seeded memory we willingly uncover. The chorus churns the tension by way of electric guitar, and dances along the fingertips striking the heavy billow of the bass. The edge of that “forest where it all began” I know all too well. Jaki’s wail alone is gut-wrenching, and I swear I can feel exactly what she feels. The reverberation of her coos and the electronic echo wraps each gasp in color with chords. I don’t want to hide anymore either, Jaki.

One Last Night
Not many feelings are as powerful as the drum kick combination that permeates the start of this track. The same goes for the all-encompassing saxophone in every which way it is played, especially with the overwhelming emotion that sustains the melody. I know all too well the sting of time passing by before saying Goodbye to someone you don’t want to see go. If there were one last night where it was possible to get a lost love back and make it last, would you take the chance? Would the circumstance and consequences outweigh the outcome? There’s only one way to find out – but perhaps listen to this track first before you run out the door.

Promise (feat. Jaki Nelson)
The trailing arpeggiator dancing along the intro riles suspenseful excitement from within. Once Jaki belts out the proclamation of asking you to stay – who can say no? It’s not enough to hear these tracks, it’s vital to face the feelings that erupt. False promises, apologies, and damn that standalone moment of the percussion gets me every time! I’m swept into a deluge of delight every time we loop back to the chorus. Namelessly shameless love is only the cusp of meaning behind this song.

Who’s Gonna Be There(feat. Jaki Nelson)
The playful start is a loop of Jaki’s voice alongside the synth, and it’s the perfect introduction to the aftermath of the track we just listened to. Rewind the reminiscent memories, and fast forward to the part where our hearts fix themselves – the worst part is missing someone and living your life without them. “Who’s Gonna Be There” perfectly encapsulates those emotions, bottles them up, and offers them to you as we face the music.

Nostalgia
I love that this track welcomes alternating gender roles – because we see both sides to the untold story between Boy and Girl. Boy meets Girl, Girl falls in love – Boy doesn’t want to go. They part ways. It’s so uncommon to see in music these days without some stereotypical agenda – and this is an unraveling of emotions from one to the next. You ever have circumstances you can’t change and you wish you could change it for the right person? They know better, most of the time. Letting go or staying by their side is the hardest lesson to learn. But the “Nostalgia” helps us cope.

Serenity (Jaki Nelson)
Softened guitar strumming along to the electric echo of the synth is all we ever wanted – and Jaki’s vocals open it up into a torrential downpour of the heartbreak theme that we’ve now grown accustomed to. Personally, this becomes a growing ache from inside, and the hole inside of MY heart is growing bigger as I encourage myself to absorb this track entirely. I love the reverberation, the echoes, the ethereal electronic details intertwined in the lyrics, and it pulls at these heartstrings with ferocious effort.

Higher (feat. Jaki Nelson)
Ah yes, the warm guitar before the painful memories replay. I’m shutting my defense mechanisms out, allowing the music to rush over me, and that arpeggio is thumping as quickly as my heart, and there’s nothing left to do but stare down the erupting emotions head-on. I’m lost in the waves and embracing it. So, here we go. “Higher” speaks to me on multiple levels, as a girl, and as a woman. There’s much to be said about those sweet nothings as their murmured in your ear, and eventually, there’s a bittersweetness to it. It’s all here, loneliness, unkept promises, and the result of the unresolved. The closure resides somewhere between the clash of the cymbals and the descending tempo as we move closer to the finale.

Oceans
The plot thickens when we realize the distance between these star-crossed lovers. The voice of the W O L F C L U B prince returns, and we’re learning more about what truth remains in focus. The intoxication of the synth, the powerful bridges and the quietness of the solo vocals make this track simply heaven-sent. I’m caught in the undertow of unrequited love, the heartfelt hang-ups, the distance isn’t just heard; it’s understood.

Famous
The great getaway, the track that finished us off and rounds up the theme, is even better than I could have imagined. It’s a profound calling out of manifesting that fame that W O L F C L U B strives to achieve. I’m feeling enthralled by the swiftness of the beat, the arpeggio again lighting up the senses, and of course, vocals to steal the show. I really love this highlight of an ending, and it’s a chance to shake off the emotional rollercoaster that is this album, as much as I adore unpacking new and old wounds of the heart.

The destination has been reached for Just Drive Pt. 1, and honestly, I’ve never felt more understood. 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. I am woefully pleased, and my weaknesses are on my sleeve, and after days of listening, I’m looking forward to W O L F C L U B’s next release.

Sierra made her debut in 2017 with her Strange Valley (Lazerdiscs Records), establishing herself as one of the scenes most promising newcomers with her slick, hard-hitting tracks melding sounds of cavernous darkwave ambiences and tribal EBM aggression with a twist of Synth melancholy. Her second EP Gone doubled down on her fierce debut through a gripping dive into inner depths of longing and anguish.

Wanderers beware, for what lies ahead holds no promise of mercy…

Be sure to check out Sierra on Facebook, Instagram and Bandcamp for the latest news updates.

All about Love is now available for pre-order on Bandcamp.

This marks Meteor’s second album and third release this year, having released his last album System Failure last May and having collaborated on the Cyborg : Deadly Machine Soundtrack alongside Fixions.

Cyborg : Deadly Machine (Movie Soundtrack) by Meteor / Fixions / Kid Zan / Magic DanceBe sure to check out Meteor on Bandcamp and Facebook for the latest music and updates.

Video and Thumbnail photo by Franck Rivoire.

For those who’d like to know more about The Weeknd’s background in retro influences and his latest record, be sure to check out our recent column on the subject here.

For those who’d like to know more about Danger’s relationship with the Synthwave scene, you can also check out our recent, in-depth interview with the masked enigma himself here 

Danger:
Official Website
Facebook
Twitter
Instagram
Youtube

Lil Brain:
Facebook
Instagram
Twitter
Soundcloud

I’m not ashamed or embarrassed at all to admit that I even get a little teary-eyed at the right piece of VG music if I’m in the right frame of mind. What does shame me is that I’ve spent so little time talking about that here – the music itself. I’ve chosen a few pieces of music to talk about, and I’ll provide a link for readers to listen along with me. I bet some of you know these soundtracks by heart the same way I do though… you can probably call them up in your mind just like I can.

Everyone’s looking for ways to cope right now, and music is fantastic tool for that. Let’s immerse ourselves in it today like a nice hot bath. Let’s listen. Everyone’s been going through some rough shit lately, and we’re not going to talk about that at all, because everyone’s sick of it. We’re going to forget the lousy news and the stress and uncertainty of it all, and we’re going to pursue some self-care together. Let’s listen to some video game music.

Crash Man Stage Music

Mega Man II

Capcom, 1988

Composer: Takashi Tateishi

Ooh there’s energy in this one. Like… I love funk. I love jazz. Those types of music pick me up and keep me smiling and snapping my fingers when things get rough or I get discouraged. I think Jazz is medicine. And this piece is funky. Like you want to move. And in Crash Man’s stage, you certainly can’t sit still. The octave-walk on the bass line, the smooth but busy lead riffs… that’s fucking jazz fusion. And it bops. It makes you bop with it.

I have also found a sick remix of this using the MD/Genesis sound set… it is cherry. Turn the key in this motherfucker and drive.

Main Theme

Space Harrier

Sega, 1985

Composers: Yuzo Koshiro, Hiroshi Kawaguchi, Mark Cooksey

For an action-oriented ride like Space Harrier, this is such hopeful and upbeat music. The lovely harmonies and steady 80s rock beat lend this track a sense of forward movement, which is entirely appropriate and forms a huge part of the game’s charm game for me. You can tell that while there are aliens and obstacles to be blasted in the Fantasy Zone, Sega’s composers wanted you to remember: life can be fun. You’re playing a video game. Escape. “Welcome to the Fantasy Zone! Get ready!”

Thunder Landing (Stage 1 Theme)

Super Contra

Konami, 1988

Composer: Motoaki Furukawa (Club Kukeiha)

The music you put in the first stage/area/level of your video game can have a huge impact on how memorable it is. I always loved this one because it sets the tone for the entire game right out of the starting gate; You get that nice intro riff as your drop out of the helicopter, and that weighty orchestra hit comes back to… well, hit you.

Side note: I’ve probably gushed over this before, but Konami has always placed a high value on their music and the composers they use. I like to think it’s part of why they’re still in the ring after all these years. The Contra series is no exception.

Toxic Dump (Parts 1 and 2)

The Ooze

Sega, 1995

Composer: Howard Drossin

Yo, let me start by saying I love this fucking game. You get to play as an amorphous blob of green mutant ooze. It’s incredibly innovative and fun, and it has a killer soundtrack to boot. This is another good example of “make the level 1 music pop so they take notice.” I could listen to it on loop for a while.

I almost want to call this shit thrash-funk. Funk-thrash. You sort it out. You tell me. I just dig it. It’s dirty but frenetic. If Quentin Tarantino directed an Oscar the Grouch segment for Sesame Street this music might work well for it.

But that should never, ever happen. Or should it?

Evergreen (Ending Theme)

Castlevania 3/Akumajou Densetsu

Konami, 1989

Composers: Yoshinori Sasaki, Jun Funahashi, Yukie Morimoto

This one’s just a little piece of beauty to help close out an incredible masterpiece of a game. CV3 is one of the finest in the series (at least in my opinion), with the JP version utilizing that delicious VRC6 cartridge expansion to enrich and deepen the music’s body. To some people (who suck), it’s just some low-bit “strings” layered over each other. To me, this track speaks of comfort. The relief and peace of a job well done. Fuck you, Dracula. Get a hobby. Stop bothering us.

But then, if he ever did, we’d run out of Castlevania juice. I need that shit. I’m thirsty. (the third season of the show is so good!)

All right RetroFans… I’ll be back with more goodness later on. Stay safe and sane, and most importantly, Stay Retro!

Strangers on Film by Yota

First off, how did you start playing music?

I used to take some piano lessons as a child but I wasn’t motivated to learn all those music notes so I made my own notes by typing like A1, A2 etc on small pieces of paper and scotched them on each piano key and tried to write some songs after that. One could say I was a bit rebellious by doing that my way, but I was probably just being lazy and tried to find a shortcut. That didn’t lead very far, so it wasn’t until many years later that I actually started to even consider music as something that I should do. My father was a Greek singer and he used to perform in parties, weddings and such. He was incredibly talented, so hearing him sing might have affected me on a subconscious level.

I understood that I should consider taking singing to the next level in my early or mid 20’s, when I was going to art school in Stockholm and one of my good friends heard me going all in, singing along to Al Green in the car. I overdid the falsetto I believe, but she told me right there that this is what I have to do. My friend had been working as a manager for American soul artists and for Brazilian samba artists. She was about 30 years older than me but we were very good friends. I listened to her and trusted her opinion. I had plenty of friends in the music business during that time and I started a band called Metamorphosis with a friend of mine. I was recording the vocals in a program called Sawplus.

One night I met a guy, Peter Sahlin, in Stockholm who had a band called Plastico and he said that I should send my demo to Håkan Lidbo. I did which led to Håkan calling me. I went to meet him and signed with Container Publishing and Misty Music. Signing with them was a real turning point for me and I started to focus on songwriting on another level. After that, I thought that art will be something that I’d pursue later on in life instead, which I still think I will do.

What were your first ideas you had for this project before you started writing any music?

Usually, the ideas grow and come alive after I receive some music from the producers I’m working with. If I don’t have a track in stock that inspires me, so to say, then I usually work on vocal melody ideas in Logic and send them over to one of them (producers). This project for NRW is a quite dreamy creation. Emotions are my inspiration and sometimes I loop a favourite part of a song (any song that I like) and sing over it just to get the ideas flowing. My topics are formed after the emotion so the feeling is the ruler or the boss, and the idea will kindly have to follow after that 🙂 The ideas for this album were quite a lot about contrasts like tough and soft, warm and cold, serious and playful.

As someone originally from Sweden who now lives in Paris, how would you compare France’s approach to music to Sweden’s approach to music?

Wow! This question is huge and depends on genres etc and could be discussed for hours but I’ll keep it short.

My impression is that in France the respect for the past is huge and music is no exception. The knowledge about artists that were known a long time ago is still kept alive by those who dig deep and take music quite seriously. Of course, this does not go for all and is also accurate in Sweden (respect for the skilled and serious musicians in Sweden) but somehow, I feel that the nostalgia is more apparent here in France – at least this is my impression, build on the people I meet over here. On the other hand, I’ve lived here since 2007 so I might be too disconnected from the Swedish music scene by now. In Sweden, I feel that the business keeps an eye on what’s going on outside in the world inspiration-wise, while in France it sometimes feels like the inspiration stays within the borders, but now I’m generalising so I better stop here to not upset anyone 😉

Your latest album is called Strangers On Film. Who does the title refer to? Who are these Strangers? Why this title?

When I received the instrumental from Douze (Arnault Esteve) I opened it in Logic and started to go with the flow and the mood. I pictured an outdoor club in front of me. There was a big screen playing a movie and there were a lot of people. The view was of someone watching the scene. Imagine a decadent place with music that gets hold of you in a way that it becomes what you feel. Then, further along, I had the idea of that electric connection between two people in the middle of this crowd, the kind that burns your stomach or something. The mood is tense and a bit exaggerated with the lyrics but that’s the mood I was aiming for in a way. I recorded the title track in 20 mins because it just felt right. The strangers are random people with good taste in music and some kind of wild side.

What can you say about the concepts behind this record?

I feel that there’s a lot of gathered emotions in a small place in this record. Gathered in a sense of things that I’m going through at this time in my life.

How did you meet your collaborators for this album?

I know Douze (Arnault Esteve) for many years now as he used to work with Kris Menace and came over with him to my place in Paris. Ever since we really connected and did plenty of tracks. He gave me the idea to do my first album “Knight in Shining Armour” where he wrote about 70 percent of the tracks. So, once I started working on new material, which later led to this release on NRW, it was natural to ask Douze if he had some nice tunes to send over. As always, I received plenty of nice tracks that I could work on. I’m very lucky to have him as a producer, he’s a real talent.

I know Stephane Lozac’h through my publishers in Stockholm and Paris. They connected us as I asked them if they had someone skilled in Paris I could work with when I had moved over here. They introduced me to Stephane and it turned out that he was kind of my neighbour, only living 2 blocks from me. We became good friends and it was only after years of friendship that we actively started to work on tracks together. I am very happy we did so because he’s very professional and skilled. He can tune into what I like and create a track after that.

Johan Emmoth and I go way back. I met him when I was still living in Sweden and I wrote tracks with him and John Andersson from Zoo Brazil and Laid. It was during the time when I was working with Håkan Lidbo, John Dahlbäck, Stonebridge etc. Me and Johan stayed in touch and started the project Mauvais Cliché together and our first release as MC was on Strictly Rhythm, a track called “Stop Watching Me”. Johan is a very close friend of mine. He is always ahead of his time. I think he has one foot in the future and I have yet not figured out why 🙂 He is one of a kind and very talented.

I know Laurent (Lifelike) for more than 12 years now. We have released some tracks together where I believe “Sunset” on the label Vulture is the best-known one, along with “Silicon Love” on Computer Science. As many people might agree, Laurent is basically brilliant but then again I’m quite biased here 😉

What is the main message you want people to take from your music?

What I want is that there are some people who can get something out of listening to my music, and preferably something positive of course, but this is not rocket science, so a good mood will do just fine. There are so many people liking different things out there but for the ones who get affected by similar tunes to me, then I’m happy if I can contribute something like a little natural high or a little dreamy break from reality or such.

Finishing off: can you name one of your favourite albums, movies and books?

I really like the Tears For Fears album called The Hurting. Overall it’s an album that has a lot of richness in the sense of content. With that said I’m not a fan of all tunes on the album but most of them are great, like the track “Start Of The Breakdown”. That is just amazing.

Some of my all time favourite tracks are “Heroes“ by Bowie, for me, this song is beyond brilliant. Prince’s “Purple Rain“ is pure bliss. I love some fabulous tunes by Earth, Wind and Fire. My favourite tune by Depeche Mode is a song called “In Your Room” which reminds me of my art school time in Sweden.

The track called “Isolated” by Trevor Something is amazing and the funny part is that only a month ago I discovered he was signed to NRW, just like me, whereas I’ve been listening to his songs since a while now.

“Love On A Real Train” by Tangerine Dream is everything one can ask for in a song if you ask me. If the song makes you feel and it makes you associate to things and your mind starts to spin, then it’s usually a good song. This tune just does it all time and time again.

The band Cigarettes After Sex are really amazing. They can be on repeat on a rainy day, and it rains a lot in Paris lately.

When it comes to movies I really like Rear Window by Hitchcock. The colours have that kind of shine, just like when the sun shines in your eyes and you need to put your sunglasses on. Then the silence when the camera kind of slides over the courtyard and the apartments, slowly like they never do these days. There is something with the light in this movie, really. There’s an awkward silence that can be heard in this movie. I can’t really put my finger on what it is but it intrigues me.

I like One Flew Over The Cuckoo’s Nest a lot but at the same time, it kind of depresses me to watch it. I really like Jack Nicholson and his acting style.

The Eternal Sunshine Of A Spotless Mind is a beautiful story that got a hold of me.

Regarding books, I’m not really a novel person. I mostly read about psychological theories or human behaviour. Right now I’m reading and listening to podcasts and interviews about the polyvagal theories in neuroscience and psychology and it is really fascinating. There is not only a fight or flight response in our primitive part of our brain once we detect or think we’re in danger, but there’s also a third one that is all about immobilization as a defence mechanism. Anyway, this is what I read about at the moment. 🙂

I also like to read about true stories of people who have gone through a lot, but at the same time, I would not be able to call any of these my favourite books as they tell stories that are very dark. Calling someone’s darkness my favourite just doesn’t feel right.

Our  review of ‘Strangers of Film’ (By Andrew Zistler)

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Strangers on Film on Bandcamp (NRW Records)

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First, off, what’ve you been jamming lately?

Honestly, I’m a pretty obsessive person. I don’t keep up with new releases, I just listen to the same Spotify Playlists over and over. I can’t even name some of the stuff that I listen to.  Right now I’m into Owlvision, old stuff like Aglory, Swarm, Social Kid, the new Gesaffelstein album… I’ve been listening to the same playlists for a month straight, I need to mix it up. I don’t keep up to date, music-wise. It’s actually pretty time-consuming.  I also have a hard time finding stuff that I really enjoy and connect with.

So who is Sierra, to you? Does it refer to you? the artist? A specific character in your music?

I identify Sierra as a part of me. To me, Sierra is my angry side, my moody side, that part of me that wants to express the stronger parts of my personality, my violent side. When I’m Sierra, I’m in “warrior-mode”. It’s a part of me but I’m not always like that. With this project, I’ve got some pretty violent, heavy sounds but also some calmer passages, so there’s that side to it as well.

How was this project born? This isn’t your first musical project, is it?

I’ve had loads of different projects before this one. At first, I used to play folk music with a guitar, harmonica and a ukulele. I played acoustic music for a couple of years and I played a few live shows with some Loopstations in Barcelona and Paris. I started Sierra a couple of years ago. There was this music contest held by Seat and curated by The Avener where you had to submit a three-minute track. I was selected along with another French artist and I got sent to the finals in Berlin. The event was really awesome and so I basically made the decision to scrap everything, take a few lessons in electronic music production and go all in, down this new path.

Photo by Athys de Galzain

You hadn’t taken any lessons before?

Only a couple, but I was mostly self-taught. I mostly played acoustic music, but I was still using some sequencers to record my stuff and add some synth parts. It was really after this event in Berlin that I decided to go all in. It’s been three years now. I took some lessons for eight months and I’ve been working on Sierra for two solid years.

Where does the name come from?

It comes from a couple of things. The word refers to mountain ranges since I’ve lived in Barcelona for two years and six months in Mexico. Secondly, there’s also the fact that I’ve spent a huge part of my childhood playing video games, like, for instance, Maniac Mansion. Sierra also comes from the game developer of the same name. I used to play TIM (The Incredible Machine) a lot. I used to play a lot of Sierra On-Line games, so the name reminds me of my childhood years.

You’ll be playing the Retro Synth Fury event in a few days. Where do you place yourself, regarding the local “Synth-music” scene?

I’m into it. I’ve attended practically every Retro Synth Fury event. I attended the first edition at the Batofar, a couple of years ago. That’s how I met Absolute Valentine and how I eventually signed to Lazerdiscs Records. After the first RSF, I must’ve made an Instagram post tagging Absolute Valentine, Sung and all the other artists. Absolute Valentine hit me up and asked me for a demo. He must’ve snooped around my Facebook or Soundcloud page. I sent him the demos for Strange Valley and that’s basically how I got signed.

Is that how you got booked for this latest Retro Synth Fury event?

I was actually already in touch with Anthony [The booker for RSF]. We met up a few months ago at a Lazerdiscs event with Shredder 1984 and Introspect and I hit him up, later on, to tell him I had a new EP on the way and to ask him if he’d like to book me for a show.

Speaking of which, let’s talk about this new EP, Gone. I understand both of your current releases revolve around a specific concept. Are both EPs related, concept-wise?

To me, Gone and Strange Valley are totally separate, concept-wise and musically. I’ve had the concept for Strange Valley brewing in my mind for five or six years. I was picturing this Mad Max-like journey through this desert, with weird things happening. I had the title Strange Valley on my mind for years, way before I had any music in mind. So when I started writing my first electronic music tracks, I figured I should use this concept I had. I visualised the concept as a fantasy film. At the time, I was very much influenced by the whole Synthwave scene, the  Blade Runner aesthetic and those sorts of moods. Gone isn’t so much inspired by Synthwave or the retro aesthetic. Gone is actually more about a state of mind than a clear storyline. It’s about anger, revenge. ‘Gone’ deals with being broken, whilst ‘Unbroken’ is about refusing to be broken. ’A Matter of Time’ deals with building yourself back up with time and ‘Leftover’ is about the aftermath, what’s left of what happened, though what exactly happened is not specified. There’s a progression but no clear narrative.

Was there a difference in your writing approach compared to Strange Valley?

I wrote Strange Valley in six months because I was also learning the ropes at the same time. My sounds kept changing and I was learning about EQs, compressors and whatnot. I was learning and so it took me a while to also find what I wanted to do, too. For Gone, I actually hadn’t written any music for several months. I honestly didn’t really know what to write at first and I didn’t know in which direction I wanted to go, until one day I woke up and basically wrote most of the EP in a couple of days. I guess I had something to say, something needed to come out.

What is the starting point for your music? Does it always stem from a conceptual idea?

It’s more about the feeling. I wanted to create something violent. I really like being at a party and hearing that one track that hits you, that makes you want to fight someone *laughs*. I want to bring out these deep emotions. That was my starting point, my inspiration. For ‘Gone’ and ‘Unbroken’, I started with the beat. When you start on the beat before melody, it brings out a punchier side in the music.

Were there any keywords or concepts you wanted to implement, shifting from Strange Valley to Gone?

I wanted the songs to be less ‘busy’. Strange Valley was very track-heavy. I work on Ableton, and I have a tendency to add way too many tracks, which isn’t great when it comes to mixing or playing live. I didn’t consider the live aspect Strange Valley at all: the EP has loads of intros and breaks. On the other hand, I wrote Gone with the live show in mind. I also wanted to add more vocals on the second EP.

Sierra @Stunfest 2019 (Photo by Douglas Alves)

What is your approach to live shows, as opposed to composing?

I try to mix it all up. It’s not always easy, because some people want the music to keep going all throughout. The thing about my music is that it sometimes goes in hard and settles down with a big break before starting back up again. Some people might be into it and others not so much. Some people might want it to hit hard all throughout. I like to tell a story through my music, and so I like to go through different phases in my live show.

When I got to a techno rave, I get pretty tired of only hearing kicks, snares and whatnot. I like having breaks. That’s what I try to implement at my shows.

More of a “concert” gig than a “club” thing.

Yeah, somewhere in between the two, really. It’s not always easy but that’s what I’m trying to do. Then again, these are my first shows, so I might end up changing my mind down the line *laughs*. I don’t know.

What is the best context to listen to Gone?

First off, I’d say it’s more of a nighttime listen. It doesn’t work as well during the day. Having a good sound system always helps *laughs*. When the music has some big snares and kicks, it’s always good to have some decent speakers to listen to it properly. I’d say the best way to listen to it is live. Or at night, on your way back home from a party, around 4 or 5 a.m., when you’ve had a drink and you’re on your way to the Subway. I think it might work well for these moments.

Last question: can you name one of your favourite albums, movies and books?

One of each? It’s hard to pick only one.

Jurassic Park. I’m a huge fan of Jurassic Park. Or 12 Monkeys. That film really left an impression on me when I was little. I’ll go with Jurassic Park though because I have a poster in my room right over my synthesiser.

What did you think of the last few films?

I was actually really happy to see the first one. I don’t mind the fact that they decided to add more sequels. I could’ve been an angry fan and said “What?? They’re making more? Are you mad? Leave it be!” But I’m actually really glad they made more because even if they’re not amazing, I’m really happy to go to the movies to see dinosaurs *laughs*. But yeah, the first Jurassic World wasn’t great, but it was already. I enjoyed the second one though. It wasn’t bad at all. The fact that the first Jurassic World was in an amusement park on an island again was redundant. We get it! Amusement parks don’t work! Stop it! *Laughs*. On the other hand, they went down a new route, and I enjoyed it.

In terms of albums, I’m going to go with the first Gesaffelstein album Aleph. That album left a mark on me. There are a few artists that made me want to make electronic music. There’s also Vitalic with OK Cowboy and The Toxic Avenger with his first album. These are my three go-to albums. I listen to them all the time. When I say I’m an obsessive person I mean that I can keep listening to these albums over and over.

You said earlier that you’ve been listening to the new Gesaffelstein record a lot lately. What’s your perspective on it? It hasn’t been very well received, I must say.

It took some time to digest because when you think of Gesaffelstein your first thought goes to the music from his first album, which was amazing. It was heavy, but it also shifted from heavy to soft, and that’s what I like. I love these versatile artists that manage to keep a consistent feel between softer and heavier sounds. We were expecting him to come back with the super dark sound he’s become known for, so to have him come back with a more “commercial” approach is obviously bound to let people’s expectations down. It took some time to digest. At first, I was also pretty bummed, but I gave it another few listens and found it to be really well done. I don’t enjoy it nearly as much as the first album but there are a couple of tracks that I do really enjoy.

Book-wise, I read very little. I studied literature in High School and I used to read a lot but after that, I just stopped. I got sick of it. With that said, there was a time when I used to read a lot of crime novels, like those by Jean-Christophe Grangé, like Blood Red Rivers… I also read through the first three Millenium books in a couple of days. Those books really left an impression on me.

Special Thanks to Remy and to Sierra.

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This months Retro Motors looks back at some of the best cartoon vehicles. Again the 80’s and early 90’s were the host to an abundance of all action vehicular combat based cartoons; ranging from the absolutely absurd, to some of the finest animated work to date. Taking a look over what people consider “The best cartoons” today, it’s clear to see that we have moved away from the more classic storytelling and instead opted for balls out, physiologically unsettling and surreal. Back then it was good vs evil, David vs Goliath, man vs machine- or a mix of all three. Not only did the majority of these cartoons tell of a great adventure or explore some primal instincts but they also looked damn cool.

A group I wholeheartedly feel should exist in real life is M.A.S.K (Mobile Armoured Strike Command). If money were no object I’d mobilise a team akin to M.A.S.K and chase ivory poachers with a flying Camaro that shoots rockets. People like Elon Musk think they’re doing the world a favour by producing silent cars and an underground tunnel, but I feel if I was wealthy enough, people would much rather watch a live feed of me in a flying Camaro bombing Japanese whaling boats.

Thunderhawk

No list of the coolest cartoon vehicles could end without mentioning Transformers, although my favourite robot was not only a bad guy but was never a vehicle in the first place. Sound wave, for me, always stood out for the fact he decided to talk through a vocoder and his arsenal consisted of a massive cannon and weaponised cassette tapes.

Yet no other cartoon character made such an impact on me than Optimus Prime. I seem to remember entering a Video Nest here in the UK and choosing a film for Friday night with my dad. From Thundercats to HE MAN, Jason and the Wheeled Warriors to Teenage Mutant Ninja turtles. What could go wrong with a full feature length film about these mighty metal heros? Optimus Prime could go wrong, that’s what.

Optimus Prime

There are some people who still believe that certain human beings, deceased yet period correct, still wander the earth as ghosts. It is believed that certain spectral entities come back with such tasks as moving trinkets, walking without purpose or simply switching on and off the lights. They may be one of the most underwhelming myths of the natural world but the Ghostbusters on the other hand are real and the film is a masterpiece. The Real Ghostbusters was the name of the animated series and what a series it was- exploring further into the characters whilst retaining all the fun and bizarre ghost stories of New York City.

Ecto 1 is a Cadillac- in case you didn’t know. Miller-Meteor, the famous coach builder, designed and manufactured modified versions for businesses who required a classy looking vehicle as big a boat. It had been used as an ambulance-come-hearse in some states of America and became infamous when it starred in the Ghostbusters film. The unforgettable wail of the siren and the bright colour scheme are as iconic as that silver car from Back To The Future.

Ecto 1

The best Batmobile has been and gone when Michael Keaton drove it back in 1989. Long, black, sleek and sexy, complete with mounted guns, turbine and armour plating. Since then the Batmobile has gone from looking like it runs the city, to something that looks like Super-Goth is trying to compensate.

A little later in 1992 Batman the animated series was launched. A beautifully animated, well scripted; timeless, moving comic, also featuring its very own Batmobile. In keeping with the gothic art deco style of the series, the Batmobile of this era is a brutal looking, four wheeled slab of a car. Housing what appears to be a monstrous V12 and with all the essential gadgets like teargas, bullet proof armour and missiles. The dark deco style was inspired by Tim Burton’s work and in my opinion deserves a live action version someday, if only to see the car for real.

The Batmobile

Not exactly a cartoon, more like an animated schizophrenic episode- Akira is an extraordinary masterpiece of technical ability, eccentric storytelling and cult imagery. Any New Retro Wave fan will tell you, the Neo-Tokyo setting is an unnerving mix of real world imagery and sci-fi elements that blend in such a brutal way, it’s going to leave a mark.

My lasting memory of the film however was not the face melting fight sequences but the bike. Kaneda is a young teen with a bad attitude. He’s also the leader of a biker gang who take no shit when it comes to the open road. His chosen chariot is renowned even before you get to see it. Rumour has it this thing was a 200mph, electronically driven sports bike. Whatever it is, it’s one of the coolest animated vehicles to date. Some die hard fans of the franchise have spent thousands creating exact replicas. It has even inspired Honda to create something that closely resembles Shotaro Kaneda’s iron horse.

Kaneda’s bike

These vehicles were at first animated, then became toys and now in some cases would become a reality. I may not be able to have my very own Batmobile but I’ve always thought cars and bikes bring adventure and can become a very real emotional attachment. I hope that even with the decline of fossil fuel burning vehicles, we could see a revival of memorable characters and and equally as memorable vehicular concepts.