retrofuture – NewRetroWave – Stay Retro! | Live The 80's Dream!

Cyberpunk 2077 – The Official E3 2018 Trailer is HERE!

NewRetroWave — Mon, 11 Jun 2018 16:36:53 +0000

Feast your eyes on this! It looks fantastic and will certainly be worth the wait! There is no set release date yet, but this is looking like it will make a lot of noise once released.

Thoughts?

Blade Runner 2049 – Trailer 2 is Now Online!!

NewRetroWave — Sun, 16 Jul 2017 23:43:01 +0000

More stunning visuals!!!! This movie looks promising! Let’s see what Leto will do.

What are your thoughts?

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All Night Long – SKEOR

NewRetroWave — Mon, 27 Mar 2017 20:24:20 +0000

Presenting…

ALL NIGHT LONG by SKEOR

This piece is amazing guys. Get lost in the feels and do use it as your wallpaper! 😉 The Retrowave vision continues to florish!

Genesis (2017). Directed by David Placer

Sam HaiNe — Thu, 23 Mar 2017 20:26:15 +0000

Somewhere between Richard Stanley and Mamoru Oshii and set in the same universe as a William Gibson novel from 1984 is GENESIS, a slick short film from David Placer that just premiered on youtube just a few weeks ago and already has earned a little over a thousand views and counting.

I first became aware of this film through an active cyberpunk blog Neon-Dystopia. It took no effort at all to sell me with a dialogue free plot that centers on the ideas of human or nonhuman consciousness evolving into a higher state through the mainframe of the digital matrix. The pacing is just right and the seven minute runtime neither felt rushed or forced upon me; rather it gave the piece just enough breathing room to say what it had to say in retro grandeur. And at three in the morning I was compelled to search social media for whoever was behind this film. By 8AM I found my man and decided to pick his brain.

Sam Haine: Tell me about yourself – Where were you born? What did you do as a child that began your interest in film? Favorite things to watch on television, movies and the like?

David Placer: I´m from Madrid, Spain. As a child I loved series like “Dragon Ball” or “Knights of the Zodiac”, full of violence and blood, so they were prohibited by my parents. As I grew up, the search for violence and blood became a priority, movies like Predator or Terminator were prohibited at home, so I watched them at some friend’s house or with my grandfather, like a secret. Everything I wanted to see was prohibited, so I became obsessed with movies like “A Nightmare on Elm Street”, “Robocop”, “Conan the Barbarian”… so here is when I think started my interest in film.

Sam Haine: What were the inspirations for GENESIS?

David Placer: From mangas like Biomega (aesthetically the character of the Motorist comes from here), comic authors like Alejandro Jodorowsky and his vision of science fiction, in some way the idea of a fusion between souls in the cyberspace comes from his influence, his ideas like creation comes from pure love, that is what the Genesis character means to me. French authors like Moebius too. The idea of he perfect being that is the character of Genesis at the end, comes from the film “The Fifth Element”.

Sam Haine: The first time I watched GENESIS, I immediately felt like I was watching a film made by the film company VIDMARK Entertainment. Were you familiar with this company?
David Placer: Not really, more with Trimark Pictures, Canon, Orion…

Sam Haine: I see influences from films like Hardware, Lawnmower Man, Johnny Mnemonic and most obviously Ghost in the Shell. How much did these influences help with the creation of GENESIS? What other influences did you draw from?

David Placer: The Terminator for the motorbike scenes is a good example, but is more about all the universe that exists with the 80´s movies about aesthetic, cinematographic language, characters, mood and feeling, and music.

Sam Haine: Most of the story is told through music and visuals. Who decided the music for GENESIS? The film score really cements the setting of the story.

David Placer: The composer is Siddhartha Barnhoorn, I let him know that I wanted an 80´s sound that fit with the image, and the points where the story needs more drama or action, and he did the rest, creating a music that flows with the images, I gave him some inputs, thats all. Is important the work from Dave S.Walker with the sound desing too, his sounds makes it feels real.

Sam Haine: A more direct question – Why did you make GENESIS?

David Placer: Well, I´m always doing short films or music videos, and I always wanted to do science fiction because is my favourite film genre, and when I discover all this retro wave scene years ago, all this music, a clik comes to my mind, I started to remember why I was doing this, all I loved in my childhood is very conected with this music, so I find and old but new universe where I can do the science fiction that I want to do.

Sam Haine: Are there any future projects that you are working on?

David Placer: For my, see Genesis is to see the birth of a hero, would like to see where this hero can go now, what kind of powers she/he has, and why is in that world.

Sam Haine: What does Cyberpunk mean to you?

David Placer: The fusion between flesh and technology. To see humans develop themselves through technology.

Watch: Genesis (2017)
Starring – Girl / Genesis: Natalia B. Herraiz.
Motorist: Emilio Caparrós.

Directed by David Placer.
Produced by David Delgado.
Music by Siddhartha Barnhoorn.
Director of Photography: Ana Ramos.
Art Director: Julián López.
Sound Design by Dave S. Walker aka Kyoto Dragon ( https://www.facebook.com/kyotodragonlord/ ).
Edition & VFX: David Placer.
Assistant Director: Alfonso Ruiz.
Assistant Art Director: Kike Rodriguez.
Runner: Pablo Couto.
Red Dress by Amaia Relloso.
Raiders: Sebastián Moreno & Pablo Couto
Original Soundtrack: https://siddharthabarnhoorn.bandcamp.com/album/genesis

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Hello, World!

Retrowave Testarossa

NewRetroWave — Fri, 17 Feb 2017 17:43:13 +0000

Florian Renner’s Retrowave video spanned a lot of inspiration and heavily impacted color schemes/ visuals for artists creating in the scene. Arslan Safiullin channels Florians’ vision with an incredible revamp of the Ferrari Testarossa sports car.

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Lazerhawk – Dream Rider

Filip Galetic — Mon, 23 Jan 2017 18:52:26 +0000

The Champagne of Synthwave

Written by Filip Galetic

Art by Defte

A lot has changed in synthwave since 2013, when Lazerhawk’s (until now now, last) album Skull and Shark came out. The genre has in many ways matured and a whole new generation of listeners and producers has joined the fray. Since then we’ve had the emergence of the dark synthwave, as well as an immense proliferation of synthwave artwork and synthwave music creations. What this resulted in, is that the tropes of the scene have solidified more than ever in the last 3-4 years. No one expects anymore an album cover NOT to feature some sort of a sunset scene or a laser grid. The naming convention based on combo of Neon, Night Drive and any given year between 1983 and 1987 has become a sort of an inside joke on the scene. Lazerhawk’s last album could even be seen as one of the culprits for the upheaval of the new (at the time) “horror” strain of synthwave.

This wasn’t surprising as by then he was already firmly rooted as one of the founding fathers of outrun synthwave and one part of the Holy Trinity of artists gathered around the mythical Rosso Corsa Records (others being Miami Nights 1984 and Mitch Murder). In any case, those were still more innocent times and so one of the questions attached to this hugely anticipated album by one of the original greats of the early 2010s synth…wave was:

How is he going to sound today? What can he do that hasn’t already been overdone, covered, remixed, borrowed and brought to the point of parody by many of his “lesser” scene compadres? The answer comes at the same time as a surprise and as a natural progression of his output that makes perfect sense:

The synthwave demigod has returned in full force. Dreamrider suffuses LH years of producer expertise and creates a thoroughly complete body of work that is in every way more than the sum of its parts.
It’s an album in truest sense, built around a single central thread: LH’s undeniable mastery of the form. Don’t get me wrong, this isn’t a typical themed LH album. All LH albums had a strong theme, yet this album takes everything he has done so far and creates something new that cannot be really named. It dispenses with the, in reality, silly idea of making either a “space” album, or “driving” album or a “romance” album.

The sounds he paints could easily be found in a movie about a tryst gone bad, or one with an urban car chase or even a sci-fi thriller with unimaginable vistas. Above all, it’s an album about making the best possible tribute to the classic synthwave form. It favors repetition over random stitching of song parts that don’t go together, gradual-build ups of texture over brash showing off of technical skills. If there wasn’t the LH logo on the cover, you might mistake it for a random release by a scene hopeful releasing their album from their bedroom. But what you actually are getting is something like champagne of synthwave.
Slow burning, but oh so rewarding. This isn’t an album for synthwave producers, the structure might seem simplistic, but that’s the point. LH didn’t make this album so he can flex his muscle on a FB synthwave producer forum with other C category music makers, oh no. He does this because he is on a mission to create the most beautiful and transcending soundscape possible. Grand but at the same time very introspective. The compositions are full of subtle emotion and LH skillfully plays with our expectation through clever use of repetition followed by unforeseen shift in tonality and mood.

A case in point is the beautiful sprawling Cruise which in hands of a more rookie producer would have been just the same plodding motif built around the same hook, maybe enhanced with some additional licks here and there. But LH is in it to tell an emotional story and so the shifts in mood within a track can totally catch you off guard. Take for example the title track, a percussion-less study of harmony and subtle feelings that cannot be named. This track will at the same time make you feel like you suddenly understand the meaning of life and have you realize the ephemeral nature of existence. Back are his signature guitar riffs that made Star Hustler such an epic track – my personal favorite from the Visitors LP. It appears here and there but in the best way on Cool Breeze, which could have been another vocal track easily.

The only vocal track is the third one with GUNSHIP which succeeds at being more than just an interesting experiment. Lazerhawk has a better grip on the song structure compared to GUNSHIP on their first record, which was great but a little all over the place in comparison. Coupled with just the right lyrical balance between simple and embellished, it’s a welcome proof Lazerhawk can do more than just Lazerhawk. After the Moroder-esque REM, comes one of the strongest tracks on the album, the warped Mirror Between Worlds that evokes images of some off-world drama with some truly unique chord progressions. The closing track – Dreams in the Dusk – at first feels like an odd choice with its morose and defeatist mood. However, eventually it becomes clear it’s not as it seems. You will just have to listen to find out why.

10/10

Dreamrider by Lazerhawk

COMMUNITY RATINGS

A Glimpse at a Neo-Noir Future

Sam HaiNe — Mon, 09 Jan 2017 20:25:26 +0000

After the financial disappointment of 2016’s World of Warcraft, it seems Duncan Jones will be returning to familiar territory with his upcoming straight to NETFLIX feature titled MUTE.

Inspired by both Blade Runner and Casablanca, Mute is described by Jones as the spiritual sequel to his critically well received debut film Moon (2009) but any details about Mute taking place in the same universe is still undisclosed.

What is known is that Mute takes place about forty years in the future and stars Alexander Skarsgård as a mute bartender investigating the disappearance of his partner. This journey into the underworld of Berlin is where he meets two surgeons played by Paul Rudd and Justin Theroux who may or may be on his side. Also signed to the cast are Noel Clarke (Dr. Who, Kidulthood), Daniel Fathers and Florence Kasumba. The cinematography will be helmed by Gary Shaw who worked with Jones on Moon. And Clint Mansell (Requiem for a Dream) who also worked with Jones on Moon as well the upcoming Ghost in the Shell live action film.

Netflix plans to release the film in 2017, it will be released online and will also have a limited release in theaters.

[Source: http://ew.com/movies/2017/01/06/alexander-skarsgard-duncan-jones-mute-first-look/]

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OUTSTANDING RETRO PICS OF THE FUTURE

NewRetroWave — Tue, 26 Aug 2014 17:19:00 +0000

ENJOY!

SAM HAGGBLAD HAS SOMETHING SPECIAL IN STORE FOR THE 2014 RETRO SCENE!!!

NewRetroWave — Fri, 24 Jan 2014 02:35:00 +0000

WATCH THIS SPACE FOLKS!!!

MORE NEWS TO COME!!!

NRW

GET LOST IN STARFORCE’S EPIC NEW VIDEO!!

NewRetroWave — Mon, 04 Mar 2013 03:49:00 +0000

THIS IS A BEAUTIFUL VIDEO TO GO WITH AN AWESOME RECORD.

LOOK OUT FOR STARFORCE’S ALBUM “OMNIVERSAL OSCILLATIONS” WHICH DROPS ON MARCH 4TH 2013…THAT WOULD BE TOMORROW OR TODAY…DEPENDING ON WHAT TIME YOU READ THIS!!

😉

NRW