9. John Mint – Modern Appeal

8. Com Truise – Arwarw

7. Kavinsky ft. Cautious Clay – Renegade

6. Arcade High – Glow

5. Phaserland ft.Glitbiter – Space Glide

4. Cinnamon Chasers – Lightchaser

3. Niky Nine ft.6S9– Warr

2. Starcadian – Neonhead

1. Waveshaper – The Phantom Machine

10. Dynatron – Origins

9. Hollywood Burns – Saturday Night Screamer

8. Eagle Eyed Tiger – Untether, Unravel

7. Starcadian – Culture

6. Waveshaper – Client

5. Gost – A fleeting Whisper

4. Kavinsky – Renegade

3. Quixotic – Highway violence

2. Sierra – All about love

1. Waveshaper – The Phantom Machine

Honorable Mentions

• Perturbator – Death of the Soul

• Danger – Haven Virtual concert

• LAU – True

At what point did you decide that radio would become central to this new Starcadian chapter?

It was on Christmas of 2012! I had just wrapped up Sunset Blood, which was my first foray into electronic music. I was literally learning the concepts of synths as I was writing songs. As I was writing the album, I realized that it was shaping up into a mythology. It was during that time that I started writing the first iteration of ‘Satellites’. As I was writing the mythology and planning what I would do with Midnight Signals, I realized that it would all culminate into the concept of Radio Galaxy: frequencies, feedback loops, time loops, causalities…

Has ‘Satellites’ kept the same role and position in the Starcadian narrative?

It has. That song is pretty key to tying everything from the first single ‘He^rt’ to Radio Galaxy. It forms a loop. The way I formed it in my head is that Midnight Signals I and Radio Galaxy form their own loop, and the entire trilogy is Sunset Blood looping back into Radio Galaxy, like a sub-loop and a loop. There are subtle mirrors and reflections between all three albums to tie them together. I have this obsession with Leitmotivs and I made sure I put all of my creative efforts into coming up with them in beginning and distributing them as I formed more and more of the consecutive albums.

 To what extent do you let musical experimentations guide or change the narrative you set out to tell?

Funnily, I did it the most on Sunset Blood and cut it off after Saturdaze. I had a massive collection of songs in the beginning that I retrofitted into a narrative. Once I did that, I started actually building a narrative, which was spurred by doing the ‘He^rt’ video. Ever since then, I’ve basically been laying down a set number of tracks, each with a brief description of how they sound, their cadence, tempo, their narrative lows and highs. I will basically write to that. I also have a pretty comprehensive sketch library where I pick stuff, but when it comes to the narrative I think the overarching story defines things more than the sketches I have at my disposal.

Would you say this approach helps you or is it merely a necessity for the vision you’re aiming for?

I feel it’s a wonderful way to sabotage yourself if you really want to deliver something fast. This is the best way to not do that because it adds the complication of making sure everything ties together and stays consistent. It’s tough when you want to break off and write a bossa nova song or a spaghetti western song. The more weird and extreme the music, the more I’m into it. I relax to the weirdest shit I can find. Whenever I see a framework, I have a tendency to kick sand at it and build things upside down. That’s my instinct at all times. That’s something I keep to myself, I don’t put it on the audience. I fight that battle in me, and hopefully, the resulting product is somewhere in between commercial and completely uncommercial weirdness.

 What was it like working on this album with Rob O’ Neil? There must have been some extra constraints in creating an album at such a particular time.

You would think it would hinder us, but the reality is that this is how we’ve always worked. We used to work together before moving to LA. Back in 2010, he texted me telling me he had just found a cockpit for 200$, and that’s basically where it all came from. I never saw him once during the filming of ‘He^rt’. He bought the cockpit, he shot the raw footage and I edited it together, added the visual effects, and that was it! The only time we didn’t shoot something separately was on Freak Night. I flew out to LA in December 2019, which was very lucky timing. We narrowly missed the pandemic.

Other than it being, in my opinion, your most ambitious album to date, I also feel like Radio Galaxy sounds more diverse, dynamic and somehow more guitar-oriented. How would you describe the arrangement and writing process compared to your previous albums?

You’re completely right, it’s definitely a lot more guitar-oriented. I originally played the guitar, I didn’t play the synth or the keys at all, but there was a point in the mid-2000s’ where society decided that we were over guitar music. I think it was during the unfortunate time of dubstep and EDM hitting the charts, which unfortunately shoved guitar out of the door. On the other hand, it also allowed me to open my mind to different instruments and different production techniques, which led to Sunset Blood.

 I never quite left the guitar, but I put it down for a little bit. Radio Galaxy marks me coming back in contact with my guitar playing roots, connecting to the spirit of Soundgarden. There’s a lot of Soundgarden on this album. The first CD I bought was Superunknown and it completely defined the way I write lyrics and music, the way I think about signatures and bars… You can definitely hear it on ‘Gutter’, for instance.

I’m still learning how to be a musician and how to write songs and albums. Radio Galaxy is me simplifying but also expanding at the same time, starting with a strict pentatonic guitar-minded way of composing, doing the chord progressions with my hands and leading with my voice rather than writing completely with my fingers on the keyboard and thinking about it in an Ableton, music-production way. It was very freeing. It gave me a new lease in songwriting life. I believe it’s really important for a writing musician to put down their preferred instrument and pick a completely different one. It will completely change the way you structure songs and stories and lyrics.

 Some songs even feel like they could be played by a full band.

I think that comes from shedding some of the layers. Sunset Blood with maximalist, layered decadence and Midnight Signals pulled it back a little bit. As you grow, you try to learn to be more scalpel-like with your compositions and instrumentation and shed the layers. I think that this was me subconsciously thinking in band terms.

Musicians talk a lot about the ‘rule of threes’ where you should at all times hear three distinct elements to a song. You don’t need more, the human mind can only focus on three. That principle somehow bore itself into my brain and I held myself from adding too much stuff. Tracks like ‘Lovebeats’ have very few layers. It’s just something where I just wanted to get the point across as simply as I could.

 Another noticeable shift marked by this album is its red album cover, a radical departure from the predominantly blue tones of previous releases.

It’s funny that for all the meticulous planning I do, that’s the one thing I didn’t notice until I put the album up on Bandcamp for pre-order. I told myself “Huh, there’s a distinct lack of blue in this, sh-t!” *laughs*.

I would love to say that it was intentional, but it was probably just another subconscious way of shedding the same thing. Midnight Signals was more in the same pool as Sunset Blood, but it was a small, subtle attempt to nudge people out of it with songs like ‘Polyana’ and ‘Trapped in America’, stuff that wasn’t necessarily 80s-inspired or in my usual sound. It was very intentionally peppered there to prepare people for songs like ‘I Demoni’ or Shadowcatcher from last year. It was a gentle way of pulling the listeners in the direction that I want to go towards while keeping my style. I think it was the same deal from a visual perspective. I love dark blues, but this cover felt more like the panic attack that I wanted some of the songs to feel like.

 The song ‘Neonhead’ sounds like a term you’d use to describe a fan of retro-synth music, the same way metal fans are referred to as “metalheads”.  The line ‘I am Neonhead’ even reminds me of the opening quote in Black Sabbath’s ‘Iron Man’. Does any of this make sense to you?

You’re pretty close! I really enjoyed writing the lyrics to that song. The reason why I call these songs “ear-movies” is that I like to put myself in that mental space when I write them. For this song, I got stuck in this Lovecraftian, neon-soaked cosmic horror world as I was writing it. The metal and Synthwave worlds have such a big overlap, so I put myself in the shoes of 15-year-old metalhead-me and how badass it felt singing ‘Sabbath Bloody Sabbath’. That’s what I was aiming for.

To me, ‘Neonhead’ is the sound of a neon-soaked live show 20 000 leagues under the sea, surrounded by bioluminescent Lovecraftian monsters.

 Whereas some of your previous songs such as Trapped in America carried a serious message through a heavy, ominously themed track, it seems like some of your harshest bits of social criticism on this album derive their power from the fact that they’re set to such upbeat, funky tracks. Was there a conscious decision to play on this counterpoint?

Absolutely! I actually got a tweet from a fan today that illustrated this point pretty well: “Only Starcadian can make music that kinda calls me out but also makes me dance to my own flaws”. That’s more or less what I was going for.

I’m not going to sit on a twitter-throne and judge people for specific things, I’m going to call it out with a bit of comedy and satire. Neither ‘Culture’ nor ‘Propaganda’ are me chiding people telling them to not appropriate or start a youtube channel. It’s all stupid. The offensive things that people do are stupid, and the way you’re reacting to them, even though you’re correct, is stupid. It’s all stupid and pointless. So just dance.

It is interesting that a lot of people read ‘Culture’ and ‘Propaganda’ as a critique of Republicans and Far-right people. It’s more about the 15-year-old teenagers that ape and assimilate working-class culture, turning it into an expensive hobby while the actual working class is suffering because of those upper-middle-class families. These kids will make a Youtube channel where they talk about self-fulfilment, self-healing grifts and hustles. It’s all done on the blood of people that don’t do that kind of stuff; people that make your coffee and lunch, drive you to work, clean the building that you work in…

 The Internet is a weird place to be in, hence the lyric “the web’s a big mistake”. I feel like your only two options are to either go full alt-right incel, which is the worst possible option you can have, or get into left-wing socialist twitter, where moderation and common sense is out the window.

It’s a very bizarre landscape to release any kind of art into. The only way to break out of that binary classification of art is to adopt this jester-like ribbing of both sides of the argument.

 People are lonelier than ever. We’re starving for real conversation, real contact and the only way to do that is to post a hot take for people to interact with you. Democratized art is just piling up, desperately slicing throats and punching babies to get to the top. When I was a kid, “selling out” was a bad word. Right now, people would kill for a sponsorship or promoted video. It’s embarrassing. But because that’s a reality, the only way to stand out from the crowd is to say something genuinely stupid, controversial and out of bounds to get people to talk about you.

 Amongst the most notable features of this album are the inclusion of new instruments, most notably on ‘Cannibal Gods’. How did these enter the picture in terms of arrangement?

I found myself in the middle east during that same Christmas in 2012 as I was writing ‘Satellites’. I spent a lot of time there as a child. I’m from Greece, which is a big melting pot of Middle-Eastern and European cultures due to it being conquered by the Turks, Venetians, Moors etc. So a lot of our music is based on Middle-eastern instruments. For instance, the Oud is the predecessor of the Bouzouki, which is a Greek instrument.

 It was natural for me to at least do a song where I have a lot of instrumentation that I’m comfortable and familiar with. While I was in the Middle East, I started writing tidbits of that song and trying to imagine what would a Justice song sound like if it was written by Tinariwen. That more or less describes my influences: the Middle-Eastern cultures that I grew up with and French Electronic music.

As with ‘Neonhead’, the phrase ‘Cannibal Gods’ bopped into my head as yet another Lovecraftian cosmic horror vision.

That particular song’s arrangement of traditional instruments and modern sounds actually reminded me of Sepultura.

I love Sepultura! One of the big influences on this album was Sepultura and Mixhell, which is Igor Cavalera and his wife Laima Leyton’s current band. I actually played with them in the Underworld in London. They’re the nicest people on the planet! They have this song called Antigalactic which I’m obsessed with and that was very much inspiring a lot of the songs on this album. One of my favourite albums of all time is also Against by Sepultura. It’s very percussive, full of unimaginable triplets and syncopations. It definitely inspired quite a bit of Radio Galaxy. 

Without a doubt the craziest track on the album is the second to last song, “I Demoni”, named after the Italian translation of Dostoïevky’s novel. It feels very Giallo-esque with some Italian Prog influences. How did this song come about?

It’s definitely inspired by Giallo and Night of the Demons. I think this song marks the first time I thought to myself: “F-ck it, I’m just going to make the music I really want to make and not think of it in terms of aesthetics and vibes”. That made it fit even better into the album, weirdly. This is purely distilled Morricone, Mr.Bungle, Goblin and the oodles of metal that I listen to. I approached it as a Goblin song being produced by the band Jamaica. Visually, the song is essentially a splatter-fest in a room full of demons in the last ten minutes of a Giallo movie. 

Last time we met, you mentioned that your next songs were going to have some Mr.Bungle influences. Listening to this track, it finally started to make sense. Stylistically, it is easily the most radical shift you’ve done so far.

That’s not going anywhere. The next time I feel like doing something like that, I feel like it will go even further. I don’t know what ‘further’ would sound like, though. It all goes back to that ‘itch’ of wanting to do an album that everyone’s going to either hate or get super confused by. How much you curb that instinct defines you as an artist, I find. If you don’t have that instinct, that’s just weird. Aesthetics is basically how much you allow your mind to deviate from what’s expected of you.

To finish off, can you give us an album, book and film recommendation?

It’s sad because I used to read two books at a time, but Radio Galaxy took up so much of my time that it took up most of the time I wasn’t spending on work. I did listen to an audiobook of Easy Riders, Raging Bulls by Peter Biskind. It’s about the rise and creation of New Hollywood, started by Warren Beatty, Francis Ford Coppola, George Lucas… it’s a monumental telling of how New Hollywood took over.

While I was doing Midnight Signals, I kept noticing that my ‘Discover Weekly’ playlist kept recommending New Disco to me. Ever since then, all of my recommendations are Joe Jackson, Dr.Feelgood… all power-pop, punk, metal and guitar music in general. I think I’m finding my inspiration in guitar music again, just like the good old days.

Film-wise, I’m still in the same space as before. I’m done with American cinema. I think I’m firmly entrenched in Asian and European cinema. I’m just exhausted by Marvel. I’m even exhausted by A24.

My absolute favourite filmmakers right now are Justin Benson and Aaron Moorhead. They made a movie called Resolution and a sequel called Endless. Their first two movies are the most groundbreaking films I’ve seen in a long time. It doesn’t get more meta than those movies. They delve into the nature of films and their viewers, looping and rewatching a film. It very much informed Radio Galaxy and the whole mythology. Their stuff is incredibly exciting and it’s uncategorizable. I don’t think those two films can ever be popular, but they’re a mine for ideas.

 Thank you to Starcadian for taking the time to answer our questions!

 Starcadian ‘Radio Galaxy’ is out now via Bandcamp and Spotify.

Cinematic, heavy and irresistibly funky, this latest iteration bears the unmistakable mark of the enigmatic space-lord. Loyal fans will no doubt shiver and shake it utter delight at the disco-funk riffs of ‘Culture’ or ‘Lovebeats’, basking in the awe-inspiring magnitude of ‘Gutter’ and ‘Satellites’ along their sonic journey into deep space. Between these familiar marks, however, lies an entirely new land to discover and marvel at. The esoteric twists and turn truly start to take over on the album’s fourth track ‘ Cannibal Gods’, which enters to the sounds of eerie detuned synths before kicking into high gears with distorted basslines, scintillating synth leads and middle-eastern instruments.

The record keeps throwing fresh ideas at you, adding a fresh, exciting touch to each track whilst keeping a purposeful, coherent flow throughout the album’s runtime. ‘I Demoni’ acts as the album’s narrative culmination and will without a doubt go down as one of the craziest Starcadian songs to date.

With Radio Galaxy, the masked synth lord marks the grand return fans have been waiting for

whilst indulging in some of the project’s most progressive and experimental pursuits to date.

Rather than cater to the songs he’s built his name on, Starcadian has dropped a record full of twists and turns that you simply cannot do without after your first spin.

Starcadian ‘Radio Galaxy’ is out now via Bandcamp and Spotify.

Though their appearances have been fewer and further in-between as years have gone by, fervour and interest in the duo remained unwavering. From talks about an ‘Alive 2017’ live tour, a new album in 2021 to the most recent rumours about a possible appearance during The Weeknd’s Superbowl Halftime Show, not a year has gone by without some form of speculation about the French duo’s return.

To begin to describe Daft Punk’s impact would amount to enumerating several generations’ worth of musical evolution, from the French Touch movement to modern hip-hop. Needless to say, the debt owed by the Retrowave scene is immeasurable, outweighed only by the legacy the group will have left behind. With aching hearts and decades worth of cherished memories in our minds, NewRetroWave reached out to some colleagues and friends in the Retro scene to pay tribute and share their testimonials about what Daft Punk’s music means to them.

As for me, Daft Punk was one of my earliest and fondest childhood memories.  In an age where vanity trumps substance, they are a reminder of all the miracles that music can achieve when fueled by passion and integrity. Having been shunned by French music executives too stubborn to dream, the duo has gone on to reach stratospheric heights that their naysayers still dream of even coming close to. More than mere commercial success, the story of Daft Punk is a musical tale unlike anything the world has ever seen, an intergalactic transmission of love and unity for the whole world to hear.

Favorite track : Something About Us.

To me, Daft punk were a huge influence on my music taste. Way back in the 90s before synthwave and even electroclash was popular they were doing retro (80s) inspired house music. They were a precursor for my musical tastes to come in the next 2 decades. With the Tron : Legacy soundtrack they really showed how versatile they can be making one of the best OSTs of all time.

Favorite track : Da funk

Marko Maric
(Synthetix Sundays host)

To me, Daft Punk is the mother of all epic French Electronic music. I have admired Daft Punk for years and beyond, especially as a teenager when I was lost and didn’t know which musical direction I should be heading. Then Daft Punk came along and made my heart dance. Releasing timeless songs that will stand the test of time. What an inspiration! All songs are safely stored in my random access memory.

Favorite Track : Around The World

NINA

To me Daft Punk is an Electronic Force that shook the world.

They really opened my ears to electronic music when I was younger. Sure, there were other electronic acts who were making music, but the Daft Punk sound really resonated deeply with me. Around the World was on constant repeat in my house that it would drive my parents mad! lol. They are a huge inspiration to many and ultimately have had a HUGE influence in music.

 

Favorite Track : Around the World

DJ Ten
(Artist, Founder of NewRetrowave & NRW Records)

I love the composer/director combo! I’m not a musician but I like to think that you kind of turn into one whenever you direct a film by guiding and influencing the work of the artist set with the task of composing the score.

With Daft Punk, I feel like these two worlds were intimately linked. You can obviously see it in their Interstella 5555 film that draws directly from their own repertoire, but this relationship also transpired through the robot personas that they portrayed in their music videos and in real life.

I think that the news of their separation had such a strong emotional impact on some of us because it felt like the end of a great film we’ve been sitting through for nearly 30 years…

In that regard, the ‘Epilogue’ video was a perfect way to end the feature film.

Favorite Track: Aerodynamic

Seth Ickerman

To me, Daft Punk is the real good reason to be proud of France. We once brought Kavinsky to headline an electronic music festival in Normandy. He mostly played his friend’s music, throughout his set with the occasional Rage Against the Machine track every now and then. That night, we were treated a 100% pure Kavinsky-type set. He also played some Justice and all1800 people went crazy! Being the organizer, I was busy sorting a bunch of different issues when I suddenly heard the crowd go even crazier and saw the pit go wild. Kavinsky had just followed up Justice with a Daft Punk track. It must have been ‘High Life’ or ‘Crescendolls’, I don’t quite remember. It was a song off of Discovery. We were in a small province of about 100 000 inhabitants, 15 years after the album’s release… The mere fact that one of Daft Punk’s friends came and played one of their songs made everyone lose their minds! That’s the power of Daft Punk, the legend. One year later, after diving deeper into Kav’s album, his history with Oizo [Mr.Oizo, aka Quentin Dupieux], Guy Man … I started Retro Synth Fury with Johann of Drive Radio [aka Absolute Valentine]. Since then, all of the artists we received at our RSF shows unanimously mention Daft Punk as one of their biggest influences.

To me, Daft Punk is my entire childhood. From when I was five, I was competing in gymnastics and I would hear Da Funk play every time during the intermissions. They would also play ‘Around the World’ and even some tracks by Jean-Michel Jarre!

Favorite Track : DIGITAL LOVE – Daft Punk represents my first love. When Discovery came out, there came a downpour of hits on every French radio station : there was obviously ‘One More Time’,  a more discrete ‘Aerodynamic’, then came ‘Digital Love’… Every day around 5pm, I’d sit at my windowsill and wait for the girl I had a crush on to pass by my street, and ‘Digital Love’ would play every single time she’d pass by.
I didn’t understand a word of English at the time, I didn’t even remember the name Daft Punk. But with time, I realized that the lyrics to the song were the exact reflection of what I was feeling at the time. It’s amazing to realize how universal their music is. Even without understanding their lyrics, their music manages to convey a message. Lyrics aren’t typically  all that important in electronic music, but even on that aspect they managed to hit a bullseye.

Anthony Retro Synth Fury

To me, Daft Punk is the best live show I’ll ever see. Seeing them in the Nîmes Arena was an unforgettable experience. I discovered their music through Homework and they made me realize that it was possible to make music at home, and that’s how my home studio was born. I also really loved the Tron Legacy Soundtrack, a great score from top to bottom that still influences me to this day.

Favorite track: Harder, Better, Faster, Stronger

Absolute Valentine
(Artist, founder of Lazerdiscs records, co-founder of Drive Radio)

To me, Daft Punk is audio engineering that changed electronic music forever. Their use of filters and compression is unmatched and more influential than any other electronic sound in the last 30 years.

Favorite song: Crescendolls

Starcadian

To me Daft Punk is the genesis. As one of my earliest experiences with electronic music, their sounds were immediately captivating and set me on the path leading to where I am today. The friends I would meet, the interests I would develop… who I would eventually become. The Robots are partly responsible for all of it. Adieu my friends.

Favorite Track: High Life

Andrew Zistler (NewRetroWave Music Editor)

To me, Daft Punk is 1995, when I was 12 years old. I didn’t really listen to music at the time, but I’d occasionally skim through the radio channels on my parent’s old stereo system. One day, I came across ‘Da Funk’ on what must probably have been NRJ Radio. I remember being struck by the sounds, by the overdriven TB and the super heavy rhythm and bass section. Back then, we didn’t have Shazam or the Internet to identify songs, and it took me ages before I found out what I had just heard. It was one of my biggest frustrations at the time!

Favorite Track: I think that my favorite track is ‘Something About Us’ for its terrific bassline. I’m fortunate enough to own speakers through which they sound particularly good, and it’s always a pleasure to re-listen to that song. Furthermore, the song appears on one of my most cherished albums, an that album continues to inspire me to this day.

Maethelvin

To me Daft Punk, was some sort of melancholic tea cake of Marcel Proust. There was a bunch of stuff that annoyed me with Daft Punk, but the whole electronic and especially all the retro-driven electronic scene owe them a lot. They democratized electronic music to an audience larger than anything we saw before and largely popularized the concept of faceless musicians, which, as you can imagine, vastly participated in my vision for Carbon Killer. Their most melancholic tracks that I initially didn’t really like, are for years now, evocating the slowly fading memories of a warmer time in my life, and I do enjoy a lot to give them a listen as a way to time travelling to those moments… Godspeed, robots !

Favorite Track : If you want to travel too, listen to « Something about us »

Carbon Killer

To me, Daft Punk is my youth. The first track I heard was ‘Da Funk’, and then ‘Around the World’. I didn’t know what a vocoder was. Homework felt like a revolution. Discovery was an evolution.
Favorite Track : Veridis Quo

Makeup and Vanity Set

Daft Punk to me is music I’ve been carrying in my record bag since the release of Homework and Discovery. As a dj I love playing Daft Punk in my set. Whether it’s ‘One more time’, ‘Aerodynamic’, ‘Revolution 909’ or ‘Robot Rock’ to name a few.. for me each Daft Punk track is a gem. Play one of these or any of their tracks in a club with a good soundsystem at the right moment, at the right time.. you reach total euphoria. Daft Punk’s music gets the crowd going! People love it. Honestly I think it just feels right to me for them to close the book. They’ve done it all there’s nothing more to add, proof or show.. this is it and it’s epic!

As a club night organizer. “Daft Punk vibes” is what I tell people not familiar with electronic music, when describing our Night Arcade club nights in Amsterdam. Who doesn’t know Daft Punk!

Favorite track: Short Circuit

Devereaux 85
(DJ & founder of Night Arcade Nights at Melkweg Amsterdam)

To me, Daft Punk represents an era, a generation! I’ve always been drawn to their distinctive sound, it’s unique and instantly recognizable. I love all of their albums but the one that left the biggest impression on me was Discovery. Their collaboration with Leiji Matsumoto is simply magical and so organic. It was a big influence on me for my Supernova albums. I discovered Daft Punk in the Nineties when I was starting out as a DJ. I had heard a few of their tracks off of Homework that really left an impression on me, but ‘Rolling & Scratching’ is the track that got me definitely hooked! People would go wild whenever I’d play it live. The groundwork was set and that’s when I knew that I needed to follow in their tracks. I was lucky enough to see them onstage in Nîmes in 2007. It was simply fantastic… an unforgettable audiovisual experience. I also got to meet Pedro Winter in Cannes, who had a great role in their career and who is a terrific guy.

Beyond their musical input, the band were unanimously loved for doing what they felt like doing! They turned down huge deals and collaboration offers that any artist would go crazy over and they set their own rules. They didn’t follow anyone, they’re the ones that people followed. They left with beauty and class and the whole world is paying tribute to them. As for me, I thank them for their career. The world will have known a great (French) group whose music we’ll keep playing over and over and bobbing our heads to.

Favorite track: That’s really tough. I’m torn between Digital Love (the Supertramp gets me every time) and Too Long (And Romanthony’s magical voice on Discovery).

Morgan Willis

To me Daft Punk is the reason I got into electronic music and also into producing…heck even my mask is heavily inspired by them 🙂. They are and always will be my gold standard when it comes to electronic music, be it production, song writing or style.

Favorite Track…jeez, thats hard, but it has to be Robot Rock 🙂

Powernerd

To me Daft Punk is all about evolution. Constantly evolving their sound and changing the industry with every release. They were pioneers and true game changers, reviving long dead genres back into the mainstream for new listeners with fresh ears. It was the soundtrack to my youth. Beautiful memories featuring a Daft Punk backing track. It’s a sad feeling knowing I’ll never see them live. It’s been one hell of a ride. Thank you for the music.

Favourite Song: Technologic / Aerodynamic

James Secker
(Film Producer & Director, Organiser at Retro Future Fest)

To me, Daft punk is a duo that established themselves as an internationally recognized household name from the very start of their career. Through their combination of quality and simplicity, they paved the way for a number of French producers alongside Air, namely Justice and Kavinsky. Without Daft Punk and Pedro Winter’s management, these acts would have probably never made it outside France. When pretty much 95% of successful acts in France sound more or less like carbon copies of what’s going on in the U.S, it’s a real pleasure to see French artists making an international breakthrough and setting a precendent with their own style.

My first great memories of the band happen to be their first ventures on screen, namely with their all-round great music videos for Da Funk and Around the World. Through their slick, unconventional and very artsy visual aesthetic, people quickly picked up on their need to do things differently, to add a certain depth that was often lacking with most popular electronic music acts. They steered clear of pop music clichés where everything is about money and sex, whether implicitly or explicitly.

My favourite release of theirs is paradoxically one of their least popular ones, the Tron Legacy Soundtrack. I didn’t really like the film but the Soundtrack is sublime. I’ve listened to it hundreds of times and I will never grow tired of it. It’s definitely one of their most Cyberpunk and epic releases. Before I started Fixions, I’d spend a lot of time listening to that album as well as the first Fever Ray album, so those two albums are huge influences for Fixions.

Favorite track: Outlands

Fixions

To me, Daft Punk embodies the mystery, the coolness, the world-class musicianship, the groove in electronic music. Those instant hits you can’t help but dance to. Incredibly catchy tracks that effortlessly stay in your head for days and days.

Favourite track: Instant Crush (feat. Julian Casablancas)

LAU
(Artist & founder of Aztec Records)

Carpenter Brut – Blood Machines
(The only reason this isn’t #1 is because it technically isn’t a music video, and it’s currently not available to stream. Check out the website here to see it when it becomes publicly available!)

Jack Stauber – Baby Hotline

Confrontational – Happy Children

Korine – Elegance & You

Top 10 Retrowave Music Videos of 2019

10. Deadlife – Nothing Left But Pills

9. Morgan Willis – Lets Go Together

8. Futurecop! – We Belong (feat. Parallels)

7. Starcadian – Freak night

6. Glowline – Glow with Me

5. Carpenter Brut – Leather Teeth

4. Com Truise – Ultrafiche of You

3. Alex & Tokyo Rose – Affliction

2. Ollie Wride – Back to Life

1. Michael Oakley – Left Behind

Leake Streets’ brick-walled halls glowed with majestic, electric neon lights, paving the scenery with the perfect ambience to greet the fans and their colourful attires. Artists, staff and fans all mingled together and shared drinks throughout the night, whether it be at the bar, in the concert hall or at the popular cardboard arcade, and every square inch of the venue was filled with a palpable sense of love and passion, for a shared sense of nostalgia, for a past we may or may not have known. Those lucky enough to have wandered through the halls at the right time will have even run into a fully armed T-800 Arnold Schwarzenegger impersonator shouting classic Terminator catchphrases and posing for pictures alongside festival attendees, begging the question: what more could you want out of a Retro-themed music festival?

Presided over by emcee DJ She-Ra whose tireless work ran all throughout the night, the Synth marathon ran uninterrupted for twelve hours, from dusk till dawn. As any connoisseur would have guessed from the lineup announcements for the festival, RetroFuture Fest left no room for disappointment in its running order of artists. Whether you like your retro synth music funky, sparkly, epic, funky or downright pitch-dark, the festival had you covered and then some, featuring just about every type of lineup you could think of onstage. Amongst our top three personal favorites in the festivals’ flawless set of shows, Sunglasses Kid pumped the funky vibes up to critical levels with a set featuring guest vocalist SJBRAVO and dancer Jean Frais, Lebrock destroying the stage with some of the most epic vocal performances we’ve ever seen at a Synthwave festival, and Danger unleashing the nights’ monumental finale with the heaviest set of all.

Although this marked our first time as attendees, the loyal Retro Future fans were unanimous in their verdict; the festival had once again outdone itself with this third edition. As for us, we’re certainly looking forward to seeing how its organizers plan on following up on such a tour de force. Young though it may be, Retro Future Fest is already well on its way to becoming a landmark event in the Synthwave music scene.

See you next year!

All Photos by Robin Ono

All Rights Reserved.

How’re things? What’ve you been jamming on your way here?

It’s funny you ask that, because I was talking about that on the way here. I cannot listen to music anymore; I’ve managed to ruin music for myself [laugh]. When I listen to music, it’s “research” now. When I hear a really good song, I’m like “Goddamn it. How do I top that?”, and if I listen to a really bad song I just go “ugh, why is this popular?!”. If I listen to some of my own music I get frustrated at the production. So 99% of the time, I actually listen to podcasts now [laughs], and while doing that there’s another part of my brain that’s composing music. I start thinking about song progressions and somehow find a way to link it back to the subject I’m hearing about in the podcast. It’s like I always say: a butcher doesn’t go home to eat steak. Your vocation is rarely your hobby.

Is this a recent thing or has it somehow always been this way?

I think the more seriously I start thinking about music and where to take it into new, interesting, fresh places, the more I feel the need to compartmentalise it and keep it in a specific pocket of time in my day. It keeps it focused, it makes it a ‘craft’ rather than a hobby. Besides, we’ve all been inundated music. Everyone has a band right now and there are too many things to listen to. If I can get on Spotify, that means everyone can get on Spotify, and there’s no quality control, so you have to sift through a lot of bad music to get to the good stuff that will inspire you. I try to really curate and moderate what I listen to, and how much. Even when I find a song that’s super inspiring, I actually limit myself to limit to it once every two days, otherwise you get “numb” to what makes the song magical. When I listen to it, it just pops out more and it doesn’t get boring as quickly, because that tends to happen a lot.

The main acts you play alongside on tour and in festivals are generally labelled as Synthwave. Does this heavy exposure to this one style and aestheti c hinder your ability to find this space to develop your own distinct identity?

Sort of. But the thing is that I’m so pathologically stubborn that there’s absolutely no way that I can get “persuaded” to switch lanes. At the end of the day, I want to make the music that I want to make, and I really don’t care if it sells or not. That’s why I haven’t really dipped my toes in Synthwave. I don’t really “gel” with the sound that much. My references just seem to be on a very different trajectory from most of Synthwave. Not better, just different. So I never really feel threatened by being too much “in contact” with the scene. If anything, it just confirms in my mind that I’m just weird, that I listen to weird shit and make weird decisions in music. Most of my albums have orchestral overtures, and I had a manager for a very brief time and he wasn’t too sure about that decision, but his going against the idea made me really want to do it! [laughs] If you don’t want me to do it, I’ll do it twice over! If you tell me to make more Synthwave like ‘Pompey Pirate’, I’m going to make a polka album, just to fuck with you! It’s going to bite me in the ass eventually! [laughs] But that’s what you do to keep it adventurous.  As a musician, when you’re writing, you want to be in the unknown. If you have the same basic Synthwave sounds and samples you’re going to make the same song again and again. It will sell in the circuit, but circuits all live and die. Songs are supposed to go on further than that.

Whether we were born in the eighties or not, everyone has a different perspective on what the Eighties and Nineties felt like and what aspect of pop culture left the biggest impression on them. Is there anything you’d like to see more of in this Retro and Synthwave scene?

That’s a really good question! It’s one that I’ve been thinking about for a long time. I think Synthwave is verging on becoming Hair Metal at this point if you know what I mean. I really like Hair Metal, actually, but there was a point where there were too many imitators. Sure, you had Guns N’ Roses, but you also had Ratt or …

… or Stryper!

Stryper! Oh God! A shiver went down my spine when you said that! [Laugh] You had a lot knock-offs that were really bad, but they also had the same producers and the same gear. It was just a bloated mess of an industry. The only thing that killed it was Nirvana.

My problem about the Eighties resurgence – which has sort of come and gone at this point, as we’ve moved on to the Nineties resurgence – is that it made people cling on to a romanticised version of the Eighties. People keep repeating “We want the Eighties back!”, and all I’m thinking is “Alright, guys! You got the Eighties back!”. Instead of Reagan we have Trump, the economy is down the shitter except for the 1% who’s having a great time, we’re out here asking who’s the most coked out and who’s got the weirdest fashion sense… It’s the Eighties again! Music is all about decadence. Trap is no different than hair metal! It’s all about opulence. All the signifiers of late-stage capitalism are still here. It’s not only in Synthwave. We wanted to re-live the Eighties because as kids we were pandered to. We were being raised at that time and we thought the Eighties signified safety, but the decade had a big, dark undercurrent, economically and culturally. It was shit back then, except for the rich people!

So you’re saying that you want a grittier, more grounded representation of the Eighties?

I listen to a lot of stuff that has a lot of weird, edgy lyrics or album covers, but I think that at this point in time artists have a moral responsibility to put out shit that either gently guides people towards something with meaning. They shouldn’t be irresponsible with the message they’re putting out. If all you’re putting out is “my dick is three miles wide” and “everything is neon and everything is great!”, you’re pretty much feeding opium at that point.
I could’ve gone full steam with a thematic soundtrack to all of these things, but I really needed to have songs like ‘Trapped in America’, which is basically claustrophobia. It’s about being trapped in this economic system that follows you even outside of America. What is popular in the US will be popular in the rest of the world, unfortunately, or fortunately. Everything is a butterfly effect. Musicians are a cultural frontline for what you should be putting out there.
I think pandering has become a point of desperation for big brands at this point. The whole Marvel Cinematic Universe is based on pandering rather than making movies that piss you off for a good reason. The best films I’ve seen lately are Mother! And Hereditary. Those movies will give you a panic attack if you truly understand what they’re telling you. I was in pieces by the end of Mother!, I was balling my eyes out. On the other hand, movies like Infinity War are straight-up heroin.

What about the new Star Wars trilogy? On one hand, The Force Awakens was criticized for pandering too much to its audience, whilst The Last Jedi got slammed for taking too many liberties.

What’s funny is that I went to watch The Last Jedi with my best friend – we were both huge Star Wars fans back in the day – and we thought it was really fun! I thought it was a little bit weird that Luke died without us noticing too much, but other than that I thought it was great! I posted on my social media about how I thought it was a good movie when I got back, and suddenly a truck full of shit unloaded on my feed. People were like “No, no! This is why your childhood was raped. This is why this is bad and everything is ruined for everyone”. What movie did they watch? I believe that’s just a consequence of where we are with the Internet. We weren’t ready for the Internet. It’s the big tragedy. I would be nobody without the Internet, I made my name with the Internet and yet I would give it all away if it meant that people would be sane again. They just don’t know how to handle it. I grew up at age without the Internet, without cell-phones, so I learned how to live and have fun without all of that. My nephew started swiping and unlocking I-Pads when he was two years old, and it’s really impressive, but what are we going to do when we don’t have it.

It’s the most natural thing in the world if you grow up with that technology. You could even argue that phones have become an extension of our body.

The worst part is that it’s an extension of their opinion. People get their opinions online and the more people yell, the more they believe that particular opinion. Take Star Wars, for example. Maybe it’s not a bad movie. Maybe it’s just not your thing, and maybe you shouldn’t send death threats to people.

Given that there’s this catering towards instant gratification, how do you position yourself with regards to expectations when writing music?

Writing an album is a bit of a long process for me. I need to get all of the shit songs out of my system first [laugh], then I can start figuring out what every song needs to be about. I just can’t bring myself to sit down and write a song that’s just about everyone having fun and everything being great. There needs to be an undercurrent to everything. I have tons of sketches and ideas, and I have to sit on them until I find that connecting “link” as to what it’s about. Once I do that with every song, I need to figure out how to blend them together into a story that fits what’s come before all of the other albums and write a script. It’s a very articulated, intense process to tie everything in together.

Last we heard, you were about half-way done with the second part to Midnight Signals. What can we expect from this new instalment? Were both parts composed together?

Yes, that’s part of the reason why it took two years to make Midnight Signals. I basically wrote both albums together. I am one song away from finishing Midnight Signals II, but things can change. You sometimes find out that one song just doesn’t work anymore and you have to write a new one. This second part will basically be a ‘dark mirror’ to the first. Every song will have a counterpoint and will be connected narratively. It’ll basically be a ‘flipped’, darker and heavier version of the first album, more of a deep dive. There’s more influence from artists like Soundgarden.

Given that your releases follow the same narrative; do you have the entire storyline fleshed out or do you expand it as you go along? Has it evolved from what you had originally set out to make?

Yes to all of the above! Me and my co-director Rob O’Neill basically started with the narrative on Sunset Blood and when it came to Midnight Signals we wrote the entire mythology. We have a script for Sunset Blood and its prequel Midnight Signals. Everything connects and follows this pretty meta-narrative. ‘Freak Night’ is right at the end of Midnight Signals, so they connect that way. The interesting thing with that video is that it feels like a straightforward Eighties movie throwback, but it’s not. There are ways that the concept has branched off in many unexpected ways that I didn’t see coming. One of the recent things was the importance of Sigils. I’ve been researching and looking into the theory of practice of Chaos Magick. There meta-concept of a belief system. It’s definitely informed a lot of what we’re doing with the overall narrative. I’m letting it sit for a little bit though. Hopefully, we’ll get some more attention with the Freak Night video and get the opportunity to tell the full story. It’s super fun.

So you’re still pitching the film project as we speak.

We’re pitching it left and right like crazy, hoping to get some catches. We’re trying really hard. It’s all part of the process, really. You have to get to the point where people get really comfortable with the idea, especially the people that fund these things, as they want to make sure that people really want to see it. The more attention we get from our videos; the more chances we have to tell the whole story. Otherwise, we have other options to tell the story. We could go another way, whether it be with comics or with a video game … Whatever helps us tell the story. That’s what matters.

This reminds me of an interview I did with Coheed & Cambria. The singer is based in Brooklyn as well and he’s been putting out comics for the whole Sci-Fi saga he’s created with the band. They’ve been trying to get a feature film project off the ground for a few years now but it looks like they’re facing a tough road.

It’s hard to invest in new intellectual property nowadays. They want the remakes and they want the sequels. It doesn’t make any financial sense to them so I’m not going to blame them, because it’s their money. On the other hand, this goes back to what I was saying earlier. People need to push themselves to look for more adventurous things rather than get the same old placebo and stick with a genre or whatever you’re used to. It’s good to do something that will piss you off or make you feel weird. It’s a good thing.

Open access to music and film has unfortunately led to tighter budgets and thus tighter ‘risk management’ for film and music.

That’s exactly what it is. They will market things that they know will make money for them. I go out of my way to find weird Indie Horror movies and I usually have to dig through articles, podcasts or Reddit threads to find good recommendations. I’m not going to get it from what’s being advertised to me, that’s for sure. It’s the same with music, too. It’s a shame. It used to be blogs that people read daily, but now it’s just Youtube and Spotify. That’s how you get the maximum advertisement. The devaluing of all art-forms really is biting us in the ass. It’s not like we didn’t see it coming, but this is where we are now. We can’t get any original ideas off the ground. We still do it though. That’s why I had the big graffiti in the ‘Interspace’ music video that said ‘We will still be here’. I have a day job and I’m clearly not going to be Daft Punk anytime soon, but I really don’t care. I’m still going to make the music because I’ll go crazy if I don’t. I need it. If people like it, that’s amazing, but if they don’t that’s okay too. God knows there are other bands they can listen to [laugh].

So how did you meet Rob O’ Neill, and how did you know that you’d be able to pull this ambitious project together?

That’s easy, he was my teacher in School, back when I was getting my Master’s degree in VFX. He taught scripting and coding for 3D. I’ve always struggled with trying to find out what I want to do for a living. I didn’t know if I wanted to be a filmmaker or a musician or do some job that actually pays [laugh], and he was the one that made me realize that I could be all of those things. You can actually have a mathematical brain and do art. His future wife was the assistant chairperson in the department I was in at Brooklyn’s Pratt Institute. We really connected and I ended up helping him do a bunch of research. He gave me the time and space to sit in a corner and code and come up with cool stuff. He also ended up giving me my Green card and my first job.

I was making wildly different music to Starcadian before that. I started working on the first song while I was working at his company. Eventually, we moved on to different companies, but one day he texted me saying “Dude, I got a cockpit!”. He works at Dreamworks in L.A. now, and he got a cockpit for 200 bucks. So we started working on a video together. We came up with half of the mythology of Starcadian real fast to justify using this cockpit. This was before Sunset Blood. ‘HE^RT’ was just a single. To this day, Rob has been the star traveller guy with the helmet in every video.

I stole time in my company’s render farm to render all of the 3D I had to do for the video, overnight. I snuck in, edited it and rendered everything on their systems. It was so fun and so intuitive. Whenever one of us gets stuck on something, the other person fills in and finds a solution. It’s a very organic back-and-forth. It’s a very fertile relationship with regards to where to go, visually, how to branch things out or pivot stuff if we don’t have the money, which happens all of the time.
We were chased by cops whilst shooting ‘Chinatown’. Apparently, you need a permit to film for everything. The live show in ‘Chinatown’ happens at the back of a diner. We had no idea until we showed up. So I had to digitally add dozens of people to make it look better. We’re both pretty good at staying on our toes and flipping ideas.

Given that the visuals and the music are so closely related, is there a specific order in which you work on each, or are there any back-and-forth re-adjustments that happen?

Usually, it stems from the music. For ‘Freak Night’, Iconoclasm – who did the cover for Saturdaze and is the creative director for a lot of our stuff – had the idea for this monster prom. I thought it was really cool so we went for it. ‘Freak Night’ might have been written because of that idea that she put in my brain. We were building monsters and we were getting ready to go, but then someone sent me the video to ‘Pressure’ by Muse, which features monsters at a prom. I just remember walking through union square and just losing it. I was thinking “Oh my God, we have to cancel the pre-production!”. Luckily, Rob told me to calm down and suggested the idea of it being an underground club rather than a prom.
Usually, I do write the music with some ideas in mind, so I try to put the concept for every song in the song already, to have a starting point. When you’re DIY, one of the main things is that you make sure you film videos according to what you can afford to shoot in. If you have a cockpit, you film a spaceship. If you have a warehouse, you film a nightclub.

Alright, on to my closing question: can you name one of your favourite albums, movies and books?

Sebastian’s Total. It’s one of those things that’s so perfect and well done that I hate it. There’s no way anyone can touch that album. I think it’s a modern masterpiece. The only thing I’m annoyed by is that he didn’t include a song called ‘Threnody’ on it. It’s a 13-minute song which includes this sample from Penderecki. If he played that song in a club, no one would stick around, but on the thirteenth minute the track just drops like a classic Sebastian beat drop and it’s magical! That’s the only thing I can think about to say about Total.
Film-wise, I would say Mother. It’s one of the films that shook me the most, lately. Besides that, there’s Labyrinth [laughs].
Book-wise, I was a pretty big fan of The Thief of Always by Clive Barker. That’s a really great book. It’s a pretty glib answer though, so I will also add Condensed Chaos: An Introduction to Chaos Magic. It’s a really great book. It’s a very heavy book, it can be hard to understand sometimes [laugh]. I appreciate reading what people think about it. It helps you realize how much of an optical illusion perspective is. It makes you look and think about things a different way. At this point, I can’t even read fictional books because I’m trying to focus on my own stuff. So I mostly read non-fiction or philosophical stuff like that to keep me interested.

Special thanks to Anthony and Jet Set Trash for helping make this Interview happen. Get well soon, Zak!

Live Photos taken at Retro Synth Fury 2019.

Maethelvin

As promised, Valerie’s Maethelvin delivered an entirely reworked sound, pushing past his all-too-mimicked compositions and delivering an Italo-laced dance mix that took the room by storm. Grimlin’s following set provided a pretty sharp turn towards darksynth’s heaviest sounds, whereas Reno kept the sonic aggression going with slick, dark techno tracks with thumping industrial beats and a good dose of bestial energy. We’ll be keeping an eye on these young talents, and so should you.

Grimlin

Reno

Night number two got off to a great start, as Parisian fans flocked to the Petit Bain, queueing at the doors to catch NINA’s French live debut, who proved to be a tough act to follow. The mood was set and the energy soared to the sounds of smooth, catchy Synthwave pop ballads, each one catchier than the next. Opening shows are notoriously challenging, but Nina and her partner Laura got the ball running at high speed from the get-go. Fortunately, it appeared that every subsequent act on the bill was well prepared, each one awaiting their cue to keep the pace up in this crazy marathon.

NINA

Laura (NINA)

Morgan Willis followed things up with a brand new set unveiling his brand new record The Jenkins House, mixing his fresh dancefloor bangers with some old classics from Supernova and even a cut from Miami Calling.

Morgan Willis

The masked, vocoder-powered space-jockey Starcadian took over the dancefloor, starting with the whimsical, awe-inspiring ‘Interspace’, leading into an increasingly heavy hitting set full unexpected of twists and turns. It takes a bold, wicked mind to mix Ronnie James Dio’s ‘Holy Diver’ vocal tracks, but it takes a genius to turn the heavy metal classic into a James Brown funk banger. It’s only blasphemy until you realize it actually works.

Starcadian

Sung took over the night with some solid retrowave tracks that got the venue floors trembling from the ecstatic fans, followed by an equally hard-hitting set of syncopated low-end bassline attacks by Christine.

Sung

Yx

Finally, Yx from Paris laid down the last fix of nocturnal vibes of the night with his first ever live show. Nervous but focused, the young artist had a lot to live up to but proved his case to a slightly tired but no less supportive audience.
Last but not least, it would be a crime to omit the tireless efforts of Anthony, whose DJ sets kept the energy going between each and every set throughout both days.

Anthony

With just over 13 hours of live shows and DJ Sets, this Retro Synth Fury Festival left little room for disappointment and a whole lot of expectations in the minds of every attendee who embarked on this journey alongside us.
We certainly can’t wait to see what the next edition will have in store for us.

Special Thanks to Anthony, the staff at Supersonic, Le Petit Bain and all of the artists.
All photos by Robin Ono. 

10. Dynatron – Throttle
Up

4. Marco Maiole – Pollen­

Listen and download here!

Starcadian’s new album, “Saturdaze,” is an homage to Saturday morning TV, but that’s just where this collection of music begins. This album’s intensity is not to be trifled with! The beats kick and run free; these are all songs you could tear up a dance floor to. The real gem, however, is the layers of instrumentation and FX. The whole album lifts you up, with never a dull moment. “Saturdaze” keeps you on the plateau.

“Ultralove” launches us forward at a decent pace, only for “Dance Or Die” to throw us into breakneck speeds. The beats kill, compelling you to move your body. There is no escape; the drums hit you and it’s unstoppable. The high end is nice and clean, with a gleaming and surprisingly modern edge to the instrumentation that doesn’t shave anything off the retro feel. “Money” is a darker, mid-paced track that nonetheless builds well and creates its own excitement. More crisp synth and sampling, with a lot of great vocoder work.  Things pick up again, and heavily so, with “Alien Victory,” a superb track and possibly my favorite on the album. It is full of energy and triumph, and again compels you to tap your foot (or more, if you’re not sitting down at a keyboard). Midway through, it explodes into a wordless anthem, a victory march without words. It is truly exceptional, full of heart. “Entoptica” cools us back down, but trust me, there is nothing boring here. Rich, layered sound and a steady, walking beat drive us gracefully into the album’s final track, “Heart.” Beginning with a thump similar to that of the namesake organ, it comes in with soft, golden tones to lend a tasteful and memorable end to the album. One could even imagine it as the end credit music for a wonderful cinematic story, complete with soft sunset shot. More excellent voice work on “Heart” as well.

“Saturdaze” injects a bit of modern sound into retrowave, and Starcadian has done this more tastefully than imagination itself could conceive. Both an excellent follow-up to “Sunset Blood” and a majestic work on its own merit, “Saturdaze” is worth listening to, front to back, beginning to end.

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