Saturday, May 30, 2015

Synthetix Sundays

Synthetix Sundays is rockin with another kick arse episode on Radio Pure Gently!

This week on Synthetix Sundays we have interviews with Occam's Laser and James Greb the man behind awesome new retro racing game project Power Drive 2000 which features a who's who of our very own synth producers!

Plus special extended interviews with both Alpharisc and GosT!!

Also tune in for exclusive tracks to air from Killstarr, Omega Danzer and Timecop 1983 featuring Dana Jean Phoenix!

Plus we have the regular Synthetix Spotlight, Quality Time With Shithouse and of course Paul Dress 2 Kill Daly and Marko has a tonne download codes to give away!!

Tune in to Synthetix Sundays LIVE on Radio Pure Gently here, at 10pm Perth, Australia time. Please click here to find out when this is in your part of the world. As always the fully downloadable show will be posted here on Monday, along with the featured tracks from Quality Time With Shithouse.

Quality Time With Shithouse featured tracks:

And remember, please hook me up with your music directly via email here or the contact form on this page if you'd like the chance to have your tracks considered for next week's Quality Time With Shithouse.

Thursday, May 28, 2015


Turboslash – EP I
By Chris “Python Blue” Day

It’s great to see when new people start making an appearance to give some fresh air to any scene. That being said, upon discovering “EP I” by Turboslash, I was very pleasantly surprised by how well-produced it was.

While the tags for the EP include “darkwave”, I don’t consider it as relentlessly dark-sounding as Perturbator or Carpenter Brut, which is not a bad thing. In fact, while it kicks off with a track reminiscent of typical dark synth (“Deathracer”), half of the tracks sound fairly light-hearted in melody (particularly “Vice Point Illumination”), even if a somewhat foreboding arrangement a la Gary Numan’s remakes of his classic material. There are also some other nice twists in the tracks; “Red Dragon” fails to make the listener bored with its changing rhythms. “Nostalgia Polyglider” definitely speaks for itself, and “Night Drive” is most definitely the most in-line with traditional synthwave in title, while “Sputnic Sunrise”’s haunting chords bring a pretty powerful finale to the EP.

“EP I” by Turboslash is very highly recommended by Synthetix.FM and is available on Turboslash’s own Bandcamp page here.

Ravenh0lm - Electromagnetic Radiation EP
By Kaleb Alfadda

Ravenh0lm describes himself as a Musician from Dublin, Ireland who mainly writes Synthwave with "the occasional trance and techno tracks". A fusion of these two styles is evident in creating the atmospheric and incredible harmonies in his latest EP 'Electromagnetic Radiation'.

Beginning with 'Pulsar', the song bleeds with the feelings of a synthpop hit. Gracefully arranged with warm analog sounds, such as creamy poly synths, it gives a feeling of a spaciousness. It always amazes me that Ravenh0lm can use maybe 2-4 synths at most and still get such a rich sound.

This attention to symphonic-esque detail carries over into 'Vega', the second song of the 3 song EP (yeah, it's that short). Immediately grabbing your attention with a hypnotic Kick & Bass beat, the song slowly unfolds, building you up then letting you fall when the song hits the 2 minute mark. After inducing you into this dreamlike state, an absolutely beautiful arpegiatted melody brings a smile to your face.

'EMR' the third and final song off this EP bolsters with an Outrun type of feeling. With Ravenh0lm's usual atmosphere in place, we get a sense of heroism and danger in 'EMR'. Tied together with a funky percussive beat that tastefully fades in and out throughout the song, It's a perfect ending to this short EP.

At the end of the album, you're left wanting more. Not because of the length, mind you. Trevor 'Ravenh0lm' Bracken manages to create almost 17 minutes of music in this EP, and with songs filled to the brim with atmosphere, each planting itself into their respective audio range, giving the EP something I can only describe as an 'Electronic Symphonic Experience'.

This album comes High Recommended from Synthetix.FM. Pick up a copy on his Bandcamp here.

Destryur - Endurance
By Jason Taylor

Endurance, the new EP by Destryur pays homage to classic 80’s movies like Iron Eagle and Top Gun, all the while tipping its hat towards some EDM and Techno moments.

This 4 track EP covers all the bases if you will to what we now consider to be classic synth wave, but with a slightly more anthemic vibe, prevalent in tracks like ‘Endurance' and ‘Sleeper'. ‘Vanish' morphs around dancing wavetables, and then my favourite ‘Deathwave' is quite brooding and has an interesting tonality.

Endurance is what I would call technically proficient, clean, full, solid production, everything is where it should be, and to be honest that’s what disappointed me a bit. I was left feeling like I wanted more, no boundaries are being pushed here but at the same time I don’t believe it was meant to be, this is meant to be classic synth wave in it's finest form. This is definitely a soundtrack to throw on while catching up with mates and sinking a few brewskies, but also quite enjoyable while playing classic fighter jet games, even Capcom’s 1942. Highly recommended from Synthetix.FM.

Pick up a copy of Destryur's 'Endurance' here.

Mitch Murder - Selection 3
By Jerry Herrera

There are a lot of us that owe Mitch Murder a debt of gratitude.  Without him or guys like him, say, Kavinsky, the genres of synthwave and retrowave may never have taken off the way they have.  We’re pretty damn legitimate now, and I think we’re on the verge of serious recognition and our storied and glorious history can be traced back to a very small handful of guys and girls, one of them being Mitch Murder.  This does not mean that I will be less critical of his current efforts.  If anything, I took a hard look at Selection 3 because now there are dozens of producers out there that are innovating and creating stuff far beyond what we could have imagined and Mitch has to keep up now.

Introduction is what it says it is, a little riff that one might find when they pop in a VHS tape before their movie starts.  Melting Point is a soft, easygoing cruise that features really beautiful melodies and warm, fuzzy basses.  It’s very summery, like audible sunlight.  Knight Rider Theme is, well, the Knight Rider theme.  A pretty faithful recreation plus some choice vocal clips from the Hoff himself.  The Lost Patrol Theme got me really excited.  It’s an Amiga game from 1990 that is one of the first games where the ultimate goal is just to survive.  Mitch pays homage to a lesser known retro classic in grand fashion.

Savage has a bit of a spookier edge to it.  It’s horror outrun, with the same tempo and melodies you love about outrun but with the sinister thematic elements that draw you into horror synth.  Ocean Avenue dials back the ominous atmosphere but still keeps the tempo up with a breezy bit of synth funkiness.  La Morte Della Speranza is probably my favorite track on Selection 3.  It oozes atmosphere and belongs on an Italo Horror soundtrack.  It’s moody, rainy, grim without being too dark, and the production on the track makes it feel like you found it in a dusty old trunk in an attic.

Guile’s Theme is what it’s advertised to be, updated for today.  It still goes with everything.  Mitch’s remix of Kiezsa’s Hideaway is a good example of his overall talent, not just what we hear on Selection 3.  The original was itself, to me, a throwback to a 90’s vocal dance track and for that I liked it.  As a current EDM offering, though, it felt weak and sort of insulting in its popularity when there are some real innovators putting out great music.  In this remix, the retro flair is pitch perfect and in many ways takes the producers of the original to school on how to make a catchy dance track.

I have to say that there isn’t a lot on Selection 3 that pushes the boundaries of the genre.  However, what Mitch does, he does extremely well.  He’s a guy who knows what to do and how to do it and his tracks will always have that feeling of effortlessness to them, and effortlessness is only achieved after you’ve put in a lot of hard work.  In the end, when people ask us what our genre is all about, we’ll always point to Mitch Murder as our prime example.

Mitch Murder’s Selection 3 is available on his Bandcamp page here and is very, very highly recommended by Synthetix.FM

Tuesday, May 26, 2015

Action Jackson Goes Back To Miami For The Kill

By Matthew Black

Action Jackon is most definitely an artist imbued with a textured, storytelling longevity and an ever transforming creative worth. These traits powerfully coincide to fuel and coax each other in a symbiotic manner transporting a wide and varied catalogue of retrospective ideas, scenes, moods and auditory imagery into our present day world. At this still energised enth of his musical career he has presented our sonic palette's with his cinematically charged, neon basked new release Miami Kill.

Miami Kill is a 10 track Summer inspired slipstream sailed through the saccharin glimmered waters of mid-80s Miami. Emblazoned with everything from 8 and 16-bit melodic jolts of electricity harkening to video game arcade soundtracks like Streets of Rage and early Nintendo tunes as well as Italo Disco, Canon Group scores and even in parts tipping the Ray Bans to minimalism king John Carpenter.

I've found this release has taken me on an exciting, eclectic and adrenalised emotion driven pendulum ride from laser ladened, high paced action tracks building to wild momentary crescendos like 'Dead List' to heady moments of scene stealing glory such as with 'US Flag' and 'Shooting Range'.

Balancing action cop movie tension with it's paradise etched backdrops Miami Kill also includes tracks such as the beach blessed, scenery sleek 'Palm Kill' replete with found sound subtleties offset by lusciously lulled cruises through mind's eye night drives with 'Beach Reload'. This whole release gathers together a cornucopia spectrum of moods and modes creating rich visuals harkening back to any and every movie that ever burnt electric across an eighties action cinema screen.

This is an all encompassing, sensory lavishing storyline set to bask even the stillest night with fluorescent charged imaginings and fever pitched car chase pace from aim to fire. Dark streets deserve bright lights down distant asphalt eternities and Action Jackson's Miami Kill guides you all the way back to the breeze cool coastline with nothing but vivid melodies driving on your radio dial.

Action Jackson's Miami Kill album is presented on his Bandcamp page here and comes very, very highly recommended from Synthetix.FM.

Saturday, May 23, 2015

Voltage Controlled Communiques

Hello there rockers, there's no Synthetix Sunday this week due to Marko being ill, so I thought I'd post some bits and pieces from what's happening around scene.

Donate A Track For UK Mental Health Awareness Week

This project of James Mairs' has been gather momentum beautifully over the last week and he's back with an update!

Hey guys this is just an update from me (Nostalgic Fantasy). For those of you unaware, last week was mental health awareness week 2015 here in the UK. And the key focus about promoting the subject was mindfulness and consideration because you never know what it's affecting people on the inside.
And so last week I started an initiative to try and get as many producers involved as possible called "Donate a Track" It started from Friday the 15th and will run right up until the end of May/ early June. Through this time I am trying to raise awareness for Mental Health 2015 by trying to rally as many producers as I can to donate a track, and also spread awareness about the subject and the cause itself.
Since Friday what I have been looking to do is build an open playlist of donated tracks within the genre of synthwave or 80s's based synthmusic in support of mental health awareness and spreading happiness through the power of music.

Music to a lot of people including myself can be a very personal thing, it can be very comforting and it can mean escaping to somebody else's world if not for a short time. This playlist is open to anyone who wishes to add to it but its only for free downloads. And mainly must be within the 1980's synthmusic/synthwave genre however I've made one or two exceptions to accommodate a few people who put themselves forward and wanted to contribute. If you would like to donate a track use the tag "DonateATrack" within you're soundcloud upload and I will add it from there.

Or If anyone wishes to get in touch with me they can also PM me on soundcloud or drop me an email here.

I must say I am truly astounded by the responses I have been getting so far !! The number of people who have agreed to step in, and have been willing to help and get involved truly made me speechless and I am ever so thankful for their generosity and understanding.

I have been working close with Rick and Synthetix to try and get as many people/producers on board as possible since last Friday and I have had many responses from people approaching me with their stories about how mental health has affected them and their families. And just hearing that makes me appreciate just how personal it can get for some people. Mental health is very close to me and I feel it is an important message to get behind, music brings us all together and that's really what I am trying to promote through this.

If you would like to learn more about mental health and find support please check out these links below.

But, as I say right now I am just awaiting submissions but I am keen to keep pushing the idea further and spread the message. It's not too late to get involved and I am truly thankful for all the support people have given me so far and In the words of the two great ones be excellent to each other.

Power Drive 2000: The Game We've All Been Waiting For!

There's been a great deal of 80s inspired synth music used in videogame soundtracks over the last twelve months and the upcoming Power Drive 2000 promises to bring the aesthetics of the 80s in a high action racing game with a spectacular soundtrack to match! Megacom Games have 11 days to go on their Kickstarter to make this project a reality so please get behind it and get ready for some totally rockin racing.

Get all the details on the Kickstarter page here.

The Third Episode Of Soiree 80s Is Ready To Rock!

Doing a set Soiree 80s has been some of the best fun I've had in recent times and our third show airs this weekend! Myself, Marko & Jazzi, DJ Spaz and Micky Dodds all have a selection of our favourite 80s tunes to share with you and as a bonus we also have a two hour DJ set from DJ Dan Williams.

You can tune in on Mixlr on 23 May at 21:00 in UTC+01 here for all the live rockin action and you'll be able to catch the show afterwards on Mixcloud here at your own convenience.

International Boombox Day 2015 Stereo Sonic Electro Rockin Mixtape 

Don't forget I'm taking submissions for 2015's edition of the Synthetix.FM Stereo Sonic Electro Rockin Mixtape still too. This mixtape is all about high energy hard rockin breakdance and street anthems. If you'd like to submit a track for it please contact me via the contact box on this page or via Facebook, the cut off date is July 4th. I'll be posting a few reminders over the coming weeks to make sure everyone gets a chance to get a track included.

Check out last year's one for what's in store for 2015!!

Thursday, May 21, 2015

Alpharisc In Synthwars

By Michael CA L

Synthwave producer Alpharisc, aka Shane Yates of Melbourne, Australia, is a man who, like so many aficionados of 80's-inspired music, grew up during the 80's and whose exposure to various music-related media of that time left a lasting impression on him. So much so, in fact, that Yates believes that synthesizer music can make life better and solve many of the problems that inevitably arise through simply having a heart that beats. With a clear-minded focus on this personal maxim, Yates has made it his mission to make music that a lover of 80's-music would happily swear they'd heard before in the distant past and on some format of outdated technology, but without the listener being able to identify the exact source of this music-induced nostalgia. Yates has been successful in his attempts, and this is a result of his ability to soak up the vibes, feelings, textures and sounds of the 80's era and transpose them into beautifully 80's-inspired yet deeply original music using modern synthesizers and digital audio workstation technologies.

I first came upon Yates' music with the release of his 1989 Dream Girl EP, released on Wave Runner Records in the summer of 2014 and, about a month later, with the release of the Shanglin EP, put out by Future City Records. Both releases captured my attention after just a single listen each with what I can only describe as a kind of conceptual and organizational unity and flow that was displayed beautifully and succinctly. Each EP has clear thematic focus within it, each is harnessed within the scope of three songs, and each spans a length of time that is just over ten minutes short. Being an ardent fan of the "synthwave slow jam", I know the emotive power and sway that a down-tempo synthwave track - complete with warmth-soaked pads and an ebb-and-flow pull like that of a sunset beach walk when the tide is changing - can have on an 80's-inspired music lover. What's trickier, in my opinion, is drawing out these same lavish atmospheres and nostalgia-inducing thoughts in the listener through the use of higher tempos and compositional shifts that charge at you with aggressive intent instead of oozing up to you smoothly. Let me tell you - to be lulled and romanced while at the same time feeling a certain degree of tension and apprehension isn't something I experience everyday, and Alpharisc's 1989 Dream Girl and Shanglin EPs did just this very thing.

As the above statements suggest, Alpharisc's first two EPs have stood the test of time in my mind, and they serve as some of the more memorable and valuable listening experiences I've enjoyed in the past couple of years. Having followed his work closely ever since, I leapt at the opportunity to hear his latest output - that being his first full-length album: Synthwars. With this release, brought to us by the brand new (and aptly titled) Future Retro Music label, Alpharisc has put together something beyond the most harmonious dreams of an 80's-inspired music fan. It's a release that is completely true to all the things that we know about Shane Yates through his musical output, with the added bonus of being a powerful evolution of his abilities as both a composer, producer and conceptualist. Within Synthwars the listener can feel the artist's desire to solve problems through music, and the release also radiates Yates' strong aspiration to create music that brings back memories of the retro past while staring straight into the future.

The album cover art displays the ever-present, synthwave-standard grid as a backdrop for the title, which is done in a font that emphatically pays tribute to one of the most legendary video game protagonists of all time: Pac-Man. These features, coupled with the fact that the tracks are titled as "stages" (1 through 9, with various subtitles behind each stage designation), mean that we the listeners know right away that we're embarking on a nostalgic trip through an array of themes and mnemonic artifacts inspired by classic gaming and driven home by a central core of retro-inspired synthesized gaming music.

Yet Synthwars is an album that is so much more than the sum of its influences, references or inspirations. Whereas Alpharisc has always been able to create poignant music without relying on melancholic down-tempos, his choice to create an album that is almost completely filled with high-BPM synthwave shows a bold confidence that pays off fully. Apart from the harrowing, mid-tempo 'Stage 6 - Your Move Creep' and 'Stage 7 - Battle Station' (which act as a kind of tether from which the listener can hang onto for dear life after experiencing the album's previous five kinetic attacks), Synthwars is a fast-paced boss rush with as many intensely satisfying moments as one could ever hope to find in their favourite retro-video gaming memories, let alone a musical tribute to them. In Synthwars, Alpharisc reveals to the listener just how beautiful a thing can be when its creator is able to grow his abilities, expand on his talents, and do these things while at the same time devoting himself fully and completely to a specific concept, which in this case was the affecting energy that the best classic video game experiences could contain and the thrilling, joyful impact they could have on the enthusiastic gamer-devotees that valued them.

Synthwars, Alpharisc's first full-length album, is an inspired, invigorating head-trip of a release, and deserves recognition for being not just a fantastic collection of songs with a truly cohesive, total-album feel, but for being one of the best nostalgic explorations of classic video game energy that doesn't involve dusting off your ancient consoles and sitting down for a serious gaming session. As a result, it comes very highly recommended by Synthetix.FM.

Synthwars is available in digital formats through Future Retro Music's Bandcamp page here.

Wednesday, May 20, 2015

Searsly Spuhghetti

By Eddie Spuhghetti

Who'da thunk New Zealand would be the source for a rando Back To The Future parody snack commercial!?  Bluebird Foods is a New Zealand based snack-food manufacturer whose parent company eventually became PepsiCo and with products available in Australia and New Zealand, they hold the title as the Kiwi-Nation's #1 chip.  The chips come in a variety of flavours, including UK favourite "Chicken" and while I've never had any kind of Bluebird chip before, I can easily imagine they taste like most other potato chips.  That assumption aside, I don't think any other chip company would attempt to make a commercial based off the hit 1985 sci-fi comedy Back To The Future but someone at Bluebird thought it would be a great idea.  Maybe Needles; it was Needles' idea!

As "Touch of Grey" Doc Brown impatiently waits in an empty parking lot, bright flashes of light erupt and roaring-in comes a Studebaker decorated in scrap metal, wires and a flaming rocket-exhaust.  At the wheel is our "Marty McFly" although he's 10 years younger and looks more like a kid playing dress-up with a Maverick costume from Top Gun and a Rebel Pilot helmet.  With the dog in the passenger seat and the fact that Doc has a camcorder (strapped to his arm but still), these are the real nice touches made to reference the film it's spoofing.  Marty here doesn't seem to be really that excited from his trip when Doc asks if he's doing okay so I'm gonna take a wild guess that this wasn't his first shot at time-travel.  Perhaps he already went a few times and brought back light beer or something lame, so he was told to go back and get something better: potato chips.  Bluebird puts emphasis on how their chips taste like the chip of the future as Doc gorges on the future-chip bag and inputs some commands into a computer so that we can see the chips rotate on a sweet vector-grid screen.  Taking a breather outside (and possibly re-filling Mr. Fusion once the chip-bag is empty), Doc asks if anyone else makes a chip as good as Bluebird's in the future: "They didn't get through, Doc." says McFly.

This company has a lot of balls to suggest that their chip will be the only one standing in the future and that all other chip manufacturers will succumb to their awesomeness.  Lays will be "lay'd-off" and Mr. Pringle will realize nobody likes eating chips out of a can anymore.  While the kid doesn't look much like Marty, the guy who plays Doc does a pretty good job at looking like Christopher Lloyd.  You almost wonder if the company could have just shelled out some cash to get Lloyd himself to do it; much like the various Japanese commercials involving celebrities.

All of a sudden now, I feel like going out to get some chips.. so strap on your Nikes, get the Flux Capacitor fluxing and crank up some tunes: perhaps some Solitaire!

Tuesday, May 19, 2015

The Ghosts Of Soviet

By Andrew B. White

Let’s get this straight to start with – Soviet are not this weeks’s latest newcomers on the synthwave tip. In fact they have been around since the mid-90s which makes them closer in age to the actual 80s music emulated in synthwave that it does to the here and now of the 21st Century.

Soviet started life in Syracuse NY and later moved to New York City where they became part of the emerging ‘electroclash’ scene around 2000. Electroclash included acts such as Felix Da Housecat, Miss Kittin, Peaches and my personal favorites Fischerspooner (still waiting for that decent follow-up to “#1’ guys). Performing live shows as a five-piece in the pre-laptop era with drums, guitars and synths proved Soviet were not just a studio outfit. Between 2000 and 2003 the band released two albums, “We are Eyes, We are Builders” and “Spies in the House of Love”. (Both of these are available on Bandcamp and are recommended if you want to hear Soviet’s journey over the last decade-and-a-half). In 2003 Ruggiero relocated to LA to make the second Soviet record but fell into composing and sound design for commercials. Due to focusing on this new work and the uncertain state of the music industry the Soviet project went into hibernation. This was also about the time that the electroclash movement started dying out, with many of the artists refining their sound towards a more dancefloor-friendly and less “80s” aesthetic. Personally, in its prime, I thought electroclash was going to be the savior of contemporary music but it wasn’t to be – it just fizzled out. Maybe that era was just a short ride before the digital age provided a better platform for the music. I guess Ruggiero probably figured the same thing.

Fast-forward several years and the story goes that while Ruggiero was writing the electronic soundtrack for the futuristic independent short “Life Begins At Rewirement” he was inspired to put together a new Soviet album. This new album, titled “Ghosts”, was written and produced by Ruggiero who also performed all of the vocals. Original Soviet member Christopher Otchy contributes keyboards and guitar and Chaz Windus provides drum programming and synth parts, rounding out Soviet as a trio for 2015. Right now in the musical landscape, the timing seems to be more suited for Soviet to make a mark – electronic music with ‘80s influences has found its feet and is not such a victim to the over-the-shoulder treatment it received from its snarky dancefloor siblings in the early ‘00s.

To that end “Ghosts” serves as universally appealing album to the current synthwave scene and the wider electronic community. On the face of things Soviet doesn’t serve up obvious throwback ‘80s music and neither does the way they present themselves support that theory. Of course the ‘80s are in here – that’s a given – but there’s more of a ‘European’ feel to this music. This could be read as being ‘serious’ – as something dark grey rather than bright pink. The obvious ‘80s comparisons to be made might be the poppier moments of Depeche Mode, a little Vince Clark and some OMD. Ruggiero’s voice sounds more in line with contemporary electronic music of the DFA variety – it’s both strong but restrained; there’s no highway to the drama-queen, synth pop falsetto zone going on here. Musically, Soviet keep everything very clean and crisp with solid arrangements and melodies. Back in the ‘80s ‘clean and crisp’ was often misrepresented and coined as being ‘cold’ but when you have all these nice big synths in the mix as you do on “Ghosts” that theory seems at odds with itself.

There are 10 tracks on “Ghosts”. Opener ‘Onto Something’ is a great smooth, confident synth pop number and manages to pack in everything a good song needs into a snappy 2:49 minutes. From there on in the album flows along with track after track of cohesive synth pop built around Ruggiero’s vocals. Various changes in tempo, nice percussive touches and the odd lick of electric guitar over washes of pads make for good times. Far be it from me to do a tedious track-by-track dissection of “Ghosts" – better for you to listen to it yourself my friend. However, some highlights including the tinkly synth parts in title track ‘Ghosts’, the Erasure-crossed-with-the-Cure bounce of ‘Jealousy’, the drum machine beat and guitars of ‘Overrated’ with its barbed lyrics, ‘Subdivision’s darker ‘night drive’ feel, the OMD-like ‘Changes’ and the upbeat jaunt of ‘Psychic City’. The album finishes up with ‘Symmetric Connection’ which at only 1:46 in length is a bit of a tease. Maybe this is a prelude for what’s to come.

It’s pretty safe to say that “Ghosts” is a Synthetix FM Synthetix Reference Experience, mainly because Soviet demonstrate how a cohesive album should sounds and the zone they open up for audiences to come together from all corners parts of the electronic music community. Soviet presents “Ghosts” on Rosso Corsa’s Bandcamp here, on iTunes here,  on cassette from Burger Records here, on CD directly from Sounds Red Records here, or via their own Bandcamp page here.

As a bonus, there are 20 remixes of selected tracks from “Ghosts” in varying electronic styles. Remix artists familiar to Synthetix FM readers include Silent Gloves and Miami Nights 1984. I’m also happy to see the inclusion of a remix by I Satellite who have been making great retro synth music for over a decade. The remixes are available on the Sounds Red Soundcloud page here.

Saturday, May 16, 2015

Synthetix Sundays Returns!

Synthetix Sundays is finally back and better than ever rockin on Radio Pure Gently!
This week's return show features interviews with Aysyne, Glitch Black and Karate King.

Plus all your favourite segments are back Synthetix Spotlight, Quality Time With Shithouse and of course Paul Dress 2 Kill Daly.

What an incredible few weeks it's been in the synth scene, and it's definitely a super hard rockin playlist featuring exclusive tracks to premier from TCR and Karate King, Daniel Deluxe, Omega Danzer and a remix by Volt Age!

This week there's a huge amount of giveaway download codes too, tune in LIVE for your chance to win one of:

3 x Raven0lm - Electro Magnetic Radiation EP
5 x Orax - Until the End LP
10 x the Neon Wolves Scythe Compilation
5 x The Annihilator Compilation
5 x Dallas Campbell - Oases LP
5 x Android Automatic - Signal EP
3 x Glitch Black - World's Ruin LP
5 x Occams Laser - The Road to Fury LP
2 x Alpharisc - Synthwars LP

And more give aways to be announced! This is one show you'll definitely want to catch live!

Tune in to Synthetix Sundays LIVE on Radio Pure Gently here, at 10pm Perth, Australia time. Please click here to find out when this is in your part of the world. As always the fully downloadable show will be posted here on Monday, along with the featured tracks from Quality Time With Shithouse.

Donate A Track For UK Mental Health Awareness Week

Synthetix.FM is proud to get behind the "Donate A Track" promotion for UK Mental Health Awareness Week. James Nostalgic Fantasy is spearheading this initiative in the scene, so I'll let him take over:

Over the next couple of weeks I'm looking at trying to start a new trend of which as an idea I'm quite proud of Its called "Donate A Track" basically the idea is to write/create something whether it be for your audience or someone specifically the point is it has to have been created with the intention of being given to someone or sharing.

The initial idea came about last week when I decided to do an open commission for a friend of mine. I decided to put my skills to good use and do something for someone else for a change, to try and make them happy. No profit, no statistical gain just giving and the desire to brighten their day.

For my contribution to "Donate A Track" I decided to take one of their favorite songs and translate it into synth. As of yet I'm still to share the result with them but it should be posted on my soundcloud by the end of the week/ early next latest. But they have no idea that I did this for them but I'm hoping it will make them happy.

This is where you guys come in, over the next couple of weeks. what I am trying to encourage is other producers to potentially do something similar and donate a track. Create/write something like you would normally do but share it to someone whether it be your audience or a specific person - But post it on soundcloud/bandcamp whatever's your fancy. and label "Donate A Track" in the heading to spread the word.

From Friday 15th to Monday 25th  I will be accepting/ encouraging people to upload their submissions with the tag as mentioned, they can send me a link to their submissions that have been uploaded via soundcloud or what have you over the next couple of weeks And on the 25th I will compile them into a playlist. People can link me to their tracks one of two ways email or via soundcloud link by PM.

My soundcloud url is or you can contact me via email here.

Please get behind this initiative and make a difference to someone on a personal level. Music has immense power over us, give your music the power to be an intentional positive force in someone's life.

Quality Time With Shithouse Feature Tracks:

And don't forget I'm now taking submissions for 2015's edition of the Synthetix.FM Stereo Sonic Electro Rockin Mixtape! This mixtape is all about high energy hard rockin breakdance and street anthems. If you'd like to submit a track for it please contact me via the contact box on this page or via Facebook, the cut off date is July 4th. If you're not sure what I'm after please have a listen to last years to get an idea of what kind of rockin's a goin on!

Thursday, May 14, 2015

Activation To Danger Mode!

By Kaleb Alfadda

Malachy 'Danger Mode' Robert's newest album, 'Activation' is the first full-length album we've had from Danger Mode since April of last year. The album, described by the man himself as "49 minutes of exhilarating OutRun and Synthwave" deliver exactly that. In a short description, it's the best stuff from the last year in the genre combined into a sweet package bolstering with summer vibes.

The album begins with the self titled stand-out track 'Activation'. Beginning with waves of synth, painting a grand view of 80s title-themed goodness. Ripping right to business tom fills bring us to a hypnotic arpegiatted synth line. A true staple of OutRun music. Staying true to the theme of OutRun music, Danger Mode has perfected this sound and begins to evolve it throughout the rest of the journey.

'Beach Waves' begins with a similar feeling of 'Activation', but if it was soaked in sun, sand and lots of pretty babes. This song is what OutRun is meant to be, simplified yet complex enough to be a staple for anyone and their "driving tunes". Yet at the same time this song plants itself poolside for a feeling of nostalgic fun and partying. No summer jam is complete without a bitchin' solo, if that's the kind of stuff that floats your boat, prepare to sail the neon soaked waves.

Immediately following is 'Electrified', grabbing your attention with a ripping bass groove and some punchin' percussion. Earlier I had mentioned the album evolving over time. This is because the same OutRun and Synthwave under and overtones are apparent throughout. Danger Mode  always brings something new to the table, and as 'Electrified' begins to unravel we (the listener) get a sense of a romanticized melodies that are guaranteed to keep your moving.

Danger Mode has an obvious soft-spot for those 80s heartthrob moments, because we're brought back to those exact moments with 'Sunset Interlude'. In the same sense that 'Beach Waves' give you the warm and energetic vibes of poolside fun, 'Sunset Interlude' give you a real soft and emotional perspective of that. The use of padded chords are fantastic here.

And then 'Elimination' plays.

I've always been under the impression that this kind of music can either be happy, and light, or dark and glooming. Danger Mode mends both of these feelings into one kickass song. This one is a MUST play. Absolutely beautiful uses of panning and noise, creating a dense and unforgettable atmosphere.

Danger Mode is a staple of the OutRun and Synthwave genres, and with masterpieces like this, in an era where over-saturation is something we see everyday, Danger Mode manages to take the very best, most memorable aspects of these genres and melds them into something new, refreshing and inspirational without ditching his roots. This album comes very, very highly recommended from Synthetix.FM and is available for purchase in digital formats on Danger Mode's Bandcamp page here.

Wednesday, May 13, 2015

Scythe: The Neon Wolves

By Jon of the Shred & Jean-Pierre Van Damme

The Neon Wolves is a spiritual prequel to Jean-Pierre Van Damme's “End of Days.” Featuring 13 tracks and a slew of killer artists, Neon Wolves also features a 12,000 word short story by Jean-Pierre Van Damme and Jon of the Shred (with help from Ray Satler) and a side scroller beat 'em up developed by KFDDA and Jon of the Shred. (But mostly Kaleb.)

Synthetix.FM in association with Scythe and Hellrayser productions brings you two chapters of the story and a few screen shots from the game, “The Wrath of Pazuzu.” Enjoy!


Tales of the Future

It is the year 2025, a dark and bloody time in the city of Macropolis. Violence and societal decay wreak havoc throughout the city, humanity suffocating from the stench of their own immoral depravity. The people have become cold and selfish, caring only about survival. The constant gang warfare throughout the streets and alleyways is a daily threat to their lives. The Macropolis Police department are powerless to stop it – most are either bought off or indifferent. And everyone is completely aware of the corruption - despite the lack of an effort from the mainstream media. Journalistic integrity is dead and rotting. The media twists stories and falsifies news to manipulate society, but the people are numb to it – too smart to fall for their lies, yet too apathetic to do anything to better the situation.

Throughout Macropolis, and even beyond the outskirts of the cities in desolate surrounding towns, gang members run unchallenged. Each of the gangs, instead, fight each other over business deals, some claimingstake in the arms distribution race and others recklessly trafficking dangerous synthetic drugs. Arms dealing was a profitable black market for the gangs. And so much more money was to be made off drugs. With millions living in poverty within Macropolis, hundreds of thousands were abusing drugs daily to dull their sorrows and inspire a counterfeit complacency, loyal clientele to the very gangs they feared.

Arrests were futile as the courts were paid off, blackmailed or threatened – very rarely would gang members receive a serious sentence. Entire juries had been murdered in the past, and the citizens of Macropolis were too scared to risk their lives to send a criminal to prison, when the imprisoned would be quickly replaced with three more.

The skyline of Macropolis is dotted with colourful neon billboards and sprawling skyscrapers. The streets below are flooded with garbage. A thick smog cloud hangs over the city, coating the streets in a perpetual haze. And Macropolis never sleeps. You can hear constant brawling of outlaws, gun shots and shattering glass, and the constant howling of sirens from police cars and ambulances.

Chapter One
The Neon Wolves

One of the toughest and most feared gangs throughout Macropolis is the Neon Wolves, a rag tag group of road weary bikers. “Blood and honour” is the Neon Wolve’s mantra, and the code they live by. In contrast to many of the other Macropolis gangs, the Neon Wolves steer clear of drug dealing. None of the members of the club think kindly of the cheap synthetic drugs flooding the streets. But they more than make up for their drug sobriety with the alcohol they imbibe.

The club finances itself through small, victimless crimes and security gigs. The Neon Wolves collect protection money from local strip clubs and bars, providing these businesses with protection from smaller gangs. When money is particularly rough, the Neon Wolves steal cars for their richest client, a mysterious man who has them drive the stolen merchandise to a holding container at the Macropolis port. The Neon Wolves do get their hands dirty, but they never resort to dealing drugs or assassination contracts – their crimes were victimless. The blood of the innocent would not stain their hands. It was only in self defense they killed.

The Neon Wolves currently had 13 members in their ranks. They were certainly not the biggest club in town, but the Neon Wolves had the highest reputation among the citizens of Macropolis. The citizens trusted the Neon Wolves, and some even drank with them. Loyalty and brotherhood came first for them, and the citizens admired their ethics...and feared their wrath.

All orders were executed with moral precision. But business is business. There was no renegotiating contracts, no cheating out a client. And untrustworthy clients would not go unpunished...they were guilty. They had abandoned their innocence. Trust and loyalty are essential to the longevity of the club and all are their business relationships.

One of the clubs few rules required every member to own their own hover bike. Their traditional attire was that of denim cowls and leather vests, featuring an insignia of the Neon Wolves logo on each cut. Club members to ascend past the rank of soldier would have the clubs logo tattooed.
Out of 13 members there are 4 prospects, a President, a Vice President, a female hacker who relayed information to the gang, a guru mechanic and a weaponry enthusiast.

The weapons expert, Casey Jones, was a former Macropolis police officer. He was suspended from duty after an incident with a local serial killer. Casey witnessed the dreaded Butcher of Macropolis kill a young woman right in front of him. He was on the scenes mere seconds into the murder, just short of saving her life. The Macropolis Police Department had been tracking this lunatic for months...and here he stood before him, butchering an innocent woman. Casey saw red, rushed forward and beat the butcher half to death with just his fists, recklessly abandoning protocol in his blind rage. But he was too late...the woman died. He was expelled from the force when the Butcher of Macropolis was deemed brain dead - his cache of bodies may never be discovered now. Since that day, that moment in fact, Casey turned his back on the law.

Casey is in charge of the armoury and personally sees to the maintenance of all pistols and rifles. A talented marksman with an extensive knowledge of guns and other weaponry, he was in charge of all arms deals, and was quite the salesman at that. Arms dealing was one of the most profitable businesses for the Neon Wolves. Casey Jones wore a signature brown trench coat with the patch of the club on it’s back. He never left the house unarmed.

Wayne Namtab serves as the Neon Wolve’s mechanic. Wayne used to run his own hover bike shop, until the Macropolis economy went belly up and he started losing money. He had been an ally of the Neon Wolves for years, and when his business went under they immediately welcomed him into the fold. Renowned as a master with the screwdriver, it is said Wayne could repair anything with a little time and some duct tape. Wayne has short black hair and generous stubble. Wayne’s face is decorated with deep scars from his days as a veteran in the war with Jakith. He took to wearing a welder’s face shield when in battle, and the tradition carried over when he started running assignments with the Neon Wolves. In his spare time Wayne hits the weights, and is the biggest and strongest member of the club.

The hacker Ayane Kirito was one of the women in the club. She is a master of espionage and online crimes, her username RikYa being feared in the hacker community and internet black markets alike. Ayane maintained radio contact with everyone as she monitored all operations from the Neon Wolves fortified home base located underneath their bar.

Ayane had installed an internal GPS tracker to keep into each hover bike to keep constant surveillance on the team. She hacked the frequencies so only she had access to their locations. Additionally, Ayane hacks into numerous frequencies to monitor the police radio, news media outlets, and even Daymon Corporation activities. She aspires to one day hack into Paragon, a feat no hacker had ever accomplished. Through targeted hacker attacks, Ayane ensures that nothing is reported about the club’s more dubious jobs and makes sure the member’s criminal files are kept clean. She has shoulder-length pink hair and several piercings. Ayane was quite attractive, not just physically, but in her warm personailty and bright feminine manner. She was dating President Shadow, and she was tough as nails to boot.

Ray Savoini was the newly appointed Vice President, and besides Shadow, Ray is the last of the surviving founding members. Ray and Shadow grew up as boys in the same apartment blocking, finding themselves in dangerous situations together frequently. They have always had each others backs, and have fought side by side many times. Ray has a long, full beard and a large septum piercing through his nose. Ray frequently ties his long hair back into a pony tail. When his older brother was killed, Ray Savoini took on the mantle as vice president. The Wolves voted in favour of his promotion unanimously – a true testament to his moral code and loyal character.


Hope you guys enjoyed the first two chapters! To check out the rest of the story, follow this link to the bandcamp page ( and be sure to check out to play the game!

And now, for some screen shots of the video as produced by Scythe sub-division Hellrayser Studios. In “The Wrath of Pazuzu,” you'll play as Thomas Shadow, younger brother of the Neon Wolves President Michael Shadow. The events take place several years before the events of “The Neon Wolves.” Here are some screen shots to give you an idea.

Tuesday, May 12, 2015

Maethelvin's Timeless Magic

By Shazeb Bhatti

Before I get into how wonderful Maethelvin’s long awaited CS005 Album is, let me start by saying that Maethelvin is one of the greatest synthwave artists to have hit the scene post 2007. He was one of the founding members of the legendary Valerie Collective (College, Russ Chimes, Anoraak, etc.) and  he has been a key inspiration for numerous contemporary synthwave acts. CS005 is Maethelvin’s first official album, and its filled with all his golden Valerie-era gems as well as some beautiful  fresh material.

The first track off the album, 'The Last Escape', is pure Valerie gold that goes to a long way to prove how classic their sound has become. Smooth, deep synths accompanied by dangerously catchy OutRun beats make this track an absolute gem. What makes Maethelvin’s style of production so genuine is the authenticity of his production- 'The Last Escape' is a testament to his dynamic and robust synth production skills.

The third track from CS005, ‘Lost In A Big City’ has been one of my favorite tracks for many years now. This is one of the first synthwave tracks I ever heard, and so I’m inclined to say that ‘Lost In A Big City’’ is an eternal classic. It features College-style deep synths and very hypnotic space-disco melodies, as well as a kick-ass compressed drums (who doesn’t love compressed drums and synth?).
'Plan B', the 5th track off CS005, is also worth mentioning.  This gem features everything compelling and captivating about synthwave as a genre. Mystic, spiritual synths are a definitive feature of this superb example of night driving soundtracks.

Speaking of late night drives, the ultimate late-night driving song (hands-down) is ‘Delight’. It's such an iconic track that has been embedded in the consciousness of the synthwave community for years now. The 5 minute epic space-synth-ballad features absolutely bad-ass rhythmic patterns, killer modular synths, and a very powerful build up (circa the 4 minute mark). ‘Delight’, aside from being Maethelvin’s Opus Magnum is one of my most treasured synthwave gems and I encourage anyone who hasn’t heard it to set some time out to edify themselves and feel the Maethelvin magic.

It was the Nantes based Valerie Collective back in 2007 that really kick-started the global synthwave scene. College, Anoraak, Maethelvin, and Russ Chimes were amongst the most influential and captivating members of the group. Maethelvin’s CS005 album is comprised of essentially all the most inspired tracks he’s released over the past decade with Valerie. The tracks on CS005 (particularly ‘Delight’) have helped influence countless synthwave artists in the loop, including Jordan F, Highway Superstar, and up and coming Swedish nu-disco sensation Tobtok.

The real weight and presence of CS005 is what makes it so special. The timelessness of the sounds and the way they feel even more special years later just reinforces how special this record is. The mixture of the familiar and the new is something we're really experiencing for the first time in this album in a whole new context. The importance of the Valerie Collective to the synthwave scene should never be underestimated or forgotten and CS005 is like a window to the past and the future while existing squarely in the present.

CS005 is undoubtedly a Synthetix Reference Experience and deserves a place in every synthwave fan's music library. It is a pristinely clean album, and its production, design, and over-all feel are frankly speaking, inspired.  In particular regard to the production value of CS005, Maethelvin produced the entire album using nothing but actual discarded 80s synth equipment, and yes, a lot of artists do that now too, but back in the early days of the scene Maethelvin was, and still is, quite the pioneer of making vintage sounds new and beautiful once again.

Maethelvin presents his CS005 album on Bandcamp here in digital formats.

Thursday, May 7, 2015

Beyond The Reservation: Makeup And Vanity Set’s Wilderness

By Robin Ogden

A double album is a rare, beautiful thing. Makeup And Vanity Set’s latest release just happens to be one, and I can’t think of a much better use of the format. Wilderness is the 10th full length offering from the artist, a very dense distillation of the musical ideas and narrative techniques explored in previous Makeup And Vanity Set albums and EPs, and the proper follow up to 2012’s full length 88:88. The double album also marks another venture with long term Makeup And Vanity Set collaborator, film director Joey Ciccoline, whose short film Eidolon is digitally bundled with the release.

I think for the purpose of this review it would be pointless, and most likely a disservice, to engage with Wilderness on a track by track basis, given the wealth of music on offer and its lesser seen double album status. There are however big thematic ideas running their course, and attuned innovative threads of nostalgia that hold the whole release together in so many ways. The album’s accompanying blurb cites the works of cyberpunk forefathers William Gibson and Stainsaw Lem as precursory, and places itself firmly in their locus. Science fiction is the order of the day, or perhaps rather the future.

Wilderness is an album concerned with life, technology and evolution. What’s especially wonderful is the number of collaborators appearing throughout the album, and how it feeds into this overall concept. I imagine, and would like to think, that most of these collaborations were facilitated and realised through the wonders of technology, and have always believed that collaborative efforts can chart marked evolution in the life of artists. The addition of four lead vocal tracks do not detract from its soundtrack mode, rather they elevate it to something much more. ‘Senses, Dynamics’ features the ethereal vocals of Big Black Delta, that soar over the thunderous live drums of Christian Williamson. The entire performance is completely complementary to Makeup And Vanity Set’s intricate synth work. It’s brilliantly organic. Similarly, ‘Remember’, featuring Raul Panther and Gambler Kirkdouglas of the Protomen, is an absolute triumph, with a pounding bassline and tight gated drums. If there’s an anthem in the Wilderness this is surely it: stunning and driven. For me though, the real vocal gem is Jasmin Kaset’s haunting and beautiful performance in ‘Hand In Hand’, which is perfectly placed amidst the reverb drenched arpeggio sequences.

Wilderness is punctuated by filmic narrative monologues that help tell its story from start to finish, and perpetuate its dark sci-fi mood. This is something Makeup And Vanity Set has used to great effect in previous releases, notably 88:88. Constructing the right atmosphere is aided by the use of non-synthetic sounds. Ideas from musique concréte and recurring aleatoric found sounds really aid in building the release’s overall ambiance, and balance the overall palette of sound. ‘Modification’ is a fantastic meeting point of electronic music and found sound elements, and the more experimental ‘Monomorph’, with pulsating bassline and whirring mechanisations, is a perfect example true synthesis, in every sense.

Though concerned with futurism, Wilderness equally seems to be looking backwards, an extended reminiscence and meditation on the past. This goes beyond lyrical and narrative content, especially with the track ‘Turing/Sequence’. Those familiar with Makeup And Vanity Set’s previous work will recognise the reprisal of the theme from the similarly named ‘Turing/Gone Dark’ from 2013’s EP 7.25.2148. This is so much more than a throwback indulgence: it’s a self acknowledgement of the album’s history, legacy and the artist’s evolution, and shares this with both long time listeners and invites newcomers to explore Makeup And Vanity Set’s discography. This really is what I meant by the album being a distillation. In a lot of ways Wilderness is a meta-album, an intense retrospective moving forward, and another progression in the artist’s metamorphosis.

There’s a measured dualism to every Makeup And Vanity Set release. Wilderness is both inimitably arty, bleak, dystopian, cinematographic, and simultaneously progressive, with popular sensibilities and big vocal hooks, a melting and meeting point for found sounds, live performance and synthesisers. It almost shouldn’t work on paper, but this release is beautifully realised, cohesive and wonderfully atmospheric, and, like most of Makeup And Vanity Set’s music, very much an audio visual experience. Makeup And Vanity Set has achieved what many set out to do and fail to realise. This is an extremely ambitious double album, and sets an exceptionally high standard for soundtrack synth music. Wilderness comes very, very highly recommended from Synthetix.FM and is available via the Telefuture bandcamp page here, as both limited edition double vinyl LP and digital download.

Tuesday, May 5, 2015

The Behemoth Summoned By GosT

By Jerry Herrera

If any group of people can latch onto something and support and love it fiercely, it’s horror fans. We will defend films that we know are bad and the ones that are actually great are forever indelibly imprinted on our hearts, our minds, and our very bodies. Even in the face of a society that, by and large, looks down their noses at our taste in film, we soldier on. The only other group of people I know that can relate to our struggles, and with a lot of overlap in population, are metalheads. Now, take a love for metal, horror, and stack an interest in synthwave on top. Now you have one very specific but very passionate person.

And that very specific, very passionate person would hear someone like GosT and get very, very excited. GosT blew me away with his last release, S/T, so I had big expectations when he went over to Blood Music and released Behemoth.

By and large, GosT retains all the terror and brutality of S/T but perhaps spaces it out across more tracks. After an appropriately spooky intro, 'Genesee Avenue' explodes into what we love best, quick fingered synths and fat, angry basslines. 'Night Crawler' slows down the initial rush with a similar, somewhat more retro cruise sound. 'Master' brings the aggression back in a huge, ear melting way. I had to keep my headphones turned down a bit because this track has TEETH. What’s really great about GosT is that at the drop of a hat, he can switch textures and instruments without losing the essence of the track, fully exploring the ins and outs of every theme he tackles and 'Master' is a great example of that.

'Reign In Hell' is a short, sweet bit of...horror dance? It’s like Daft Punk took off their helmets and revealed snake-tongued skulls beneath. Speaking of, 'Tongue' is a bit of John Carpenter-ish, Goblin-esque outrun. While I loved the preceding tracks, 'Tongue' is the one that builds the best atmosphere the most quickly.  I’m being stalked by an unstoppable horror that’s wearing his sunglassess at night and maybe has a little strut in his ominous steps.

Continuing this neon nightmare is my favorite track on Behemoth, 'Without A Trace' featuring Hayley Stewart. While it may have been done before, I have to remark that this is the entwining of two very different tentacles of the synthwave beast. It’s soundtrack horror synth and vocal pop, something resembling Desperately Stalking Susan. It’s catchy and simultaneously foreboding; it’s answering the siren’s call and accepting the descent into the black, it’s letting the succubus steal your soul.

'Ripper' and 'Bathory Bitch' both scratch certain synth itches, 'Ripper' being a fuller, heavier and slower journey and 'Bathory Bitch' another bit of unrelenting horror OutRun. I have to note that 'Bathory Bitch' has everything I loved about 'Without A Trace', but without the vocals. But again, GosT switches up his tracks and careens down so many different avenues within the span of three or four minutes. 'Bathory Bitch' shifts into a downright terrifying gear during the last minute or so, taking me to a place that’s somewhere between Aphex Twin’s Come To Daddy and the scene in Thriller where they’re getting surrounded by zombies. I think people will gravitate most quickly to one or the other of these two tracks, and the only reason 'Without A Trace' wins my heart is because I’m a sucker for retro vocals.

'Sacrament' is a short palate cleanser before the title track.  'Behemoth' is the birth of the demon, it’s the creature rising from a wound in the Earth, it’s the spreading of black wings over the village.  It’s everything I love about GosT. Brutal, unrelenting, full of growling, grating basses and stabbing synths, tempo changes, and a certain technical wizardry that only comes from obsessing over every instrument and rise and fall in your wave forms. The last two tracks are remixes of 'Reign in Hell' and 'Behemoth', by Dance With The Dead and Perturbator, respectively.  DWTD extend a pretty short track by bringing their signature shred and glitched, stuttering insanity while also giving the track soaring, almost mournful moments, adding a bit of emotion to the brutality. Surely Lucifer lamented his fall from grace?  Perturbator cuts back on the original theatrics of 'Behemoth' but somehow squeezes more growling, roaring anger out of the track and the choirs and pads punctuate like horns jutting from the crown of the Beast’s skull. If a song could be called a spectacle, this would certainly qualify.

Behemoth is a study in terror and hopelessness, darkness, cruelty, and our own inescapable and ever present demons, demons that represent the worst parts of humanity, demons that will inevitably overrun this plane of existence. As an album, it’s technically astounding, if a bit heavy. Not complaining, but I had to turn it off and take a step away more than once. You wouldn’t read The Inferno all in one go, would you?  This is also a study on cross-genre notoriety. Synthwave fans and metals fans alike are responding to GosT and others of his brood and the unholy unity of the two worlds should yield some brutal results. I’m glad we’ve found desecrated common ground and this is exactly the kind of creative alchemy that propels our community into spotlights but more importantly, into new directions, however dark those avenues might be.

GosT presents Behemoth and is available on the Blood Music Bandcamp page here.

Behemoth is very, very highly recommended by Synthetix.FM