By Rick Shithouse
Manolis was one of my stand-out performers in the 80s inspired synth scene in 2014, his sounds have always been so heartfelt and deep while retaining incredibly catchy melodies that his music has had a completely Midas touch. These golden tunes have been a bit thin on the ground in 2015 but with the release of his new EP he's set the record straight once again about why his music is so important and engaging.
Things swoon together in a hazy, gauzy wash of nostalgia as the title track begins. A groove that Imagination would've been proud of rocks the bassline like a buttered lullaby and the poignant and gentle synths of Manolis start working their magic. Slow paced, strolling at a suave pace the story unfolds and the night air becomes heavy with presence and possibilities. Inhale deeply of the cool, synth atmosphere and the 'Mind Game' will take over.
'Reminiscence' continues into the night escapades with Manolis keeping the vibe rockin and the pace meandering with another gloriously crafted love theme. Ever since 'My Future Girlfriend' I've found Manolis's take on Synth Romance to be utterly honest and completely captivating. You can feel the delicate emotions and subtleties in the tonal colours of the music and that 'Reminiscence' glows and grows with each passing second.
Cut from a similar cloth again is 'A Fling', which has been previously shared recently by Manolis, indeed it's a feature on the most recent Synthetix.FM Mixtape, but the overt tenderness of the previous tracks is taken in a new electric direction that is exciting and full of romantic possibilities. The chances and charms of that first meeting and the apprehension and following exhilaration will leave you buzzing with memories that will last a life time.
The funk gets brought up to the front in the final track on the EP, 'Perfect'. A strictly casual exploration of tones that have a delightfully Library influenced colour palette bring a shiny and bright new dimension into play. The upbeat nature and even more inspiring melodic passages create a completely mood-changing experience. Listen to 'Perfect' first thing in the morning and you're sure to carry those rockin good vibes all day long.
Manolis presents the Mind Games EP on his Bandcamp page here in the usual array of downloadable formats. Once again, this producer shows his emotional connection to his music and gives us four splendidly arranged and performed synthual jewels of glittering 80s magic. A must-have EP and one that comes very, very highly recommended from Synthetix.FM.
Thursday, June 25, 2015
Tuesday, June 23, 2015
Money Talks, Robert Parker Listens
By Rick Shithouse
Exploring the textures, sounds, emotions and flavours of 80s music is something I'm hearing more and more producers do in their work. New experiences and retellings of those kick arse 80s sounds are always welcome on Synthetix.FM and in Robert Parker's latest record we get to hear another new dimension to this great producer's work. This time Parker parks his synths on Wall St. and gets thoroughly into an 80s library mode. I've got to say; the matching of Robert Parker's talents with this oh so golden genre of 80s sounds makes for a spectacular record.
The pure 80s library sounds push the 80s-ness of music into an entirely new level, even beyond that of Italo's wondrous trappings. Some Library in its more soulless guises threatens to become muzak in some cases but in its most refined form it really captures the 80s magic in eloquently majestic ways. Robert Parker's used the thematic of 80s high finance mixed with his own soaring, inspirational sounds and layered it with a piquant air of solid Library gold to take the listener into wonderfully rich and luxurious synthscapes.
It seems like the perfect match of sounds as the emotive melodies of Robert Parker's previous work get moulded into chintzily delightful incidental music and then expanded into full, detailed stories. The selection of synth sounds is perfection, uncluttered and sharp passages peppered with zesty aural seasonings to make the flavours pop, creating an explosive sound bite you just can't resist. I find this form of 80s inspired synth music is very inspirational and provides unseen visions that accompany the stories. You just can help but see quick cuts of suited men rushing across town, hailing that cab, getting the wink from his secretary as he enters the office and then finishing on that freeze frame fist pump as he hangs up the phone on his desk and seals the deal. Just another day at the office and Robert Parker's there providing the soundtrack.
Money Talks isn't afraid to eschew the purity of upbeat library sounds in favour of more introspective explorations and cuts like 'Cosmopolitan Collection' do a great job of getting out into the fresh of air of the night on your apartment balcony after trading futures and foreign exchange deals during daylight hours. That energetic hustle and bustle of the world of high finance gets captured succinctly in 'Showtime', 'Business As Usual', 'Work It!' and the market hammering 'Negotiations' but Parker knows when to take a break and pull those red bracers down, loosen the tie and get down to some passive bonds between two highly valued properties. It's not just the prices that rise in the steamy, sweat drenched passages of 'A Head For Business, A Body For Sin', that's for sure.
Robert Parker's foray into this cut throat world of high finance ends up being something that inspires and enthrals. The excitement, pleasures and suaveness of this idealised lifestyle is sublimely captured through each piece and makes for a thoroughly complete experience. I love that in 2015 there is still so much 80s musical inspiration still laying undiscovered and when, like Robert Parker, you strike gold, you just can't deny how refreshing, entertaining and totally rockin the music is.
Robert Parker presents the Money Talks album on his Bandcamp page here in the usual array of digital formats and, unsurprisingly, it comes very, very highly recommended from Synthetix.FM.
Exploring the textures, sounds, emotions and flavours of 80s music is something I'm hearing more and more producers do in their work. New experiences and retellings of those kick arse 80s sounds are always welcome on Synthetix.FM and in Robert Parker's latest record we get to hear another new dimension to this great producer's work. This time Parker parks his synths on Wall St. and gets thoroughly into an 80s library mode. I've got to say; the matching of Robert Parker's talents with this oh so golden genre of 80s sounds makes for a spectacular record.
The pure 80s library sounds push the 80s-ness of music into an entirely new level, even beyond that of Italo's wondrous trappings. Some Library in its more soulless guises threatens to become muzak in some cases but in its most refined form it really captures the 80s magic in eloquently majestic ways. Robert Parker's used the thematic of 80s high finance mixed with his own soaring, inspirational sounds and layered it with a piquant air of solid Library gold to take the listener into wonderfully rich and luxurious synthscapes.
It seems like the perfect match of sounds as the emotive melodies of Robert Parker's previous work get moulded into chintzily delightful incidental music and then expanded into full, detailed stories. The selection of synth sounds is perfection, uncluttered and sharp passages peppered with zesty aural seasonings to make the flavours pop, creating an explosive sound bite you just can't resist. I find this form of 80s inspired synth music is very inspirational and provides unseen visions that accompany the stories. You just can help but see quick cuts of suited men rushing across town, hailing that cab, getting the wink from his secretary as he enters the office and then finishing on that freeze frame fist pump as he hangs up the phone on his desk and seals the deal. Just another day at the office and Robert Parker's there providing the soundtrack.
Money Talks isn't afraid to eschew the purity of upbeat library sounds in favour of more introspective explorations and cuts like 'Cosmopolitan Collection' do a great job of getting out into the fresh of air of the night on your apartment balcony after trading futures and foreign exchange deals during daylight hours. That energetic hustle and bustle of the world of high finance gets captured succinctly in 'Showtime', 'Business As Usual', 'Work It!' and the market hammering 'Negotiations' but Parker knows when to take a break and pull those red bracers down, loosen the tie and get down to some passive bonds between two highly valued properties. It's not just the prices that rise in the steamy, sweat drenched passages of 'A Head For Business, A Body For Sin', that's for sure.
Robert Parker's foray into this cut throat world of high finance ends up being something that inspires and enthrals. The excitement, pleasures and suaveness of this idealised lifestyle is sublimely captured through each piece and makes for a thoroughly complete experience. I love that in 2015 there is still so much 80s musical inspiration still laying undiscovered and when, like Robert Parker, you strike gold, you just can't deny how refreshing, entertaining and totally rockin the music is.
Robert Parker presents the Money Talks album on his Bandcamp page here in the usual array of digital formats and, unsurprisingly, it comes very, very highly recommended from Synthetix.FM.
Saturday, June 20, 2015
Synthetix Sundays
Synthetix Sundays hits the big FIVE O! That's FIFTY episodes of the world's best 80s inspired synth show! Many congratulations to Marko for making this a hugely valuable and integral part of the scene, it's an honour to be part of Synthetix Sundays every week, and I hope it keeps on rockin.
This week Marko interviews synth legend Damokles and the wonderfully talented Glass Apple Bonzai.
Plus all the regular segments including Quality Time With Shithouse, Synthetix Spotlight and Paul Dress 2 Kill Daly.
There'll be a tonne of giveaways and all the hits you need to hear on an extra special playlist to mark the event.
Join Marko and catch up on all the hottest rockin this past week in the 80s inspired synth scene.
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.
And be sure to rock the latest episode of Soiree 80s on Radio Pure Gently with myself, Marko & Jazzi, DJ Spaz and Micky Dodds rockin lots of classic 80s favourites. Tune in here for a full replay of the show.
Quality Time With Shithouse feature tracks:
Wednesday, June 17, 2015
LA Dreams Become A Reality
By Rick Shithouse
I'm sure everyone that reads Synthetix.FM is well aware with my love affair with LA Dreams' incredible music. For years now I've shared the magic of LA Dream's music and finally, finally we all get to have a little piece of LA Dreams himself in our lives as a permanent fixture. Thanks to the always rockin Rad Rush Records we now have the opportunity to have four stunning LA Dreams tracks to enjoy on vinyl. This has a been a long time wish of mine, that my favourite producers get to the point of releasing their music on cassette and record and while I've had the pleasure of owning many cassette releases in recent times the vinyl side of things is always far more elusive due to short runs and expensive manufacturing. But now, slowly, labels like Rad Rush are changing this and I am elated with the results.
The listening experience of vinyl is something I deeply adore, it always takes me back to the 80s themselves and the connection one gets to the music, no matter how much romanticised, is luxurious and electrically tactile. The intimacy of LA Dreams' music is such a wonderful match for this format that I find myself enjoying this repeatedly. The music itself is as strong as ever with the selection of tracks capturing the energy, emotions and innate magic that Kevin always puts into his music.
Sounds And Waves really provides a great introduction for those new to the LA Dreams sound and the selection of tracks is definitely geared towards an exhilaratingly high performance thrill ride. The opening title track is a beautiful Synth Romance love crush theme that is overflowing with the 80s wonder LA Dreams appears to have on tap in limitless quantities. The other three pieces aim to much higher speed experiences and make for an exciting adventure with 'Drop Top' screaming down the coastline in a super powered convertible on an idyllic Californian day while 'This Way Forever' walks a dangerous line of chase sequences and night time excitement. The final track, 'High Life' brings in all the grandiose 80s excess, packaged in glossy candy coloured wrapper. Make this the background music next time your shopping to make sure you get that proper 80s consumer feeling!
You should pick up a copy of this wonderful release as soon as possible and get those LA Dreams rockin like never before. Grab a copy on vinyl and digital download on Rad Rush Records Bandcamp page here. If this isn't enough LA Dreams rockin for you, (and goddamnit it shouldn't be!) check out his superb new album Amped, available on his Bandcamp page here. Can you believe this is his 34th release? THIRTY FOURTH. Kevin, you're an amazing creative wonder.
And for one final bit of LA Dreams love check out the latest opus from Neros77 for 'Drop Top'. You know if it's a Neros77 video it's going to be rockin to the max! It's time for the ultimate Summer Job!
I'm sure everyone that reads Synthetix.FM is well aware with my love affair with LA Dreams' incredible music. For years now I've shared the magic of LA Dream's music and finally, finally we all get to have a little piece of LA Dreams himself in our lives as a permanent fixture. Thanks to the always rockin Rad Rush Records we now have the opportunity to have four stunning LA Dreams tracks to enjoy on vinyl. This has a been a long time wish of mine, that my favourite producers get to the point of releasing their music on cassette and record and while I've had the pleasure of owning many cassette releases in recent times the vinyl side of things is always far more elusive due to short runs and expensive manufacturing. But now, slowly, labels like Rad Rush are changing this and I am elated with the results.
Sounds And Waves really provides a great introduction for those new to the LA Dreams sound and the selection of tracks is definitely geared towards an exhilaratingly high performance thrill ride. The opening title track is a beautiful Synth Romance love crush theme that is overflowing with the 80s wonder LA Dreams appears to have on tap in limitless quantities. The other three pieces aim to much higher speed experiences and make for an exciting adventure with 'Drop Top' screaming down the coastline in a super powered convertible on an idyllic Californian day while 'This Way Forever' walks a dangerous line of chase sequences and night time excitement. The final track, 'High Life' brings in all the grandiose 80s excess, packaged in glossy candy coloured wrapper. Make this the background music next time your shopping to make sure you get that proper 80s consumer feeling!
You should pick up a copy of this wonderful release as soon as possible and get those LA Dreams rockin like never before. Grab a copy on vinyl and digital download on Rad Rush Records Bandcamp page here. If this isn't enough LA Dreams rockin for you, (and goddamnit it shouldn't be!) check out his superb new album Amped, available on his Bandcamp page here. Can you believe this is his 34th release? THIRTY FOURTH. Kevin, you're an amazing creative wonder.
And for one final bit of LA Dreams love check out the latest opus from Neros77 for 'Drop Top'. You know if it's a Neros77 video it's going to be rockin to the max! It's time for the ultimate Summer Job!
Tuesday, June 16, 2015
The Faint Waves Of The Ocean's Drift
By James Mann
Synthesizers. Lo-Fi futura-funk. Emotion and possibilities. Traversing several decades of sounds through custom and unique soundscapes (dare I say soundtracks) isn't practical, in fact it isn't easy. Whether the music evokes images of late night Euro discotheques buzzing with energy, a pensive solo journey through the streets at night, or just a respite of the mind that has been on continuum since daybreak, this artist manages to dot his talents across so many genres, delivering an emotive EP full of gyrating grooves, lasting melodies and most importantly a thoughtful, deep sense of uniqueness in approach and execution. In Faint Wave's latest release Ocean Drift, the Daytona based artist takes you through his world unapologetically, creating sonic, emotive compositions that touch on innumerable genres and sensibilities that, well come across as effortless. I was going for a kind of light new wave/retro pop feel on most tracks, before my direction changed a bit last minute to be more electronic and jazz infused with On The Coast. Excellent choice Faint Waves, we like your last minute direction.
'Funk Panic' introduces the EP with an electric, pulsating baseline set to lush drums carrying the rhythm. The two fall out of sync by just a step and turn almost into a syncopated sound, then fall back into groove. This strategically touches on the "Panic" of the track, as the frenzied energy that splays out is quickly fused with a pleasing melodic synth and detailed guitars touching on the best funk from the early 80s. ABC comes to mind, and a confidence, strut like groove is formed. Nice intro track, yet only yields a fraction of what this fusion oriented artist has in store for the remainder of the EP.
'Espadrille' is a wonderful composition, starting out with a lush ambience of air that is quickly filled with detailed synth work and a groove that transcends beyond ear candy. Sensible melodies and rhythms build into a monumental track I never want to end. A bridge of guitars emerge from the background and is replaced with the original groove. Unique and satisfying, this piece of work showcases the range of talent and nostalgia Fain Waves has hiding up his sleeve. This is perhaps my favorite track on the EP, and I only wish it was longer. The addicting note placement hits the mind so sweetly, and it's apparent this man doesn't stick to one formula. I try not to follow many rules or limit myself, which can lead things to becoming chaotic and noisy but it can also keep things very fresh and exciting. My music tastes are also all over the map, so I try not to be shy about experimenting or putting different sounds together.
'All My Love' is a highly emotional piece reminiscent of a late 70s Shaft soul-ballad theme. Full of violins, tasteful piano, light drumming coupled with a sensual bass, (and subsequent sax solo which is other-worldly) all of the components for love and romance are in the air. Balanced and thoughtful, this tracks shows the softer side of Faint Waves, which is remarkably restrained. Less is in fact more, as this paced out and moody track takes the listener on a sonic journey through the 70s full of afros and love. The creativity really just flows with the Waves. I just do my best to create something expressive for myself first and foremost. Faint Waves began as a purely creative outlet and that's really it's basis now too. If I'm able to bring to life something that I've conjured up from my imagination, then I think I've done well and have expressed myself wholly, regardless of what it sounds like.
'Evening Street' is a nice ballad opening up with the smoothed, chorus chords of the 70s and 80s, as this artist strives to emulate performers such as Niles Rodger, INXS and Blondie in guitar work. Brassy synths pop on top for a pleasing track that has both momentum, groove and restraint. I can almost hear a Jackson Brown progression, but whatever it is Faint Waves has put his stamp of originality on it. It's so refreshing to hear individuality in approach and execution, and this little work demonstrates that perfectly. I feel the track could have turned into a song with perhaps some vocals, as it clocks in just under 2 minutes.
'Ocean Drift' could perhaps be considered Faint Wave's chef d'oeuvre. This track has everything in it. Synths, guitar, bass and funky drumming that pulls the listener into a classic rock time warp complimented with smoke and lasers. I feel like it's a miniature Who ballad because every instrument and melody is in perfect sync, and that synth lead is quite detailed and impressive. Close to my favorite track on this sweet EP, but Espadrille still takes the cake.
'Lovers Lounge' spills sultry memories and melodies of a late 70s analog Euro horror/romance, perhaps an ending scene or credits. Extremely cinematic, touching on vapor-esque pops with the sax and snare, but again stamped with the patent of Faint Waves. I see him scoring soundtracks in the future. A fitting end to a sweet ride on the ocean.
Ocean Drift is a stellar EP that should join the ranks of any music lover's collection. It encapsulates so much nostalgia and memories in such a short time, (The EP is just over 15 minutes) and I'm sincerely looking forward to the next release from Faint Waves that will perhaps be a bit longer. "As far as current projects. I'm working on a pretty diverse mixtape/compilation called Attitude Propaganda and it tackles hip-hop, electronic, alternative, you name it. It's a fun collection of new stuff from all of my projects and me trying to get some of my friends heard too". He also tells me another Faint Waves release is in the future. This gem is truly a fantastic release, a walk down memory lane with the tonal signatures of the 70s and 80s. You can purchase the album on Bandcamp here, and it comes highly recommended from Synthetix.FM.
Synthesizers. Lo-Fi futura-funk. Emotion and possibilities. Traversing several decades of sounds through custom and unique soundscapes (dare I say soundtracks) isn't practical, in fact it isn't easy. Whether the music evokes images of late night Euro discotheques buzzing with energy, a pensive solo journey through the streets at night, or just a respite of the mind that has been on continuum since daybreak, this artist manages to dot his talents across so many genres, delivering an emotive EP full of gyrating grooves, lasting melodies and most importantly a thoughtful, deep sense of uniqueness in approach and execution. In Faint Wave's latest release Ocean Drift, the Daytona based artist takes you through his world unapologetically, creating sonic, emotive compositions that touch on innumerable genres and sensibilities that, well come across as effortless. I was going for a kind of light new wave/retro pop feel on most tracks, before my direction changed a bit last minute to be more electronic and jazz infused with On The Coast. Excellent choice Faint Waves, we like your last minute direction.
'Funk Panic' introduces the EP with an electric, pulsating baseline set to lush drums carrying the rhythm. The two fall out of sync by just a step and turn almost into a syncopated sound, then fall back into groove. This strategically touches on the "Panic" of the track, as the frenzied energy that splays out is quickly fused with a pleasing melodic synth and detailed guitars touching on the best funk from the early 80s. ABC comes to mind, and a confidence, strut like groove is formed. Nice intro track, yet only yields a fraction of what this fusion oriented artist has in store for the remainder of the EP.
'Espadrille' is a wonderful composition, starting out with a lush ambience of air that is quickly filled with detailed synth work and a groove that transcends beyond ear candy. Sensible melodies and rhythms build into a monumental track I never want to end. A bridge of guitars emerge from the background and is replaced with the original groove. Unique and satisfying, this piece of work showcases the range of talent and nostalgia Fain Waves has hiding up his sleeve. This is perhaps my favorite track on the EP, and I only wish it was longer. The addicting note placement hits the mind so sweetly, and it's apparent this man doesn't stick to one formula. I try not to follow many rules or limit myself, which can lead things to becoming chaotic and noisy but it can also keep things very fresh and exciting. My music tastes are also all over the map, so I try not to be shy about experimenting or putting different sounds together.
'All My Love' is a highly emotional piece reminiscent of a late 70s Shaft soul-ballad theme. Full of violins, tasteful piano, light drumming coupled with a sensual bass, (and subsequent sax solo which is other-worldly) all of the components for love and romance are in the air. Balanced and thoughtful, this tracks shows the softer side of Faint Waves, which is remarkably restrained. Less is in fact more, as this paced out and moody track takes the listener on a sonic journey through the 70s full of afros and love. The creativity really just flows with the Waves. I just do my best to create something expressive for myself first and foremost. Faint Waves began as a purely creative outlet and that's really it's basis now too. If I'm able to bring to life something that I've conjured up from my imagination, then I think I've done well and have expressed myself wholly, regardless of what it sounds like.
'Evening Street' is a nice ballad opening up with the smoothed, chorus chords of the 70s and 80s, as this artist strives to emulate performers such as Niles Rodger, INXS and Blondie in guitar work. Brassy synths pop on top for a pleasing track that has both momentum, groove and restraint. I can almost hear a Jackson Brown progression, but whatever it is Faint Waves has put his stamp of originality on it. It's so refreshing to hear individuality in approach and execution, and this little work demonstrates that perfectly. I feel the track could have turned into a song with perhaps some vocals, as it clocks in just under 2 minutes.
'Ocean Drift' could perhaps be considered Faint Wave's chef d'oeuvre. This track has everything in it. Synths, guitar, bass and funky drumming that pulls the listener into a classic rock time warp complimented with smoke and lasers. I feel like it's a miniature Who ballad because every instrument and melody is in perfect sync, and that synth lead is quite detailed and impressive. Close to my favorite track on this sweet EP, but Espadrille still takes the cake.
'Lovers Lounge' spills sultry memories and melodies of a late 70s analog Euro horror/romance, perhaps an ending scene or credits. Extremely cinematic, touching on vapor-esque pops with the sax and snare, but again stamped with the patent of Faint Waves. I see him scoring soundtracks in the future. A fitting end to a sweet ride on the ocean.
Ocean Drift is a stellar EP that should join the ranks of any music lover's collection. It encapsulates so much nostalgia and memories in such a short time, (The EP is just over 15 minutes) and I'm sincerely looking forward to the next release from Faint Waves that will perhaps be a bit longer. "As far as current projects. I'm working on a pretty diverse mixtape/compilation called Attitude Propaganda and it tackles hip-hop, electronic, alternative, you name it. It's a fun collection of new stuff from all of my projects and me trying to get some of my friends heard too". He also tells me another Faint Waves release is in the future. This gem is truly a fantastic release, a walk down memory lane with the tonal signatures of the 70s and 80s. You can purchase the album on Bandcamp here, and it comes highly recommended from Synthetix.FM.
Thursday, June 11, 2015
Unrestful Slumber With Pentagram Home Video
By Robin Ogden
I’d been eagerly awaiting the follow up to Pentagram Home Video’s seminal synth offering, ‘Who’s Out There?’, since the end of last year. Slumber is PHV’s latest foray into formalist synthesis, a super realised analog soundtrack to the upcoming short apocalyptic science fiction film of the same name, directed by Martin Lancaster and Jack McFarlane.
Stark, brutal, raw and honest, Slumber is a wondrously driven dystopian experience. Substance is prized over surface, there is no hiding behind over production and gloss, and the whole score has been meticulously recorded to tape. A hauntingly awesome and at times chillingly experimental soundtrack from start to finish.
Slumber comes very, very highly recommended by Synthetix.FM, and is available both digitally and on limited edition cassette from Pentagram Home Video’s Bandcamp here and Death Waltz’s imprint Transmission Records here.
I’d been eagerly awaiting the follow up to Pentagram Home Video’s seminal synth offering, ‘Who’s Out There?’, since the end of last year. Slumber is PHV’s latest foray into formalist synthesis, a super realised analog soundtrack to the upcoming short apocalyptic science fiction film of the same name, directed by Martin Lancaster and Jack McFarlane.
Stark, brutal, raw and honest, Slumber is a wondrously driven dystopian experience. Substance is prized over surface, there is no hiding behind over production and gloss, and the whole score has been meticulously recorded to tape. A hauntingly awesome and at times chillingly experimental soundtrack from start to finish.
Slumber comes very, very highly recommended by Synthetix.FM, and is available both digitally and on limited edition cassette from Pentagram Home Video’s Bandcamp here and Death Waltz’s imprint Transmission Records here.
Wednesday, June 10, 2015
Oscillian’s Escape from Beijing
By Chris “Python Blue” Day
There are some more obscure 80s movies that, in many cases, I can’t recommend enough. It appears that Oscillian has taken ideas from two such John Carpenter movies, namely Escape from New York and Big Trouble in Little China and mashed into one EP: Escape from Beijing, complete with a picture of Kurt Russell in the artwork.
While the track titles are also clearly influenced by the two movies, the music itself proves much more original in nature, which makes the listen even more worth it. 'Escape from Beijing – Main Theme' is a great start to this EP/mock soundtrack, though it’s also the track that sounds the most like typical OutRun music. 'Up the Yellow River' has a much more fitting feel for the name of the EP, particularly with its eastern melodies and ambience alongside the beat and bass.
A good example of how the EP is original is, ironically, with 'It’s All in the Reflexes'. While the title is Jack Burton’s catchphrase in Big Trouble, it’s a completely independent sound, a sound I imagine fitting very well for video game boss music, and makes no use of sampling from the movie despite my expectations. In contrast, 'Snake Burton' does make use of a movie sample, but it’s not the focus of the piece, which appears reserved for the somewhat spooky chords.
'Great Wall of China' I imagine will easily influence me for a while. The first half of the piece, like many soundtracks, focuses less on the beat and more on melody and sound design. I particularly love the haunting ambiences in this piece. 'Send Him In', the finale piece, makes good credits music, as it’s the one sung song in the EP and might be the most pop oriented.
Overall, Escape from Beijing is highly recommended by Synthetix.FM and can be bought from Oscillian’s Bandcamp page here.
Tuesday, June 9, 2015
Noizz Factor's Summer 1989
By Rick Shithouse
Over the last couple of months I've found myself being more interested, or getting an emotive response from some genres more than others. Besides the music that's really unabashedly 80s in its heart of hearts I'm finding a resurgence in the 2010 hybrid house/80s sound very engrossing. There have been a few tracks on their own that have taken me back to that sound, but the latest EP from Noizz Factor takes this direction into newer territory that I find very engaging.
Noizz Factor's sound is punchy and full of bright modern elements that give it great presence but the emotional melodies are weaved into each track beautifully to balance things out. As this is cited as being an experiment I found some very cool little details that have been fused out of creativity and invention rather than trying to sound like a preconceived idea. This gives a lovely air of classic 80s naiveté to the proceedings too, which I'm always a fan of.
The eight tracks are full of shiny, positive feelings and hazy memories. Whether beachside or bedside there is a great intimacy to the passages even when set against completely modern drum tracks or other contemporary forces. That balance of old and new just rocks like it should.
Noizz Factor's experiment in vintage sounds is a resounding success, although there's every chance that this is a one-off deal that has sated the producer's need for retro sounds and is about to embark on another journey elsewhere. That's all rockin, cause Summer 1989 really does what it sets out to do in a refreshing package that gives you just the right dosage of retro vibes and clean contemporary flavours.
Quench your thirst for smooth, bubbly tunes with Noizz Factor's Summer 1989 EP, presented on his Bandcamp page here and feel a cool buzz that comes highly recommended by Synthetix.FM.
Over the last couple of months I've found myself being more interested, or getting an emotive response from some genres more than others. Besides the music that's really unabashedly 80s in its heart of hearts I'm finding a resurgence in the 2010 hybrid house/80s sound very engrossing. There have been a few tracks on their own that have taken me back to that sound, but the latest EP from Noizz Factor takes this direction into newer territory that I find very engaging.
Noizz Factor's sound is punchy and full of bright modern elements that give it great presence but the emotional melodies are weaved into each track beautifully to balance things out. As this is cited as being an experiment I found some very cool little details that have been fused out of creativity and invention rather than trying to sound like a preconceived idea. This gives a lovely air of classic 80s naiveté to the proceedings too, which I'm always a fan of.
The eight tracks are full of shiny, positive feelings and hazy memories. Whether beachside or bedside there is a great intimacy to the passages even when set against completely modern drum tracks or other contemporary forces. That balance of old and new just rocks like it should.
Noizz Factor's experiment in vintage sounds is a resounding success, although there's every chance that this is a one-off deal that has sated the producer's need for retro sounds and is about to embark on another journey elsewhere. That's all rockin, cause Summer 1989 really does what it sets out to do in a refreshing package that gives you just the right dosage of retro vibes and clean contemporary flavours.
Quench your thirst for smooth, bubbly tunes with Noizz Factor's Summer 1989 EP, presented on his Bandcamp page here and feel a cool buzz that comes highly recommended by Synthetix.FM.
Saturday, June 6, 2015
Synthetix Sundays
Synthetix Sundays is here to complete your weekend once again on Radio Pure Gently!
This week on Synthetix Sundays we have extended interviews with Stilz, VHS Dreams and synth legend featured on the Kung Fury soundtrack Highway Superstar!
We're also featuring exclusive tracks to premier from Stilz and 2 from VHS Dreams.
Plus heaps of download codes to give away for Stilz awesome new ep Traveller and also Jon of the Shred's new masterpiece The Specter City Slasher.
We also have the regular Synthetix Spotlight, Quality Time With Shithouse and of course Paul Dress2Kill Daly.
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 feature tracks:
Thursday, June 4, 2015
Synthetix.FM Power UP! Cosmo Cocktail!
The Synthetix.FM Power UP! is about promoting producers using my personal soundcloud to host their tracks as well as promotion here on Synthetix.FM. If you're interested in being promoted this way and have less than 500 followers on soundcloud and have around 20 original tracks (not counting remixes/covers) please contact me for more information.
Synthetix.FM Power UP! Cosmo Cocktail!
Cosmo Cocktail on soundcloud
Cosmo Cocktail on Facebook
Cosmo Cocktail is Luca Brumat, a music producer from Italy.
He entered in the music world in 1990, in the local metal scene, first as fan and supporter, after as promoter of bands and events.
After five years, he moved from metal to goth/post punk/new wave scene. In 2006 he started to play bass guitar, and in 2007 he starts his activity as a DJ and promoter in this scene.
In 2013 he discovered the synthwave/80s retro electro scene on the internet, watching some videos by Noir Deco. After this event, he bought his first synthesizer, just for fun, without any musical target. But a couple of months later he produced a six tracks demo, "Endless Wave" with some new hardware synths, sequencers and drum machines. This demo arrived at the door of 30th Floor Records, which immediately decide to release this as first official EP.
His new album "Cosmotronic Racing" has been released on 18th April on 30th Floor Records.
Currently he his working on many new projects, as his new next album, new tracks for compilations, a new collaboration in the band The Vern Purple with his label-mate TCR, and a new synthwave focused DJ project called "The Retromantics".
Cosmotronic Racing is available on 30th Floor Records here.
Tuesday, June 2, 2015
Aysyne's Double-Edged Synth
By Michael CA L
A couple of weeks ago Aysyne, a synthwave artist that's been enjoyed by those who know his work but has remained on the edge of the scene simply because his output has been relatively infrequent, released an excellent new EP (his first multi-track release, as far as I can tell) called Double-Edged Synth. The release includes a compact (four tracks totalling seventeen minutes of play time) yet high-quality group of tunes that each contain a certain quicksilver fluidity and chromed smoothness within its movements.
These sleek sonic shifts are attractive to the ear and are the result of an artist who understands and utilizes the potential that electronic-based music has within it to provide its listeners with transitions that inspire consistent "ahh, yes!" moments. Until a couple of weeks ago, the only hard facts I'd gathered about Aysyne were what had been revealed on his Soundcloud and Bandcamp pages. I knew that he resided in Northern Ireland, that he predominantly tagged his music as synthwave, outrun and, more generally, as "80's", that he'd sporadically been releasing singles through these avenues for about two years, and... Well, that was the extent of the known facts as far as I was concerned. Beyond this, all that was known to me about Aysyne came from my experiences hearing the artist's music, which, of course, had nothing to do with truths and instead had everything to do with my own, highly subjective understanding of a somewhat mysterious artist's creative output.
Whether my thoughts on this matter are worth a damn is also a matter of opinion, but hopefully you'll bear with me and find something interesting hidden within my ramblings as I try to regale you with my quest to learn more about Aysyne the person and Aysyne the creative force. This review is, at worst, the long-winded attempt of a synthwave music lover to pigeonhole something that is slightly genre-blurring and difficult to classify. At best, however, it's a round-about effort to give credit to and shine a broader spotlight on an artist that's doing something interesting that not many other artists are doing. And he's been doing it from a relative offstage position, no less, and this needs to change. Whatever the case may be, Aysyne's Double-Edged Synth EP is worth enduring my meandering writing for.
Since stumbling upon his first several singles about two years back, Aysyne's particular musical style seemed to me to be 80's-inspired but also containing currents - sometimes subtle, sometimes more overt - which spoke of 90's electronic music influences. Among the synthesized sounds of eighties-era pads, bass lines and lead melodies, there was often a steady 4-4 beat, build-up, chord change or a particular cue within the arrangement that had echoes of early-mid nineties EDM, trance and progressive house music like that of genre powerhouses Underworld, Paul Van Dyk or Orbital. Many of Aysyne's early tracks, including "Sparkle", "Corpses", "Fragment" and "Bleed", have clearly identifiable eighties and nineties reference-points that reveal to me a producer who knows exactly what great eighties-era synthesized dance music was all about, yet a producer who also has an acute knowledge of where it all went beyond the end of that decade.
Aysyne was, a few years back, and, still to this day continues to be, one of the only retro-inspired artists I'm aware of that openly, frequently, unapologetically and skilfully blends eighties synth-based sounds with the sounds of the electronic genres that came hot on their heels in the early-to-mid nineties. The Double-Edged Synth EP retains this characteristic in songs like "Sound the Alarm" (the release's powerful opener) and "Man Down", with their modulated, sweeping intros, hard and driving 4-4 time signatures, and their stabbing lead-synth melodies. The other two tracks on the EP, those being "Nite Life" and "The Lakehouse (a Synthwave Love Story)" are distinct from the aforementioned by leaning quite heavily on a more distinctly eighties influence, yet they still retain a blend of both eighties and nineties sensibilities.
"Nite Life" has a kind of freestyle-esque vibe to it that is reminiscent of legendary eighties artists such as Shannon or Lisa Lisa and Cult Jam. The synth lines on this track are light-footed, sassy, and full of attitude, which was the name of the game within the freestyle genre. "The Lakehouse (a Synthwave Love Story)", on the other hand, starts with a kind of disco or italo-influenced closed hi-hat beat with a layering of lead synth on top of it. Upon first hearing this opening beat, I was instantly reminded of the opening rhythm of Killing Joke's "Love Like Blood" as it was played during live performances throughout the mid-to-late eighties. This being one of my absolute favourite eighties songs of all time, I was hooked by "The Lakehouse" instantly, with my appreciation growing deeper with each subsequent direction with which the song moved.
One of the many elements within "The Lakehouse" that reinforced my appreciation was a beautiful transition from disco beat to a cracking, delayed snare hit which beautifully steers the song onto a kind of focused, stabilized pathway but adds a heaviness and intensity that's a pleasure to perceive. After several bars of this brooding splendour, the track suddenly pulls up into itself with a rising sweep and explodes into a beautiful culmination of layers. With all the various song-sections being utterly gorgeous as they stand alone, to hear all of these elements work together creates music of unbelievable potency, resulting in a song as close to perfect as I've come across in synthwave in a long while and the absolute perfect way to close the EP.
So I guess in the end I've been able to cultivate my own personal, very positive opinion about Aysyne's music both old and new, but that hardly counts as knowing anything about the person behind the sounds. "What's inspiring him?" I would think to myself. "How's he hitting this sweet spot between the eighties and nineties so effectively?" I wondered. Beyond guesses regarding his creative interests and inspirations, I didn't know a single concrete fact about the artist beyond the country that he calls home, as indicated on his social media pages. Synthetix Sundays radio DJ Marko Maric, however, recently changed all that by having Aysyne as one of several guest interviewees on his program on Sunday, May 17th. From this interview we listeners learned that the accurate pronunciation of the artist's synthwave moniker is "a-sign" with a long "a" vowel. We also discovered that the artist's real name is Micky Dodds.
On top of this (and forgive me if you were savvy and "with-it" enough to tune in to the live broadcast and this information is now yesterday's news to you), we learned that Micky wasn't born during or in close proximity to the eighties decade like a number of synthwave producers and fans, but was actually a reasonably mature music lover and aspiring musician during the years when the synth-pop era was at its peak, when its dominance on radios and in clubs began to wane, and when nineties electronic music started rising from its ashes. When I heard this fact, things really clicked into place. Here was a guy who had not just been an enthusiastic listener during this almighty time in music history, but had also been a young man who was observing, with clear eyes and a critical-minded head on his shoulders, the immense, genre-shaping shifts that were taking place. Here was a guy who was old enough to appreciate the new musical moulds of the times that were being created as well as the primordial clay from which they were building themselves. But wait. On top of this, Micky Dodds was also an aspiring musician at this time, which means that in addition to the aforementioned, he was actively examining and experimenting with the technology, both hard and soft, used to create the beloved sounds that were being produced during this vital era.
So now after appreciating Aysyne's music for two years without knowing a thing about the artist himself, I'm hit with these revelatory details and it all starts to make a lot of sense to me. Perhaps the blending of eighties and nineties synthesizer sounds and styles, as complete-sounding and striking as they are, were an inevitability for a guy like Micky, who was, after all, actively engaged in both the admiration and creation of music during this unique period of transition in the history of synthesized music. Perhaps, considering this perfect storm of coincidences, he was destined to compose music such as the beautiful work found on the Double-Edged Synth EP - music that has all the mood, flavour and sonic textures of the best synth-centric music from the eighties yet is also comprised of the pulse, expression and rhythmic sensibilities that made some of the nineties electronic genres hugely appealing.
Maybe I'm onto something here, but just as likely I'm fulfilling the self-made prophecy that was stated earlier and this review is simply a long-winded, subconscious attempt made by a synthwave music lover to pigeonhole something that is somewhat genre-blurring and difficult to classify. I'd like to think that it wasn't all in vain, though, and that at least some aspects of my tirade have generated some curiosity or, better yet, enthusiasm in readers to hear Aysyne's latest release. I sincerely hope this is the case, because the Double-Edged Synth EP comes very, very highly recommended by Synthetix.FM, and is truly a chrome-smooth, beautifully arranged, comprehensively executed amalgamation of eighties and nineties-inspired electronic brilliance.
Double-Edged Synth is available in digital formats on Aysyne's Bandcamp page here.
A couple of weeks ago Aysyne, a synthwave artist that's been enjoyed by those who know his work but has remained on the edge of the scene simply because his output has been relatively infrequent, released an excellent new EP (his first multi-track release, as far as I can tell) called Double-Edged Synth. The release includes a compact (four tracks totalling seventeen minutes of play time) yet high-quality group of tunes that each contain a certain quicksilver fluidity and chromed smoothness within its movements.
These sleek sonic shifts are attractive to the ear and are the result of an artist who understands and utilizes the potential that electronic-based music has within it to provide its listeners with transitions that inspire consistent "ahh, yes!" moments. Until a couple of weeks ago, the only hard facts I'd gathered about Aysyne were what had been revealed on his Soundcloud and Bandcamp pages. I knew that he resided in Northern Ireland, that he predominantly tagged his music as synthwave, outrun and, more generally, as "80's", that he'd sporadically been releasing singles through these avenues for about two years, and... Well, that was the extent of the known facts as far as I was concerned. Beyond this, all that was known to me about Aysyne came from my experiences hearing the artist's music, which, of course, had nothing to do with truths and instead had everything to do with my own, highly subjective understanding of a somewhat mysterious artist's creative output.
Whether my thoughts on this matter are worth a damn is also a matter of opinion, but hopefully you'll bear with me and find something interesting hidden within my ramblings as I try to regale you with my quest to learn more about Aysyne the person and Aysyne the creative force. This review is, at worst, the long-winded attempt of a synthwave music lover to pigeonhole something that is slightly genre-blurring and difficult to classify. At best, however, it's a round-about effort to give credit to and shine a broader spotlight on an artist that's doing something interesting that not many other artists are doing. And he's been doing it from a relative offstage position, no less, and this needs to change. Whatever the case may be, Aysyne's Double-Edged Synth EP is worth enduring my meandering writing for.
Since stumbling upon his first several singles about two years back, Aysyne's particular musical style seemed to me to be 80's-inspired but also containing currents - sometimes subtle, sometimes more overt - which spoke of 90's electronic music influences. Among the synthesized sounds of eighties-era pads, bass lines and lead melodies, there was often a steady 4-4 beat, build-up, chord change or a particular cue within the arrangement that had echoes of early-mid nineties EDM, trance and progressive house music like that of genre powerhouses Underworld, Paul Van Dyk or Orbital. Many of Aysyne's early tracks, including "Sparkle", "Corpses", "Fragment" and "Bleed", have clearly identifiable eighties and nineties reference-points that reveal to me a producer who knows exactly what great eighties-era synthesized dance music was all about, yet a producer who also has an acute knowledge of where it all went beyond the end of that decade.
Aysyne was, a few years back, and, still to this day continues to be, one of the only retro-inspired artists I'm aware of that openly, frequently, unapologetically and skilfully blends eighties synth-based sounds with the sounds of the electronic genres that came hot on their heels in the early-to-mid nineties. The Double-Edged Synth EP retains this characteristic in songs like "Sound the Alarm" (the release's powerful opener) and "Man Down", with their modulated, sweeping intros, hard and driving 4-4 time signatures, and their stabbing lead-synth melodies. The other two tracks on the EP, those being "Nite Life" and "The Lakehouse (a Synthwave Love Story)" are distinct from the aforementioned by leaning quite heavily on a more distinctly eighties influence, yet they still retain a blend of both eighties and nineties sensibilities.
"Nite Life" has a kind of freestyle-esque vibe to it that is reminiscent of legendary eighties artists such as Shannon or Lisa Lisa and Cult Jam. The synth lines on this track are light-footed, sassy, and full of attitude, which was the name of the game within the freestyle genre. "The Lakehouse (a Synthwave Love Story)", on the other hand, starts with a kind of disco or italo-influenced closed hi-hat beat with a layering of lead synth on top of it. Upon first hearing this opening beat, I was instantly reminded of the opening rhythm of Killing Joke's "Love Like Blood" as it was played during live performances throughout the mid-to-late eighties. This being one of my absolute favourite eighties songs of all time, I was hooked by "The Lakehouse" instantly, with my appreciation growing deeper with each subsequent direction with which the song moved.
One of the many elements within "The Lakehouse" that reinforced my appreciation was a beautiful transition from disco beat to a cracking, delayed snare hit which beautifully steers the song onto a kind of focused, stabilized pathway but adds a heaviness and intensity that's a pleasure to perceive. After several bars of this brooding splendour, the track suddenly pulls up into itself with a rising sweep and explodes into a beautiful culmination of layers. With all the various song-sections being utterly gorgeous as they stand alone, to hear all of these elements work together creates music of unbelievable potency, resulting in a song as close to perfect as I've come across in synthwave in a long while and the absolute perfect way to close the EP.
So I guess in the end I've been able to cultivate my own personal, very positive opinion about Aysyne's music both old and new, but that hardly counts as knowing anything about the person behind the sounds. "What's inspiring him?" I would think to myself. "How's he hitting this sweet spot between the eighties and nineties so effectively?" I wondered. Beyond guesses regarding his creative interests and inspirations, I didn't know a single concrete fact about the artist beyond the country that he calls home, as indicated on his social media pages. Synthetix Sundays radio DJ Marko Maric, however, recently changed all that by having Aysyne as one of several guest interviewees on his program on Sunday, May 17th. From this interview we listeners learned that the accurate pronunciation of the artist's synthwave moniker is "a-sign" with a long "a" vowel. We also discovered that the artist's real name is Micky Dodds.
On top of this (and forgive me if you were savvy and "with-it" enough to tune in to the live broadcast and this information is now yesterday's news to you), we learned that Micky wasn't born during or in close proximity to the eighties decade like a number of synthwave producers and fans, but was actually a reasonably mature music lover and aspiring musician during the years when the synth-pop era was at its peak, when its dominance on radios and in clubs began to wane, and when nineties electronic music started rising from its ashes. When I heard this fact, things really clicked into place. Here was a guy who had not just been an enthusiastic listener during this almighty time in music history, but had also been a young man who was observing, with clear eyes and a critical-minded head on his shoulders, the immense, genre-shaping shifts that were taking place. Here was a guy who was old enough to appreciate the new musical moulds of the times that were being created as well as the primordial clay from which they were building themselves. But wait. On top of this, Micky Dodds was also an aspiring musician at this time, which means that in addition to the aforementioned, he was actively examining and experimenting with the technology, both hard and soft, used to create the beloved sounds that were being produced during this vital era.
So now after appreciating Aysyne's music for two years without knowing a thing about the artist himself, I'm hit with these revelatory details and it all starts to make a lot of sense to me. Perhaps the blending of eighties and nineties synthesizer sounds and styles, as complete-sounding and striking as they are, were an inevitability for a guy like Micky, who was, after all, actively engaged in both the admiration and creation of music during this unique period of transition in the history of synthesized music. Perhaps, considering this perfect storm of coincidences, he was destined to compose music such as the beautiful work found on the Double-Edged Synth EP - music that has all the mood, flavour and sonic textures of the best synth-centric music from the eighties yet is also comprised of the pulse, expression and rhythmic sensibilities that made some of the nineties electronic genres hugely appealing.
Maybe I'm onto something here, but just as likely I'm fulfilling the self-made prophecy that was stated earlier and this review is simply a long-winded, subconscious attempt made by a synthwave music lover to pigeonhole something that is somewhat genre-blurring and difficult to classify. I'd like to think that it wasn't all in vain, though, and that at least some aspects of my tirade have generated some curiosity or, better yet, enthusiasm in readers to hear Aysyne's latest release. I sincerely hope this is the case, because the Double-Edged Synth EP comes very, very highly recommended by Synthetix.FM, and is truly a chrome-smooth, beautifully arranged, comprehensively executed amalgamation of eighties and nineties-inspired electronic brilliance.
Double-Edged Synth is available in digital formats on Aysyne's Bandcamp page here.
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