OGRE & Dallas Campbell Go Beyond The Infinite

By Sarah Halloran

The year was 1968. It was a year of tragedy and triumph; the year that the world lost Robert F. Kennedy, and Martin Luther King, and the year that America introduced the first Boeing 747 and orbited the moon. It was also the year that saw the release of possibly the best science fiction film ever made.

Based on Arthur C. Clarke’s story The Sentinel, 2001: A Space Odyssey, Stanley Kubrick's epic masterpiece, pushed the boundaries of special effects (no CGI in 1968 - just lasers, clever use of sticky tape and a giant hamster wheel), and indeed mankind’s quest to understand our very existence and the meaning of life. If you thought that Star Wars: Episode IV was the height of early science fiction special effects, you really need to see where George Lucas, at his own admission, got his inspiration from.

From the moment 2001 begins to the moment it reaches its mind-bending finale I guarantee you will be transfixed. Seriously, I have never rewound a movie so many times wondering “How the hell did they do that in 1968? 1968!” And to think, this movie was made a whole year before man stepped foot on the moon. That in itself is mind blowing. I toyed with the idea of giving up big spoilers in this review, but I decided against it. If you haven’t already seen the film, I suggest you watch it as soon as you can. You may not understand what it is about, you may compare it to other more recent sci-fi movies , but I think you just might be picking your jaw off the floor when you realise this is a movie that has been iconic for almost fifty years.

Fans of groundbreaking 70s and 80s sci-fi classics like Blade Runner, Escape from New York and Solaris will appreciate the importance of a brilliantly experimental soundtrack, and 2001: A Space Odyssey’s soundtrack is no exception. From the almost languid ballet of the spacecraft as they turn in orbit to the trippy “Star Gate” sequence, our senses are held hostage to stunning visuals and monumental soundscapes; soundscapes that will stay in the mind for many years to come, and which will always be associated with the key scenes of this groundbreaking movie.

The original soundtrack is very much orchestral in its arrangement, featuring classical pieces from Richard Strauss, Johann Strauss II and Sprach Zarathustra. It is a soundtrack that has been released many times over the years, and which has also been digitally remastered.

A question that many people have asked since the movie was released was whether it could be improved or appreciated in a different way if it were to feature a synth-based soundtrack. And why not? Moogs and moviemakers have enjoyed one hell of a successful relationship over the years with Apocalypse Now (Carmine and Francis Ford Coppola), The Fog (John Carpenter) and more recently Drive (Cliff Martinez) being some of the most noteable electronic soundscapes.

It’s a question that Robin Ogden (OGRE) and Dallas Campbell also pondered, and fortunately for us, they had the drive, tools and talent to give us the answer. Over two months (although you’d be forgiven for thinking it was much longer!), they worked tirelessly together to craft a “carefully composed alternate soundtrack created on analog synthesizers alongside more experimental techniques that spans 2001’s entire 134 minute run time.” With tools such as the Korg MS-20, Korg Mono/Poly, Roland SH-101 and RS-505 at their disposal, Robin and Dallas have created a masterpiece that really does need to be heard to be appreciated. My words simply cannot do it justice.

Beyond The Infinite is a stunning collection of 35 analog soundscapes that perfectly mirrors the flight of Discovery and its condemned crew. From the overture to the end credits, Robin and Dallas capture the very essence of ominousity, wonder, futility and enlightenment portrayed in this timeless cinematic classic. Huge black monoliths and whacked-out computers deserve dark, edgy music, and this is dished out in spades in what can only be described as a true labour of love, and a deep appreciation and understanding for analog instruments and effects.

There were many, many stand out moments for me on Beyond The Infinite, and what I really appreciated was how this soundtrack made me feel, and I mean really feel. That could only have been achieved through planning out each individual composition in meticulous detail and matching it flawlessly with the action on screen. You feel the terror, the abject panic, the relief, the realisation, the wonder, the loneliness and this epic journey across time and space in its entirety, and that’s what makes this soundtrack so brilliant, whether you are listening to it standalone or alongside the movie.

In short, this is a monumental achievement in both synth composition and experimentation, and it would be great to see more of this type of work in the future. If you have yet to watch one of the most influential movies ever made, I really urge you to do so, and to do so alongside one of the most influential synth soundtracks ever made. Just what do you think you’re doing, Dave?

Beyond The Infinite is the definition of a Synthtetix Reference Experience as it raises the bar for what producers are capable of achieving in retro synth soundtrack music. It's available through the Telefuture label on Bandcamp here and for a limited time you can also get your hands on 2 professionally duplicated cassettes in a black-on-black tall box. The first 50 sets also come with two buttons, an insert and sticker.

OGRE's Calico Noir

By Rick Shithouse

OGRE's donned the trappings of 80s Miami one more time as the sequel to 2013's Calico Brawn hits prime time screens all over the planet. The follow up we were all champing at the bit for, the conclusion to all the open ends and loose threads, the final showdown. Calico Noir has arrived and if you thought the streets were hot during the daytime you won't believe how much hotter they get at night.

OGRE's penchant for this particular denomination of 80s inspired soundtrack synth music is one the most refined of all modern day producers. His ability to create atmosphere and hold your attention with a single chord and then deftly define intense scenes of rage and passion using uncomplicated elements makes the music shine and gives a massive amount of authenticity to the experience.

I have literally just finished watching the two-part masterpiece of Miami Vice's Golden Triangle as I write this review and this album is all I wanted to hear throughout it. As mentioned in my review of Calico Brawn, the absolutely accurate use of sounds and arrangements in OGRE's music makes for the perfect accompaniment to Miami Vice's visuals. The real soul of Miami Vice's music aesthetic is not one that producer's often tap into directly. Sure, there's surface reflections and homages to the base elements but only OGRE melds his creative muse into a purely musical citizen of Miami-Dade County and immerses himself into the complete aural representation of the soul of Miami Vice.



The story of Calico Noir treads darkened alleys and seedier establishments than Calico Brawn as OGRE goes deeper undercover for the biggest pay off of them all.  Opening with 'Hardboiled (Flashback)' the isolation and pure drama is right up front. This is not a going to be a by the numbers scenario and the law is going to be taking a back seat to justice. The flashbacks to the escalating violence that brings the protagonist to this point freeze frames moments of pain and anguish. A driving force rolls through the unflinching bassline; there's now nothing left to lose.

A sense of loss runs through a great deal of Miami Vice's greatest story arcs including the main back stories of Crockett and Tubbs themselves and this melancholy, bittersweet justice that takes the scum off the streets but doesn't fills the holes they've left behind runs throughout the darker aspects of Calico Noir. 'Out Of Retirement (Profiler Theme)' captures that sense of loss, the memories of those close now gone. The emptiness of one's pulse when ceases to beat for another. The strained melodies are pained with too many shed tears and sleepless nights. The chords sustain with presence and refuse to weaken, but rage grows beneath the surface that can't be tamed for much longer.

Back on the streets and 'Becoming' one with his surrounds our protagonist finds slipping back undercover all too easy. The fast lifestyle, the excitement, the danger. Being so close to the evil that threatens to completely swallow you into the void of the night. The temptation. The music becomes almost ghostlike as the spirits of the night fill the senses. It feels like it's all or nothing, like each haunting refrain takes one more step away from sanity and normality and further down the spiralling despair lurking behind every closed door in every darkened alley. What's even more terrifying is it feels like home.

OGRE's experimentations in completely avant garde sounds and textures on Calico Brawn have evolved into equally as spellbinding experiences on this album but don't attempt to pervert them away from reality. Instead we have much more authentically written pieces that thrive on an abundance of atmosphere and nuance instead of putting you off balance. The powerfully minimalistic 'Crime Scene Reconstruction 1' displays OGRE's uncanny ability to summon the vision through music to the listener. Single piano notes and echoing percussion ride a hum of intensity behind flickering red and blue sirens. The frame rate halves as details become more prominent. The once insignificant comes into sharp, shrill focus. A heart beats its last and the cold, dark of the night claims another soul.

The use of recurring or familiar passages in Calico Noir, like all great soundtrack albums, ties the scenes together and gives them a thematic to keep the story coherent. In 'Bureau and Boulevard' we have a powerfully rising anthem that constructs the engine of the law machine and sings the presence and efficiency of its power. The theme then turns into a night version of itself once the daylight ebbs and the darkness takes control in 'Profiler II', which instead or rising and reinforcing its own importance slowly strips back the layers as the protagonist leaves behind the police juggernaut to once again go deeper.

The night is even more unforgiving as OGRE brings in some incredibly powerful percussion in 'Entrapment' as the drama threatens to break the whole city apart. Tensions are stretched to beyond breaking point and the music becomes an unyielding pillar of aural vengeance.

The passage is cut short though as the scene switches to another location and 'Visions On A Red Eye Flight' begins to illustrate a new chapter of the story. The synths dance with a different palette of colours as new, fresh life is injected into the music. A feminine element becomes a bigger part of the equation and now a whole new set of circumstances and possibilities come in for landing.

New life becomes a part of the story as more life is drained from the streets of Miami as 'Crime Scene Investigation II' offers more singular clues. This truncated segue finds the tiniest of elements becoming vastly important. Ticking rhythms and heartbeats become a single final utterance. Is it a dead end? Or is there more to this than it appears?

The violence finally gets to be viewed from the demon's own brain as 'Mindset Of A Killer' illustrates the brutality and madness of someone capable of almost anything. Melodies are woven with fragility in an unbalanced and manic way that gives the listener the killer's perspective. The violence becomes justified to the maniac. The world is closing in and taking it down piece by piece is the only solution. A gentle fade gives the killer a moment's peace before once again the night will call him to take more lives.

Mapping the course of the narrative beautifully is 'Houndstooth (Profiler Reprise)' as our lead's journey is revisited and reflected upon. The changing of the structures of the original piece while adding a heavier, solemn presence to the instruments explores deeper feelings. The mirroring of similar frailties described in 'Mindset Of A Killer' makes for some incredibly deep moments of connection between the 'hero' and the 'villain'. The concept of taking life as a part of the law or as an act against the law seem to mix into a cloudy uncertainty of where the moral high ground even is.

The plot then takes another twist as 'Lockup' moves the story into the world of another villain; a seemingly unrelated character who all of sudden has a new importance to the case. The bass sways with drudgery and darkness of prison life, echoing the lost hopes and forgotten souls. Pieces of the puzzle begin to form as the music drowns out the conversation but expressions convey a new hope.

Called back out into the darkness amid the scurrying badges and flashing lights 'Crime Investigation III' takes the story into more Asiatic tones as the nefarious powers that run Chinatown offer a new twist to the repeating purge of human life. The tones are mysterious. Rhythms are scattered. Shards of evidence stab at possibilities, but all that results is more confusion. But what's this?  The girl on the plane appears of nowhere and all of a sudden the shape of things to come becomes razor sharp.

The investigation takes its toll on our hero. The years spent deep undercover. The loss of family, the loss of himself. The old feelings coming back and taking over. He's too old for this; this is a young man's game. But he knows the pieces are on the verge of coming together. The music brings elements together tightly and resolutely, soaring higher in tone and presence than ever before. A light of hope glows faintly and grows brighter. It looks like, this time, the case 'Cracked' just before he did.

A gleam returns to those old, tired eyes as a trap is set. He's on his own entirely now. The frenetic melody brings a new, refreshed vigour. He feels it within himself. Tonight he can take on the night - and win. The trap is set with a the girl as the bait. He knows he can't resist her. But he can't lose her to him. This is a one chance scenario. If she goes down he may as well go down too cause he can't live with the blood of another Innocent on his hands. The lights flicker. He hold his breath and lunges into the killer's path. The visual freezes. The sound stops. Blackness is all that's left.

The final atonement of Calico Noir is a credit roll of pondering thoughtfulness as the consequences remain unknown of the final showdown. The melodies revisit the anthems of the set pieces. The turns and twists are given a tone of  folly as perhaps all this violence, all this pain, all this suffering goes without a conclusion. Was the journey to find the killer or find himself? Does the taking of life need to be quantified and balanced or is this vicious circle inescapable? The vision fades with the music and the questions remain unanswered. But like all the most enriching journeys; the destination is sometimes completely irrelevant once arrived at.

In Calico Noir OGRE has taken the soul of his Miami Vice homage and repurposed and recrafted it into a completely tactile original story. This is the entire definition of taking 80s ideas and giving them new contexts. The sights and sounds breathe in with intoxicating familiarity but the craftsmanship and reformatting of them into this complete experience is really where the magic exists.

OGRE presents Calico Noir on his Bandcamp page here in the usual array of digitally downloadable formats as well as on limited edition cassette. This album is another high water mark for the soundtrack genres of 80s inspired synth music and OGRE creates something wholly evocative and engaging from the opening establishing shot to the final second of the credit roll. Undoubtedly,  a Synthetix Reference Experience and an album that sits in the extreme upper echelon of 80s inspired soundtrack experiences.

Off The Grid With OGRE & Dallas Campbell

By Robin Ogden

Foreword

Dallas Campbell is probably the biggest hardware enthusiast I know, and has curated a mind blowing collection of synthesisers, drum machines, signal processors and musical curiosities. I recently sat down with him for a chat about his production processes, all things analog, and a retrospective look at Origin Seeds. This is the second installment of ‘Off The Grid’ artist on artist interviews for Synthetix.FM, so if you’re a producer interested in contributing to this series, as either interviewer or interviewee, or want to share a chat between yourself and a synth-pal, please get in touch with either myself or Rick Shithouse!

For more information on Dallas Campbell:
https://magichappened.bandcamp.com/
https://www.facebook.com/dallassynthmusic
https://soundcloud.com/dallas-campbell
https://twitter.com/freezeyourbrain

For more information on OGRE:
http://ogresound.bandcamp.com/
http://www.ogresound.co.uk/
http://www.twitter.com/ogresounds
https://soundcloud.com/ogresound


Robin (OGRE): So, you’ve just dropped Oases, which is an utterly fantastic full length analog tour de force - what’s currently going on in the world of Dallas Campbell?

Dallas Campbell: Hey thanks dude! It felt like it took me forever to finish it. I had planned on taking like a month off and not thinking about any music, but I started working on this other project about a day into my break [laughs]. So I'm currently doing lots and lots of sampling.

Robin: I always find I get like a post-album depression, and then eventually start on something else.

Dallas: [Laughs]. Yeah I'm always thinking, ‘I can't wait to do nothing for like three months!’ Theres always something that pulls me back in after a day. Other than that, I'm just lurking on eBay and fiddling around with my kids.

Robin: You showed me some of the new drum machines you've just picked up. I take it they're part of what's being sampled at the moment, in addition to the digital cricket sound you were just telling me about before we started this chat?

Dallas: Well, I had already gotten into a deep obsession over the old school preset drummers before this came along.  A lot of the sound and feel of Oases comes from those drum boxes. [Laughs] that digital cricket would make one heck of a guiro!

Robin: I guess they really open up with mods that let them talk to other gear. And each other! You really bring a lot of musical ideas out of those old grooveboxes, especially as they have preset patterns.

Dallas: Yeah, they’re mostly presets, but the beauty comes with mixing and matching them all. Also, I've been having them modded and worked on to fit into what I'm doing. It’s an entire other thing to get obsessed over. Generally I have a mix of analog drummers going with digital ones, plus samples too. It’s fun to get them all working together.

Robin:. I remember us chatting a while back when you were doing Pagoda about restricting choices and picking a hardware pallette as a means to stimulate creativity, and not getting too bogged down - something I’ve definitely subscribed to recently. What’s your workflow usually like?

Dallas: My workflow is usually a mess [laughs]. I have way too much stuff that I want to use and not enough inputs. So in the past I’ve recorded everything one thing at a time mostly. On Oases, I started recording more things live, and I kinda want to keep going in that direction.  So, I guess my workflow is always changing.

Robin: I always think there’s a really live element to you music, and we’re both self confessed noodlers [laughs]. It's a wonderful thing really - that balance between sequencing and live playing.

Dallas: Pagoda happened because I was sick of dealing with songs that had like 50 tracks of synths, like in Origin Seeds. I'm thinking about pagoda 2 because i have the same sick feeling after finishing oases. I did much more live in Oases. I'm sure the noodling is annoying to most but I can't help myself. Pagoda was done with lots and lots of CV controlling filters and whatnot. Oases was much more free, I barely used any midi or CV controlling at all really. It’s just me noodling around while I have my morning coffee mostly.

Robin: Man, the gear listing for Oases is seriously impressive. Do you find that certain synths lend themselves more easily to certain musical ideas, like springboards almost?

Dallas: I think so, I've found that if i start a song with the Pro One as the center piece, it’s much different than say the SH101.  Something about the sound I guess sends me in a certain direction. On Oases, much of the feel of certain songs had to do with the drum patterns. Songs like ‘Kief’ and ‘Forest’. Those were started with a CR68 and the Pro One synced together.  If I'm wanting a 70’s smooth lead, the Pro One is the top choice for that. Love that thing. There’s soul in those old machines.

Robin: There really is. They all have so much character. A waveform on one is completely different to another, and two identical synths can sound completely different. I was chatting about this earlier today funnily enough. I guess this kind of comes back to the creativity through limitations thing again - certain things lend themselves better to certain ideas. All synths seem to be individuals, they all have a story to tell in one way or other.

Dallas: Oh I totally agree, they all have their own personality. I love limiting myself to using one for a while because you can really get to know it.  You get a feel of what it can really do well. That’s why I feel like I have to have so many [laughs]. They all do one thing really, really well usually.

Robin: I don't think I've ever asked you this actually - when did the synth bug bite?

Dallas: In the late 90’s maybe?  I started making electronic stuff after I heard that Boards of Canada album Music Has The Right To Children.  I think I had some plugins at first. Rebirth and Reaktor maybe? Something like that. Soon after that I bought a Nord Lead, a DW8000, and a couple of Bass Stations. Oh, I had a Sidstation early on too. I miss that one!

Robin: I was noodling on the Bass Station earlier.

Dallas: You have the rack or the keys?

Robin: Rackmount to save space. It filled the last RU. I think it was a fairly good choice. The sync section on it's pretty cool!

Dallas: Nice thats what I had too. I didn't know a damn thing about anything back then. But yeah that’s a sweet synth. I remember I used to use it to control my Moog Rogue.

Robin: That's probably a better use for it in a lot of ways [laughs].

Dallas: Ah heck any synth can sound good if you just run it through delay.

Robin: And judicious reverb [laughs]! You use quite a few sync lead bits in your music actually. It seems to be something most retro-synth people shy away from, or at least I think so anyway. I think the 303 gave it a bad rep in some ways.

Dallas: You know I do a lot of that with layering, modulating so there’s always fun things going on and modulating the pulse width and whatnot.


Robin: I’ve lots I really want to ask you about last year’s Origin Seeds, which is one of my all time favourite synth albums. I’ve got it on in the background now. It’s genuinely hard for me to single out any one track as they all offer so much musically. It’s very much an experience for me, much like Oases actually.

Dallas: Damn man, thanks, that one was a bear to finish as well.  I think a lot of the feel of that one was because I recorded the songs in two separate time periods.  The kinda poppy disco stuff I wrote first. Then I took a few month break and decided to finish it, but I didn't want to write more songs like that, so that’s when I wrote stuff like ‘Indica’ and ‘Sativa’. At the end I had to go through and make it all work and make sense.

Robin: It's all really cohesive though, so I wouldn't have guessed.

Dallas: I think it worked in my favor because I really had to work on making it feel like they fit together. I reworked a lot of the songs and replayed parts. It made me take my time and really dissect what I had. I probably should have the same sort of session with each project, but its hard to really stop and take that time.

Robin: It does explore a lot of genres actually, spanning everything from Tangerine inspired Berlin bits to, as you say, lots of disco pop ideas. ‘Cygnus Operation’ is a straight up banger though. I love the vocoding in your songs.

Dallas: [Laughs] vocoding is such a guilty pleasure. James Bowen made that ‘Cygnus Operation’ song though, it’s garbage without his solo.

Robin: The guitar in it is utterly deadly.

Dallas: I know, that was the first time i had ever heard him play too.

Robin: Wow. Hell of a premiere! I remember reading somewhere that vocoders were originally designed for encoding spy messages, or at least repurposed for spy stuff. Don't suppose yours is early 20th century vintage [laughs]?

Dallas: Wow, send me that article! I had no idea. My main vocoder is a Roland SYC350. I usually pump my Juno 60’s square wave through it. Origin Seeds I'm thinking actually was done with a Korg DVP1 through a Dimension D.

Robin: Does the Dimension D feature a lot? I've been wanting to give one a whirl for a while.

Dallas: Well it has four settings: wide, really wide, super wide, and space!

Robin: Space!

Dallas: [Laughs] not really, but yeah it just has four settings, and everything on Origin Seeds pretty much was run through it. I was more selective on Oases and Pagoda. You know, that Sound Toys plugin isn't all that different from the Dimension D, but obviously the real thing is the best.

Robin: Sound Toys make some excellent stuff. I used their new vocal processing thing on a project quite recently. Formant shifting to the max!

Dallas: I haven't had a chance to use it yet, but I made sure to snag it when it was free!

Robin: Yeah, it's pretty damned amazing! It's been making sound design a breeze. Though I've actually ended up using it on some drums.

Dallas: Nice! That’s badass. I wanna hear that! I need more time in the day to do everything I want to do!

Robin: Would I be wrong in thinking there's a concept behind your releases, and your musical ethos in general?

Dallas: Yeah, usually I'm working with a concept in mind when I really get going in a project. There’s usually a time period where I'm just making noises. I love that time period [laughs]. Just experimenting with new ideas and trying different combinations of gear and whatnot.  Then I’ll usually start to get a feel of what i want to do which eventually becomes a concept.

Robin: I'll spend pretty much every spare minute when I'm not actively working on something programming patches or recording samples. It speeds everything up for when you're ready to start making. Do you take inspiration from films and things? I don't know if I'm right in saying this, but ‘Green Sea and the Spice’ had something Dune about it, in addition to a killer live bass groove and really nice vocal call and responses.

Dallas: Yeah, I mean I grew up in the 80’s. I'm sure that stuff is hardwired into my brain.  Heck it’s probably why I like synths and stuff. I will do things like looking at certain images or watching certain films while I'm noodling to kinda steer me in that direction. And thanks! Bass is such a fun thing. My wife did a damn good job on that song. You're the man when it comes to sampling and working with digital and MIDI though. I’ve told you before, I have no clue how to make the sounds that you come up with!

Robin: You’re too kind dude! Your family make a few cameos in your music, I think it's great.

Dallas: [laughs] Yeah I'm a cheesy dad! I probably wouldn't be making these jams without them!

Robin: I love that track a lot.

Dallas: Thanks dude! I love listening to your tunes when I have to go do something. It makes it feel like a Bond mission just taking the garbage out.

Robin: Cheers man, I appreciate it! I have to ask - is there one, piece of kit you really could not live without or bear to part with? I know that’s a horrendously unfair question to ask on the spot, but this is one of the few occasions where I can [laughs]. Actually, I’ll rephrase that: if you could take one musical thing to a desert island, which has a mysterious and infinite power supply, what would it be?

Dallas: Crap, do I have a DAW on the island?

Robin: Let's say yes. But no plugins...probably.

Dallas: [Laughs] Okay no problem there! Let me look around a sec.

Robin: You're also allowed a Kenton or similar. This hypothetical island's getting better all the time!

Dallas: Oh well hold the boat that changes things. You know honestly I'm gonna have to say the Pro One. I can do any analog drum sound with it, it has a sequencer, and filter control with a kenton. You could have endless music with it. [Laughs] I could get a lot done on this island! What would you take?

Robin: I'm thinking I might actually be boring and take a guitar. Then regret that decision for the rest of my solitary existence…

Dallas: Lone man with a guitar.

Robin: My beard would get even longer, but at least I'd have the music!

Dallas: Oh man yeah huge beard. [Laughter] what if you broke a string? Do you have to make your own?  I'm pretty sure an island is a bad place to keep a synth too!

Robin: Man I didn't think of that. I should've taken a sampler or something…

Dallas: Oh fuck. That’s the right answer. We failed! [Laughter].

Robin: Anyway [laughs], any shout outs you'd like to give?

Dallas: I’d like to thank you for asking me to do this and for making all the sweet tunes! And thanks to Rick and Synthetix.FM for having me!

Robin: You're very welcome dude! Thanks for taking the time to chat with me, and the splendid music, I really appreciate it!

(Many thanks to OGRE and Dallas for rockin this Off The Grid so hard! Be sure to check out OGRE's previous edition of Off The Grid with Protector 101 here if you missed it. If you're interested in doing an Off The Grid with OGRE please contact me via the contact form on this page, or OGRE via the links at the beginning of the article - RS)

OGRE's Adventure In 195

Synthetix.FM is honoured to have Andy Last of Beyond Synth fame as a guest reviewer for OGRE's totally rockin new record. Take it away Andy!


By Andy Last

It is my pleasure to review OGRE’s latest album 195, a soundtrack to a film that doesn’t exist but I really wish did. I should apologize in advance because my prose style is not as flowery and rich as one might expect from a Rick Shithouse review, but we all know there’s only one Rick Shithouse. As a nod to Rick, some of the review may go into flights of fancy as I say what I imagined while listening to a particular track.

Anyone who knows me knows my love for OGRE’s music. So much so that, with his blessing, I made his track 'Shore Thing' the theme song to the Beyond Synth podcast. To this day, the majority of the questions I get regarding the show are new listeners asking me who makes the theme music. Hopefully I’ve made Robin a few British pounds in the process.

OGRE a.k.a. Robin Ogden, was the first person I interviewed in the synth scene and to this day remains one of my favourites, with the track 'Shore Thing' being one of best songs I’ve ever heard regardless of genre.

195, like all of OGRE’s releases is beautifully mixed and mastered and sounds great on any system I play it on. All of his work has a full sound that always seems to sit perfectly in the sound spectrum. He really is one of the top producers in synthwave in terms of his production values and his use of actual field recorded samples gives the tracks a truly authentic feel. You’ll also hear some nods to classic 80s films like Terminator and Commando which was also a nice touch.

Since this whole album is awesome from start to finish, I have chosen to highlight my personal picks. What I like about Robin’s style is he creates a true soundtrack experience while still allowing the individual tracks to be enjoyed as standalone pieces of music. This is something that sets this release apart even from the movies and soundtracks he takes his inspiration from.

'Don’t Call me Hero' is definitely the title music of the album and sets the tone for an epic adventure. What impressed me first was the scale of this track. Starting out with a percussive heartbeat reminiscent of The Terminator, the pace quickens with synth brass and horns that blare the heroic main theme.  And if your mind was not already blown, the track gets even bigger during the theme reprise when the orchestra widens with deep staccato trombones and strings. This song is so awesome, listening to it would make watching videos of an old lady walking a dog into an epic event. 

In 'Dragon Breath' the hero sets his sights on his mission and begins his road trip through the abandoned highways of the post apocalyptic cityscape. After an emotional conversation with his lady partner, she decides to come with him on his adventure and maybe even get some revenge of her own. With her arms wrapped around his waist, they ride an armour plated motorcycle through a light sandstorm. The blue lights of the Robot city shine through the orange haze. 

With the track 'Interceptor' we hear some James Horner influence from Commando with the horns and steel drums. But what sets this apart from the actual Commando soundtrack is this is just a kick ass song to listen to. While I enjoy the Commando soundtrack in context, listening to it without the film isn’t quite as enjoyable experience. 'Interceptor' takes that vibe and distills it down to two and a half minutes of greatness. John Matrix would be proud. This is the sort of track that makes you want to eat green berets for breakfast.

What I love about “Fireside Remembrance” is the way the reverb of the solo horn sounds as though I am sitting in on a recording session as Robin is playing. There is something very present about the sound in this one giving it an almost live feel. For one brief moment on this journey we get a glimpse into the studio. The tune of the processed electric piano truly evokes the title. The hero tells his partner the story of how he came to be mixed up in all this. A story of love and loss. When the tale is done, his partner has fallen asleep. For now there is a brief peace before the danger ahead.

'Faces of War' is obviously inspired by The Terminator but unlike Power Glove who, in their Far Cry 3 Blood Dragon soundtrack, emulated The Terminator in an almost “sound-a-like” fashion, Robin takes the inspiration and elevates it into a full on epic sound with horns and stabs and makes it something greater. A slowly increasing tempo adds to the tension of this track with a series of ascending orchestra hits that lead to a reprise of the theme. A small victory for our Hero in a tumultuous battle.

'Negotiations Over' is probably the most “songy” track on the album with a consistent dance beat. Although the track 'Mission Complete' is labeled by Robin as the end credits, my personal interpretation is that this track would play at the start of the credits. For me, this parallels Vangelis’ dancey Blade Runner end titles. A reprieve from the twisting and turning of the rest of the tracks, 'Negotiations Over' let’s you breathe while still delivering the scale you’ve come to expect form the rest of the album. And while being slightly anachronistic to the rest of the album, I thought the glitch-hoppy moment in this track was really cool.

The bottom line is that Robin, as a musician keeps getter better and it’s been my pleasure to not only enjoy his music as a number 1 fan, but to count him as one of my first friends in the synthwave scene. While I chose to write about these particular tracks, I enjoyed 195 completely and simply didn’t have the time to write a novel detailing every track. I’m sure once you check it out you’ll have favourites of your own. 

195 brings a sense of scale which is not often heard in much of the synthwave scene. The high end production values along with the use of many interesting sounds and unique samples truly sets this apart in the synth soundtrack genre.

195 is presented on OGRE's Bandcamp here in digital formats as well as limited edition cassette. This record is a great achievement and comes very, very highly recommended from Synthetix.FM. Run to Bandcamp and pick up 195. It is awesome. The end.

Off The Grid With OGRE & Protector101

Welcome to a new irregular segment on Synthetix.FM! Off The Grid is a producer on producer style interview that goes into the deeper intricacies of the creative musical process. Many, many thanks to Robin OGRE Ogden for coming up with this fantastic idea and creating this superb first edition, over to you, Mr OGRE!

Foreword:

I recently sat down for a chat with Jake Freeman, perhaps better known by his moniker Protector 101, producer of retro-electronic soundtracks, for a retrospective chat about his stellar album The Wastelands, the music production process and synthesisers. This is the first instalment of what will hopefully evolve into a new series of artist on artist interviews for SynthetixFM. Incidently, if you’re a producer interested in contributing to this new series, either as an interviewer or interviewee or somewhere in between, or perhaps want to share your great reciprocal relationship with another synth-pal, do get in touch with either myself or Rick Shithouse.

For more information on Protector 101:
https://protector101.bandcamp.com/
https://soundcloud.com/protector-101
https://www.facebook.com/Protector101Music
https://www.twitter.com/Protector101

For more information on OGRE:
http://ogresound.bandcamp.com/
http://www.ogresound.co.uk/
http://www.twitter.com/ogresounds

Off The Grid with Ogre and Protector101

Robin (OGRE): So Jake, how are you? What's going on with P101?

Jake (Protector 101): I'm doing well, Robin. Thanks for having me on board here. Been quite busy lately! Just finished up writing a soundtrack to a faux movie, working on two other tracks for two other projects and possibly about to take on another full length movie score in the very near future... So yeah, busy.

Robin: That's action packed! When you say faux movie, are we talking another soundtrack to a film that doesn't exist?

Jake: Yes, correct. Well, it's kind of different in this case. Usually I would come up with a movie plot or whatever myself but in this case it was a group thought, I'm part of this project called Time Slap where we take suggested fake movie titles from others and make a plot around it. At the end we use that audio discussion and make an audio trailer out of it and put music to it. In this particular episode I wanted to do the audio for the trailer, needed about 3-4 minutes worth of material and ended up with 30+ minutes instead making it a full soundtrack for this movie that doesn't exist. [EDIT: In fact, it’s just been released]

Robin: I'm right in thinking that's the project you do with Mike (The WhoHa/Retro Promenade) and Andy (Beyond Synth Podcast)?

Jake: Yeah, and another guy CG. In this paticular episode we had a special guest, Newt Wallen of Midnight Show.

Robin: Brilliant ! It's great when projects spawn other projects. Collaboration's awesome. I also wanted to ask you the differences you find between working on personal projects like The Wasteland and working on actual scores, as I know you've been involved with a few movies over the past few years! I actually find it a lot easier to work with directors, producers and deadlines. I think it's because there's less time to second guess myself and spend months on a track or mix...

Jake: Well there's definitely pro's and con's with both. Working on personal projects you have the free will to do whatever you want, and you only have yourself to worry about. It's a great feeling but it's hard to come up with all the ideas, you know. Especially when it's "soundtrack" related. I'm a very visual guy so working on a project with just myself I look to other movies, images, stories, etc for that motivation and inspiration.
Now working with others in a movie based project can be very stressful situation. You're adding audio to someone’s film that they spent so much time on, days, months, years, editing, rewriting, legal issues, so there's this constant feeling to not fuck it up [laughs]. But, the upside to that is you have all the visual cues right in front of you so it's super easy to get that inspiration.

Robin: Yeah, I definitely respond to visual stimuli a lot too. I often find myself whacking on a movie on silent and just writing to the images if I get stuck [laughs].

Jake: It's such an awesome feeling when things just click and everyone comes together to help and this little project becomes so much bigger!

Robin: But as you say, there's a lot more pressure with film.

Jake: Deadlines can be nice to work with! It really motivates you to just get it done! When I had done the soundtrack work on COLLAR I only had a months time to get 70+ minutes worth of music done! It was stressful but it was a great rush.

Robin: Man, that's a crazy amount of music in such a short time frame! I think on average with work I produce a solid 2 minutes a day. You must've been really inspired! I've heard crazy stories of people producing mega amounts of music in no time at all though. I think I'm correct in saying that a load of John Carpenter scores were done in a day?

Jake: Exactly! We had this conversation before about John Carpenter on how rushed things were, especially within the soundtrack piece of the film! Just get it done and slap it together. But even with all that rushing around John and Alan have some of the best melodies and score pieces that came out of the 80's. I think I was just lucky though with COLLAR. Although it's P101 music it's different... a lot of synth drones and on the verge of noise at moments, so that definitely helped with progressing at a decent pace.

Robin: So, let's talk about The Wasteland. Stunning release, and a strong contender for my favourite P101 album to date. There are so many things I love about it, and I find it hard to pick a favourite track. It's a really cohesive album, and a great soundtrack. So I guess the first thing I wanted to ask you was where did the concept for it come from?

Jake: Honestly it starts back from my previous release, Hunter's Journey, in particular the track "Back Alleys". You see, “Back Alleys” was going to be on Hunter's Journey but it just didn't seem to fit with the whole futuristic vibe I was trying to go for, so I held onto the track for awhile and ended up releasing it as a single on Bandcamp. A couple of months went by and I still felt that this track had something still going for it. I ended up making “The Vipers” afterwards, then “The Nuclear Brawlers”, it eventually started to paint a picture in front of me, a story

Robin: That's really interesting that you'd mention “Back Alleys” and “The Vipers”! They were literally the next thing I wanted to talk to you about [laughs].

Jake: One track after another I envisioned a post apocalyptic setting with two people trying to survive and what ends up happening to them and these gangs that they would run into had their own "theme" song. It just all worked out quite well.

Robin: That's awesome man. It definitely comes through with the framed narrative parts, “Radio Wasteland” and the “Epilogue”. It's evident that an awful lot of thought went into this release, from the concept to the awesome cassette packaging to the whole gap-less playthrough thing. Any movies or games that helped maintaining apocalyptic mode in the writing process? I get a sense of the 1975 movie A Boy and His Dog when I listen through, if you're familiar with it. It's got a very young Don Johnson in it [laughs].

Jake: Yeah, those narratives really bring it all together and really makes it seem all real. We used my buddy Matt's first take for "Radio Wasteland". He just said these words and it was perfect and this was before he had even heard the album! And being that he's from Australia and has that accent just brought the whole Mad Max vibe into play! He was kind enough to find another wonderful voice actor, Natalie, for the Epilogue. And it was great to have them come back later and do voice work for the stand alone track "Fog" as well.

Robin: It's really great, it brings a whole other narrative dimension to the album and as you say, it brings it all together.

Jake: Five movies stood out for me for inspiration. A Boy and His Dog, Mad Max II, The Road, Hardware and The Warriors. I'm a big post-apocalyptic fan anyways so that definitely helped in the process. [Laughter] Oh man, Don Johnson was so young in that movie

Robin: I loved The Road, though I only recently watched it. The others are all firm favourites.

Jake: I just loved how bleak and grey The Road is. Like there's no hope at all. Just like in Wastelands. She loses her partner amongst this battle against some gang that's been terrorizing them and even though she survives she's completely turned into what she's been trying to fight against, meaning she's actually enjoying it. And that whole question if she's devolving or evolving around her environment really hits home to me.

Robin: It's pretty harrowing! But then I guess all post-apocalyptic futures are and should be [laughs]! So with “Back Alleys” and “The Vipers”, I wouldn't have thought they'd been written non-chronologically as they flow so well. I find when I'm writing albums, especially soundtracks to films that don't exist, I largely stay within chronological order of the tracks being written, if that makes sense. Probably because themes and things seem to progress naturally in that way, for me anyway.

Jake: Oh I totally get that and I usually work in that flow. This situation was different I guess being that I had this track to work from. I kind of worked backwards from “Back Alleys” and then forwards, [laughs]. It actually worked quite well too within the story because in the video short that my friends made The Vipers were bikers and here I had this track that I wrote months and months earlier that starts off with motorcycle engines revving up. It was actually quite an amazing moment when everything just clicked before my eyes [laughter].

Robin: The short really added to the 'event' of the album, if that makes sense! I think Master Control Program's art really ties in nicely too.

Jake: I was lucky to have so many people take the time to help me with this project. I truly feel grateful to have so many awesome people around me. And yes! He has an eye for this type of thing and after working with him on Hunter’s Journey I just knew I had to have him help me again on Wastelands. You can just tell he puts a lot of heart and soul into his work which then seeps into the music. Without that right visual this release wouldn't have been the same.


Robin: Yeah, the whole design of the cassette was brilliant too! I loved the VHS style library box. It brought a whole other element to it.

Jake: Telefuture made that dream come to life. I wanted to this release to be in a VHS Clam Shell type casing so bad. I honestly couldn't see it any other way and TF were awesome about it and just made it happen! Slap on the MCP artwork for the front and the back, use the video short for screen shots on the back, everything just matched up perfectly.

Robin: Let's talk synths! I think I'm right in saying Synth1 is a P101 staple? Were there any cool new production bits you learnt or used making The Wastelands, or any new kit/bits used in the production of the album?

Jake:  99% of Wastelands was completed using Synth1. Absolutely love that vst! As far as new production techniques I'd say probably the more ambient tracks within the album, layering the synth drones just right, not too loud or soft, trying to make a synth sound organic so to speak. Also just playing improved tracks like "Stalked Across the Badlands" and just accepting whatever notes come next. I'd also like to mention The Mutants as that was a pretty cool track to work on. This one used quite a bit of samples that were slowed way down and plus it gave me a chance to do mutant moaning noises [laughs].

Robin: Do I detect a hint of paulstretch or similar?

Jake: [Laughter] I knew you'd find that one out, Robin!

Robin: I'm a big fan. I used it on 194 a few times, and I've returned to it for a track on 195.I think paulstretch could be its own genre [laughs].

Jake:... maybe paulstretch and Vaporwave should be combined one day

Robin: I can see it happening! It's a great bit of software, and it's got a megatonne of different features haha. Vaporwave seems to be all about re-pitching and stretching samples anyway. I enjoyed your little track the other day!

Jake: Oh, [laughs]... thanks! I don't know if I'll ever make another Vaporwave track but I think you're the same way in that you like to try different things within music. By doing so you learn new things and plus you're doing something different and not the same thing over and over again.

Robin: I actually had a stab at it months ago too...but didn't know quite what I was doing. Maybe I'll post some up...
Jake: Do it! I wanna hear your track!

Robin: Anyway, it's amazing the mileage you get out of Synth1. I've never actually used it. I'm going to download it now and have a play. I've heard lots of great things about it. What other kit are you rocking at the moment? Are you a hardware aficionado, or pretty much working in the box?

Jake: Pretty much working in the box. I have some hardware, a couple of Korg DSS-1's and the Volca Series and little things like that but I've only used those for fiddling around with. I love them and I'm glad I have them I just haven't found that right time to use them yet for some reason. But I guess when you have something like 10,000 sample banks in Synth1 it's kind of hard to come out of the box.

Robin: Yeah, we are spoiled for choice with modern DAWs and VSTs. I've tried to cut back on hardware synths, as they're an addiction for me. I do love them though, but can sink hours into menu diving. I find they're great spring boards for inspiration though, and one preset can sometimes jump start a track. And I haven't checked out the Volcas but they look like a lot of fun! I really like Korg's stuff.

Jake: Bottom line, nothing beats the original, meaning the hardware synths. I have an addictive personality with certain things and I just know that hardware synths would be one of them if I started to collect. Korg’s stuff is amazing. Simple, works and most importantly fun to use.

Robin: I actually pretty much just used an Electribe when I was first learning about sequencing and production. I found it so hard to get into DAWs. That's when the bug bit me. The biggest problem is hardware takes up a lot of space.  It's why I've gotten into racks.
Jake: [Laughter]  I love seeing peoples pictures with synths all over the place. It makes me really jealous but then I think, I don't even have enough room for my junk in the first place.

Robin: Dallas [Campbell, https://soundcloud.com/dallas-campbell] puts us all to shame. He has such an amazing looking workspace!

Jake: Man, that guy has so much hardware it's insane! I think he needs to share his collection with others!

Robin:  I know! Or let us make a pilgrimage over to his house! Anyway, thanks a mill for chatting with me man, it’s been a pleasure!

Jake: Of course, Robin! It was totally my pleasure and thank you for staying up ultra late to talk with me!

OGRE's Calico Brawn

The inspirations of what drives many producers of 80s inspired synth music are as varied as they are plentiful, however there are numerous sources that are an eternal well. Miami Vice is one of these such eternal inspirations. This single TV show managed to encapsulate almost every single element of 80s-cool, more so than possibly any other TV series. It was a lifestyle show, depicting the diversity of 80s icons, from cop stars to pop stars and everything in between.

When you go back to Miami Vice and re-watch it you begin to notice a great deal more than sports cars and salmon blazers. The way this show was shot and edited, the diverse characters the sheer amount of action and excitement in each episode and the way all this was taken to 'the next level' by it's soundtrack make Miami Vice one of the penultimate exponents of what makes the 80s so wonderful.

I'm sure if you're reading this you're well aware of Jan Hammer's work in Miami Vice's soundtrack. His iconic theme and incidental music are still as visionary as they were originally. One just needs to see how many times Crockett's Theme has been covered in recent times to witness the power of Jan Hammer's music. It's the music that gave the show it's emotion, it's life and it's immortality. The combining of vision and sound had never been so intrinsically linked in a prime time TV show, nor since, and to this day the Miami Vice experience is unlike anything else of similar genre.

This brings us to the latest record from OGRE. Calico Brawn is one producer's take on the Miami Vice experience as a sum of it's elements as opposed to a single fragment. What's achieved across this record is a spectacular range of music that complements the Miami Vice aesthetic to perfection.



OGRE has presented many soundtrack experiences in recent times, often a vast nebulae of synths presented in an epic format. With Calico Brawn OGRE has taken his sound and formed it into the perfect accompaniment to the visuals of Miami Vice. I dare anyone to have an episode of Miami Vice playing, mute the volume, crank up Calico Brawn and deny this serendipitous experience. This is not OutRun flavoured Synthwave, this is soundtrack synth performed and composed with a sublime level of understanding and vision.

The parts of Calico Brawn are segmented ideas, vignettes of action, tension, love and excitement. There are moments when Jan Hammer feels like he's stepping in and taking the reigns, but OGRE wrestles them back with his own stylistic choices and progressions. The familiarity of the instruments used never feel like a cop out or a cheap imitation. All the synths contain a sincerity, or synthcerity as I shall call this from now on.

The fact hardware synths and VHS mastering techniques have been used for this record make the difference as the organic nature of the chords and notes feel true and full of depth. The layering in each piece is peerless as OGRE always makes the melodies speak eloquently, allowing them to be understood clearly, without distraction or feeling like that have to shout to be heard above the cacophony.

This is really what separates the experiences into genuine soundtrack pieces. The stories are so delightfully written and executed that every track is purposeful and self contained. Calico Brawn states it's business in every track openly. You instantly know what's happening visually and the music provides all the dialogue necessary. The heady moments of Miami Vice are presented for your aural pleasure in a most satisfying way from the opening 'Always Outnumbered, Never Outrun' to 'All's Well That Ends Well'.

As pieces can get very episodic in nature, their diversity adds even more intrigue. Hip hop style jams like 'Stay Tuned' and the tangibly David Lynchian 'OJO' keep things fresh and full of details that demand your attention as each act reaches it's climax and takes you onto the next chapter. Throughout the entire record my imagination is kept sharply focused on what's being presented, there are no lapses in OGRE's concentration or passages that exist without purpose.

Calico Brawn is a massive accomplishment for this producer and I believe OGRE has ventured into a territory that he feels very comfortable in that also affords him an opportunity to spread his creative wings ever further.

OGRE presents Calico Brawn on his Bandcamp page here and this release comes with a very, very high recommendation from Synthetix.FM. I love what this records presents and how it so consistently captures my attention and refuses to relinquish it. I encourage every fan of 80s inspired synth music to pick this up as soon as possible and add a slice of Miami Vice to your life in supremely rockin way.

Synthetix Weekend Update

Before we get to this week's Weekend Update on Synthetix.FM I first wanted to pay special attention to the incredible new compilation from Werkstatt Recordings: Synth City. This THIRTY track compilation is jam packed with 80s synth superstars and all the tracks are EXCLUSIVE to this release!

It's an amazing reflection of the diverse talent in the scene and when brought together in this format makes for an awe inspiring monolith of synth rhapsody. Garth Knight, 80s Stallone, Perturbator, LA Dreams, DJ Ten, Camille R, Vincenzo Salvia, Ace Attack, Protector 101 and Embryonik are just some of the producers included.

Synthetix.FM doesn't review compilations, but I always have a link to the most current and rockin one on the right hand side bar, so make sure you get this incredible, and FREE, compilation presented by the wonderful Werkstatt Recordings as soon as possible.

Now, lets ROCK with the Synthetix Weekend Update!


First up we have sort of reissue from Corvallis. 'Pantera' was originally released on an EP last year but Corvallis has seen fit to rerelease it as a single.  It's dark and dangerous and has an almost impossibly long lead in before it hits, but the anticipation built is absolutely rockin. The highly effect treated vocal adds a huge amount of haunting mysticism to the experience.



Ogre Sound has been on the Synthetix.FM radar for quite a while now, and his album 194 from last year provided some marvellous soundtrack synth flavoured experiences. His next release, 'Calico Brown' has been directly inspired by the ever inspirational TV series Miami Vice and from this sampler he's really rockin all the right ways. Greatly looking forward to the full release on the 20th of May.

SPF5Ø is back with his horror inspired dark synth mayhem once again with a new track delightfully titled 'Bitches Blood'. The soundscape is torn asunder with synth violence that borders on an industrial style, the layering towards the end becomes very intense. Available currently for FREE download.

Starion's brand of catchy disco synth has resurfaced with this marvellous slice of italo love called 'Theme From Ferranti'. It's the perfect blend of spatial atmospherics and catchy melodies and it's pace allows for the perfect ambiance.




Keeping the italo golden is Lost Year's new track 'Tear'. The Lost Years sound is one of my favourites in the scene and this piece really displays the genius of this producer's style. The arrangements are absolutely flawless with just the right emphasis on everything to create the perfect tonal balance. 'Tear' is up to Version 2 already, it's evolution should provide much entertainment.




Laurence McFunk has turned the drama up to dangerous levels with his epic new piece 'Turn In Your Badge'. This feels so authentic as a piece of high tension 80s soundtrack work that if I close my eyes I can visualise the scene instantly. Even as a short piece, this is right on point and also available for FREE download.




Nite Sprite is back with a vengeance with his rockin new track 'Strut'. The energy of this builds with pure magic and drops like a metric tonne of rad. The funky arrangements are contrasted with darker, menacing details but then evolve into a synthscape full of beauty and clarity. This track is available for purchase on iTunes here.




If you don't know who Visage are you need to stop reading this right now and go and educate yourself on their seminal music from dawn of the new romantic age. Their triumphant return is only weeks away and they're teasing the full album release with previews of each song leading up the album launch  on the 20th of May. Their understanding of new and classic sounds has resulted in a wonderfully 80s soundscape laced with just the right amount of modernity. 'Never Enough' is one of the songs I'm most looking forward to, but I'll be sure to give the record the full Synthetix.FM treatment upon it's release.




I'm finding Dr Pecco to be one of the most exciting new talents in the 80s inspired synth scene, he manages to instill a very vital and vibrant energy in his music and with this short teaser for his next EP it's sounding like he's refining his sound even further. Looking forward to this release immensely.




Electric Disection is exciting talent that keeps bringing the radness to the masses and his new piece 'Semblance Of A New World' is a delightfully introspective piece with smooth synth melodies that are uplifting and full of hope. The lead melodies provide and excellent counter argument with their pointed questioning, adding even more interesting layers. This is available for FREE download currently, also.




PH Groove is back and rockin hard with his new opus 'Witness This'. Rhythms as set to maximum excitement and the unrelenting pace builds to an explosion of 80s synth action. PH Groove also shared another excellent track this week in 'She Loves Dancing' and both are currently available as FREE downloads.




To mark his achievement of 6000 followers on soundcloud Mitch Murder has graciously shared a gorgeous new excursion called 'Mirage' as a FREE download. This track continues Mitch Murder's love affair with Pino Palladino styled basslines and winds things back to languid pace allowing for the subtlety of the soundscapes to have their magic and wonder fully appreciated.




A new producer of rockin 80s synth, introduced to me by the totally kick arse duo Stellar Dreams, is Kid Flash. His new track 'Nascar' uses lots of high energy synths and liberal samples from Days of Thunder to create a totally kick arse synth ride that's got equal doses of passion and action. This is another track available currently for FREE download.




After their very disappointing release (from my perspective) 1991, Tesla Boy have returned to form with the much more 80s sounding song 'M.C.H.T.E'. Once again they've shown why they're so good at rockin the 80s sounds and emotions with totally electrifying energy and superb lyrical themes.




Perturbator's rockin some massive sounds with the preview to his next EP 'Sexualizer'. This five track release is sounding very, very impressive from these preview tracks. The opening song featuring Adam 'Le Cassette' McNab on vocals is something I found jaw dropping and the other four experiences all hint at even more excitement courtesy of one of the scenes premier producers.




Sunglasses Kid is fast becoming one of my favourite composers of truly authentic 80s inspired synth music. Each new track he shares presents a boldly crystalline vision of true 80s sounds and emotions. His new track 'Miami Lover' distills this down to an even richer purity, the sax, synth and percussion are as harmonious as they are entrancing. A glorious example of total 80s nostalgia. This is available for purchase from his Bandcamp page here.




Mulperi's new track 'Friends' caught my attention with his somber tones and very intimate melodies. Although not strictly 80s in it's personality there is an 80s soul that colours the emotions and allows for some very beautiful soundscapes to emerge. Another track currently available for FREE download.




Bringing the 80s back in no uncertain terms is the new track from Betamaxx 'Redlining 6th'. This high energy OutRun adventure is going to be the opening intro to his next album release. The synths are on fire throughout this track and the break neck pace is thoroughly invigorating.




Although only forty six seconds in length this new teaser from Grooveworthy was something I just had to share. 'Information Breakdown' has one of the most powerful percussive tracks I'm yet to experience and builds to a point that for now shall remain a mystery. This track is going to be epic.




On the cusp of releasing their next odyssey, 'Bloodsport 2092', Arc Neon have re-released their Wet Dreams EP in a special edition format with seven extra tracks. This EP was already a totally rockin release (reviewed on Synthetix.FM here) and this expanded release is something everyone should support, especially at it's 'Name Your Own Price' price point.




And finally we have a preview for the debut EP from Lazerspek courtesy of Future City Records. This three track affair promises to be very interesting based on this producers previous sounds and his own brand of new and old sounds should make for riveting synthual experience.




That does us for another Weekend Update on Synthetix.FM. Next week will be another action packed one with a hot batch of 80s inspired synth releases to review and share with you so until then, stay 80s and keep on rockin.