This article was originally published on October 28th, 2022. It was last updated on Feburary 28th to add the full lineup of announced artists.

It’s official, NEON Retrofest is once again a go. On April 14th-16th 2023, they'll be rebooting their massive retro and synthwave festival and I, for one, couldn’t be happier.

For those unfamiliar with NEON Retrofest, it’s a little hard to describe in words. Think of it as an ultra-immersive celebration of all things retro. NEON Retrofest is a love letter to the past, from the future. It’s a retro renaissance. It combines all the things we loved growing up and offers a way for true retro fans to come together to share their common passion.

Featuring everything from music, to games, to movies and panels, NEON Retrofest blends all of these things into one giant event and in the process, has become a homecoming of sorts. For anyone new to the scene, you're going to want to check this out. For those that have already experienced this wonderful festival, it's time to come home.

After being knocked down a couple of years due to the Covid outbreak, the festival now seems poised to be bigger than ever. The festival is ready to deliver a one-two punch to synthwave fans with a kickoff in sunny Florida followed by a finishing move in its original hometown of Rhode Island.

Ready to find out some insider information on the world's largest retro festival? Here’s everything we know about the event so far:

Live Synthwave Music

Here's who will be playing the festival. NEON Retrofest features three days of dancing and grooving to the best synthwave has to offer.

A Gamer's Paradise

One of my favorite features of NEON Retrofest (besides the synthwave music) is the arcade room. The arcade room boasts over 70 vintage arcade cabinets and is featured prominently at NEON Retrofest. While some arcades might be nestled in some remote cramped dark corner, the arcade at NEON takes center stage, quite literally! Last time it was situated directly across from the stage with the only thing separating it was a packed dance floor. You can literally listen to outrun while at the same time playing Outrun! Best of all, everything is free to play! No quarters required.

If you are into vintage console gaming, you’ll be pleased to know that NEON hasn’t forgotten about all the console cowboys. They recently confirmed that the vintage console game room will be returning for 2023. The previous Retrofest featured a vintage gaming room that came complete with couches, EZ chairs and home decor that made it feel like home. I’m sure they will be building on that vibe to make it an even better space to chill and play with friends.

The Aesthetic Lounge

With all the excitement the festival has to offer, you’re going to need some downtime. Fortunately, NEON has set up the perfect place to relax and chill. The Aesthetic Lounge, formerly the Yacht Rock Lounge, is a great place to unwind. In the past, the lounge had a 70s Yacht Rock vibe, but this time around, it’ll be full on vaporwave. Whether you're meeting up with friends or just taking a breather after a killer synthwave set, plan on lush aesthetics and some great vaporwave to give you a much needed recharge.

The Cult Film Festival

Another popular place to chill is at the Film Festival. That’s right, it's a festival within a festival. NEON can be like one of those Möbius strips that twist onto itself-- but I digress. Here, you can expect the best of the worst that the 80's had to offer, along with a few classic gems as well. Looking for a rest from the synthwave festivities? You can always find a feast of trash cinema at the film festival.

The Lowdown:

The festival will take place on April 14th-16th, 2023 at The Hotel Alba in Tampa, Florida. We highly recommend reserving a room as once you do, you will have 24/7 access to the festival. There is no driving back. You’re right there immersed in the action. Once the day's events are over you can literally step into the elevator and retire for the evening.  

For more information on NEON Retrofest, make sure to follow their social media accounts:

https://www.youtube.com/neonfm

https://www.instagram.com/neon_fm/

https://twitter.com/NEONSynthwave

https://facebook.com/neonsynthwave

https://discord.gg/gZM7gJs8uv

FAQ:

What musical performers will be at the festival?

While there haven't been any artists announced yet. Stay tuned for more information on all the performers that will be playing.

When can I buy tickets?

Tickets will be going on sale around the New Year, but the specific date is yet to be announced. Watch this space for your chance to get in on the excitement or check out the official website: https://neonflorida.com/index.php/tickets

Where can I find information on the hotel?

As we mentioned before, we highly recommend booking a room at  the Hotel Alba, where the event will take place. You can find all the information including a link to take advantage of their group rate by visiting the official NEON Florida website: https://neonflorida.com/index.php/about/hotel-rooms

For even more insight on Neon Retrofest check out The State of Synth where we managed to squeeze even more details about the event:

S8E11 - A Synthwave Reunion - The State of Synth

Grant and Amanda from Neon Retrofest join the show to talk about their massive 3 days retro festival that’s coming up in April. Dennis and Jules manage to squeeze out some juicy details on what to expect.

The State of Synth

When new songs are added to our synthwave radio database we use Spotify's API to map to their corresponding Spotify Track IDs.

When songs are played by our synthwave radio, that ID is sent via our now-playing feed to a custom app that manages our Spotify playlists.

While the new track is added, the 50th placed track is removed, maintaining a dynamic playlist of 50 songs in length, usually about 4 hours in duration.

Artists looking to submit music to our radios and playlists can do so at submit.nightride.fm

Follow and share the playlist if you enjoy it

We’ve decided to host a series of competitions for the NRFM community!

The first competition starts now and will be active until the 10th of May when we select the winners!

The competition is officially sponsored by XLN Audio and will have some fabulous prizes worth almost $400 for the runner up.

There’s no restriction for entry and the rules are simple:

Create 20 seconds or shorter jingle for the Nightride FM youtube channel:

So what do we mean by “jingle”?

Here are some examples of what a jingle like what it could sound like:

To participate, once your jingle is done, submit it here to enter the competition.

Prizes:
Addictive Drums 2: Custom Collection

XO By XLN Audio

RC-20 Retro Color

1#
Addictive Drums 2: Custom Collection
XO By XLN Audio
RC-20 Retro Color

2#
XO By XLN Audio
RC-20 Retro Color

3#, 4#, 5#
RC-20 Retro Color

Additional information:
If you are unable to record your own voiceover you can use one of the pre-recorded snippets with either me or Dennis G. Note that a voiceover is not necessary and you're allowed to record your own VO, or even without one!

You maintain all rights to the jingle but grant NRFM the rights to use it in our streams and content in perpetuity with the right to monetize.

You will be credited anywhere the Jingle is played and is as the rights holder allowed to use it as you please/upload it to any streaming service as you see fit, including platforms where NFRM streams are running.

The jingle will be featured on the station.

Download VOs

Submit your entry here

Nightride: You started Chrome Canyon way back in 2011, when synthwave only really started to take shape, mostly staying underground. Did you have a feeling that you were becoming one of the first producers to ever revolutionize the genre?

Chrome Canyon: That’s very flattering, but quite the contrary I feel like actually synthwave or whatever you might want to call it was already very much established to the point of being one of those genre’s that was “back in fashion”. I spent a lot of time listening and being influenced by the artists I felt like we’re the real pioneers - Yellow Magic Orchestra, Space Art, Goblin, etc. etc… and then there’s of course the really huge folks like Jean-Michel Jarre, Moroder, Cerone etc… that are undeniably where the modern synthwave genre would have its roots.

N: Before going solo you had played in Apes & Androids, an electro band. Did this experience help you shape your own project?

CC: Yes! Absolutely.  Since we became well known around New York and were lucky enough to put on some pretty elaborate and big shows I really drew a lot of inspiration for what the possibilities of a live performance could be.  I also felt like since the band spanned many genres it was liberating to feel I could write a lot of different types of music and people would still feel compelled to listen.

N: 2012 was marked by the release of your debut album, Elemental Themes. Was it extremely hard and complicated to produce? Did it end up being exactly the way you planned it to be?

CC: You know going back to listen to that record now, I’m surprised at some of the stuff I was doing and it’s a funny experience to think about what I was imagining at the time because I don’t know how some of that stuff came into my head.  I know at the time I felt like it was really hard to let the project go and be completely done.  But the way I finished the record was to go and master it with the legendary Nilesh Patel in London (Bjork, Daft Punk, Justice, etc…) and that felt like it really just polished whatever rough edges the record had and made it easy to have confidence that it sounded done. I think as an artist it’s hard to feel like anything is ever completely finished, but with that record - it really represented a time of change in my life, and I felt like it captures the exact mindset I was in almost perfectly.  I have no idea if I could ever recreate it, but I’m very proud of it.

N: You can definitely hear some of the sounds inspired by your work on records of the absolute legends of the genre, like Magic Sword, for example. Do you think you’ve influenced a generation of synthwave artists?

CC: I am friendly with the guys from Magic Sword and we’ve talked about doing shows together in the past.  I guess I always imagined them as more peers and less proteges.  There’re some younger artists that know me through my score to Infinity Train, who are very proudly influenced by my work and have done some amazing reworks and cover, and regardless of who it is, it is always very humbling to know that work I’ve put out there is reaching and affecting people.  So much of the time I’m just working on my own and not imagining what sort of life the music is having beyond the realm of the studio.  But that’s the magic of art, isn’t it?  You really never know who is listening and having their own unique experience, and that to me is one of the coolest things about creating the work.

N: You’ve also remixed a lot of very different artists: from George Benson and to Tame Impala. What do you enjoy more: remixing the classics or making your own new future classics?

CC: In fact, those that you mentioned were two of my favourite remixes or edits or reworks - whatever you want to call them.  I enjoy remixing because I feel like it’s nice to start with something people are already familiar with and then completely break it down and reassemble it in a completely new way.  I always try to go outside the realm of whatever genre the original song is in and reimagine the work as something totally new.  Sometimes it works out better than others.  But to be honest, I much prefer making my own work - I think partly because usually with remixed ownership is completely handed over to the original artists and it’s hard to justify putting so much effort into something without having ownership of the final product.  It’s a strange business answer but after having done some bigger remixes sometimes it just feels like a way for the original artist to take advantage of someone who is working their way up. Nowadays I mostly stick to my own work, and I’m very happy doing that!

N: The compilation dedicated to “The Rise of the Synths” movie opens with your powerfully futuristic “Deckard Returns”. Have you seen this movie yet? How deep do you think the creators of the movie go, exploring the way people are now obsessed with the 80’s nostalgia?

CC: Actually, the funny thing is I did that track originally as a pitch for the trailer for Blade Runner 2049.  It was never used and I was happy to turn it into a full track for the Lakeshore compilation, but yeah, originally that was a pitch for the trailer.  I did see the film, and enjoyed it.  I would have LOVED to hear the original score from Johann Johannsson.  I feel like score ended up being a little more stock Hans Zimmer.  I enjoyed it but it wasn’t anything like the original Vangelis score - not sure anything could be…
I do love the attention paid to the sort of cyber punk nature of the original Blade Runner - I think that’s where a lot of the retro-future obsession people have come from so I think it was a smart choice to really play into that.

N: Since we kinda mentioned Blade Runner – which movie do you like more, the 1982 original or the 2017 sequel, and why?

CC: As I kinda mentioned while I like the new version  - I think the movie was great and entertaining - the original Blade Runner is going to be hard to beat in my mind, it’s pretty much perfection.  And the score is FAR better!

N: Lately you’ve been working on many different projects: from soundtracks to different media and to the music for animation and cinema. There’s also a soundtrack for Cartoon Network’s “Infinity Train”. I haven’t watched it yet, though I know that there are many people who have and loved it. Could you tell us how it is – to work with one of the leading animation channels in the entire world?

CC: Well, Infinity Train is really a dream project.  The narrative, and the characters are incredibly smart, the whole impetus behind the show (sci-fi and fantasy mixed with a bit of suspense) is right up my alley.  The creator Owen Dennis and I are very close and it’s wonderful to have not only a really amazing working relationship and respect for each other professionally, but also feel like we have a deep friendship besides that.  The show is really divine, not just because I was part of it, it’s just objectively great TV - so I really encourage you to watch it!  I was lucky because I really only dealt with Owen and wasn’t really part of the whole day to day operation of dealing with a giant like Cartoon Network.  So really, I just wrote a bunch of stuff and usually that’s what ended up on the show - which like I said was a completely dream come true.

N: Do you have any plans on touring again, if the COVID situation gets better? Plans for Europe and, maybe, Russia?

CC: I have never toured in Russia and I would absolutely LOVE to make that happen.  Even in Europe, I only toured as a sort of DJ type setup, not the full band.  If this next record comes out and there is sufficient demand for shows then definitely, I’d love to make that happen!

N: Alright, here we are. Your new album drops February 11^th, it’s titled “Director”. Your fans must be dying to hear it! What to expect? Will it be dramatically different from the debut?

CC: The next album is definitely me - however it is quite a bit different from Elemental Themes.  It’s darker, a bit more meditative, and if I may say so, it’s more “cinematic” I believe.  I am working on the first music video right now, which will be done entirely in Unreal Engine - and I’m very excited about that!  I think fans of my previous work will hear my style in this record, but I think there will be lots of new stuff to enjoy, so I hope everyone likes it!  And hopefully it’ll be way less than 10 years before another one…!!

As we draw closer to the end of the year, Neon Fawkes and I decided to once again put on our serious caps and deliver to you our top ten albums of 2021. Let's face it, this past year pretty much looked like a post apocalyptic B-Film. Fortunately for us music lovers, it had a decent soundtrack. We'd like to take the time to thank the below artists for making our 2021 a little more enjoyable.

ALBUM OF THE YEAR

Radio Galaxy by Starcadian

NF: Look. I get it. We’re Starcadian fans. We fought our bias on this, and we still feel that this album is simply incredible. Is it pure Synthwave? No. Retrowave? No. Future Funk? No. What is it? Like his prior works, this album is a mélange of retro sounds, and unlike the prior albums, this includes some crazy surprises that really veer off the rails. It is, simply put, a triumph of what was, what is, and what will come. The album pays tribute to songs from before, sounds you may know, and yet it now thrusts forward with some incredibly unexpected vibes.

Beginning with "Neonhead", Starcadian grips his fans with a sound we are familiar with, then takes us on this incredible whacky trip through disco, funk, cyberpunk, synthwave, and...I can't even think of a definition. Starcadettes will recognize the vibes in "Culture", "Propaganda", and the awesome nod in "Causality" (which features some amazing sound track epicness at the end...you must wait for it).  Throw into this mix some batshit insane sounds and beats in the likes of "Gutter", "Lovebeats", and of course, "I Demoni". Starcadian had been working on this for a while, but the tease and release were a surprise. There were no hints earlier in the year. He came out of nowhere and simply dropped this work on us. I liken it to "Random Access Memories" by Daft Punk. It's that good.

DG: Radio Galaxy by Starcadian is brilliant. While it didn’t take us long to come to a consensus on this as our album of the year, It will take me a lot longer to explain why. With Radio Galaxy Starcadian delivers on his signature blend of funky jams, engaging lyrics, and mythical world-building, but for me, there is so much more.

For me, it’s about the expert pacing with each track complementing the previous. It’s the way Starcadian creates atmosphere by letting some tracks breathe, like with “Gutter” and “This City Is Going To Kill Us Babe”, only to thrust the listener into an intergalactic cave rave with “Cannibal Gods” and “I Demoni.” Every song fits the narrative with each track built on the previous. Radio Galaxy is an album that takes the listener on a journey to the edge of something both amazing and terrifying. It somehow manages to be both experimental and elegant at the same time. It’s an album that’s easy to fall in love with, but complex enough to reward the listener with something new with each listen.

The Kingdom II by Arcade High

DG: I have yet to find another artist that captures the innocence of my youth quite like Arcade High. With Kingdom II, Ryan and Patrick have really done something special here. It’s an album that is not only a pleasure to listen to, it also somehow managed to completely reinvigorate my sense of wonderment and imagination once only kept in my youth. With Kingdom II, Every song is an adventure worth taking.

Built on their critically acclaimed Kingdom released in 2016, Kingdom II is a true successor. The album features some familiar refrains and once again delivers on the mix of chip and conventional percussion elements they’re known for. Song styles transition from EDM dance-club to old school arcade, and it’s all done seamlessly. With increased production quality and just the right blend of vocals and music styles, it‘s not only on par with their previous efforts, but it surpasses them in leaps and bounds.

While the technical aspects of the album are something to celebrate, the bottom line is Kingdom II is just plain fun to listen to. You can feel the love and passion that Patrick and Ryan have put into this work. Lovers of the genre will find this album an absolute pleasure to listen to. Whether fans are jamming out on the direct Daft Punk influenced “Slay,” or belting out the cheeky lyrics, “Don’t get yourself killed” on DGYK, there is something here for everyone to enjoy.

Line up your quarters for this one. Kingdom II will have you here for a long time.

Boardwalk Arcadia by The Motion Epic

DG: Boardwalk Arcadia is an example of something that knows exactly what it wants to be and delivers exactly that thing perfectly and unabashedly. It’s a straightforward synthwave album that delivers everything you see on the side of the box. There’s no debating that this is a true synthwave album, and a damn amazing one at that.

With Boardwalk Arcadia, you will find some incredible songwriting along with some of the best vocals you’ll ever hear on a synthwave album. Pat Dimeo, the main producer and vocalist on the album, really elevates the bar. While there are no duds on the album, you might want to check out some of our favorites like “Love Somebody,” “Runaway,” and the titular track (drink) “Boardwalk Arcadia.”

Cruise Control by Max Cruise

DG: Cruise Control by Max Cruise is one of those albums that really should be in every synthwave fan’s collection. The finely polished production and creative energy evident on the entire album exemplify everything I love about synthwave. It features fast-paced outrun grooves, exemplary guitar work, and top-notch vocal delivery from one of the best vocalists in the business, Pat Dimeo. The album has so much to offer to true fans of the genre. It’s not just about fast cars and neon sunsets, either. There are some sophisticated selections on the album that set the bar high. It couldn’t be more evident than on “You and Me Again,” a track that features numerous chord changes and progresses to one of the best refrains I’ve heard in years. The ethereal vocal talents of Alessandra Gonzalez set this song as a standout on the album.

Another stand-out track for me is the opening track "Dangerous Love." If that sax doesn't grab you, you simply don't have a soul. Do yourself a favor and go out and pick this one up immediately. You won’t be disappointed.

Mainframe by Waveshaper

DG: When it comes to artists that consistently deliver top-quality synthwave albums Waveshaper is at the very top of the list. With Mainframe, Wavershaper once again delivers with his signature french house sound. From the second the needle drops, the listener is transported to a wonderful journey of sights and sounds that hearken back to the early days of Daft Punk and M83. Mainframe is a total joy to listen to from start to finish. If you’re into arps (and who isn’t?), you're going to love this album.

While being a fairly straightforward “arpeggio” album, the middle track “Save Room” adds variety with its relaxed chillsynth vibe. All that follows is a fun joyride of amazing beats and synths. True lovers of the synthwave genre need to look no further– This album is the perfect album for you.

Odyssey by Michael Oakley

NF: Right...so....Moakley may have an unfair advantage here considering the talent he worked with to bring this album forth. Yet, as we all know, he is an incredible songwriter, producer, and mixing/mastering genius (he's helped many other artists in this regard). Odyssey is a slight departure from his prior "’80’s synthwave" sounds, and instead pushes forward into the '90’s while still paying tribute to the sounds of both decades. Michael's wonderful vocals are paired perfectly with the underlying musical compositions, and they really tug at your heart.

Out of all the albums on our list, this one deftly touches your heartstrings, and then pulls at them, making your eyes tear up a bit.  With help from friends such as Ollie Wride, Dana Jean Phoenix, Mecha Maiko, Jon Campbell, and many more, Mr. Oakley delivered something that I play when I'm feeling emotional, or when I need to feel "alive".  Tracks of note: "Wake Up!", "Is There Anybody Out There", "Babylon" (careful, this one is haunting and it's an earworm), "Glasgow Song" (I'm pretty sure this is a favorite of many...DJP and bagpipes...come on), "Real Life", and the single that released earlier, "Queen Of Hearts" (perfect pop tune). Synthwave needs to evolve and push forward, while still keeping rooted in it's love of "yesteryear". Oakley shows us the way forward here.

Sarajevo by Betamaxx

NF: Folks who know me know that I lean towards more dancey, energetic synth, but I'd have to turn in my synthwave badge if I didn't agree with Groot that this belongs in the top 10 of 2021. Betamaxx is a staple of synthwave, and with this album, he went chill and did it PERFECTLY. Mr. Maxx knows what he's doing.

This release, from start to finish, is the best relaxing trip through lush synth and evocative vibes one can get. It's city pop meets vaporwave meets synthwave. Every track (if you listen from start to finish) perfectly blends from one dreamy feel to another. Tracks to pay attention to: “Winter Games”, “Downhill”, “Sarajevo”, “Horizon”, and the last track, “Ceremony”, that gives me classic orchestra feels, yet stays smooth and simple. It's a slight departure from Betamaxx's earlier sounds, but with this release, he shows he's capable of growth, change, and he knows how to master whatever he sets his sights on. The best part? We all benefit!

Lemon Crush by L'Avenue

NF: OK, we may be cheating here. This is an EP, and L'Avenue has since dropped another album called Azure this year, but I'll be damned if this release isn't something special. If you are looking for the perfect "synthwave" or "dreamwave" album, this is it. Simply put, L'Avenue knows his aesthetic and the sound that should accompany it.

Listen to this album, and you'll imagine yourself swinging in a hammock under some palm trees on a boardwalk in the sun. Tracks that really stand out are "Kelly" and "Forever". Don't stop there, though. Listen to this EP over and over again, and feel your soul mending, healing, and glowing with peace and happiness. The sampled sounds of birds and cheering on the tracks simply add to the feeling of happiness.  

CODENAME Jody by BMX Escape

NF: I feel for those who have not heard this album yet. With all the talent in synthwave, BMX Escape is one of the artists who, I think, deserves serious attention. Like the album reviewed next, it is a concept album that not only conveys a story, but the selection and order of the tracks simply "fits".

Hailing from France, it's no wonder the talent is top notch. The French just have a knack for electronic music. Jump into this album and listen from start to finish. You’ll feel like you've just watched a Hollywood blockbuster.  Tracks of note:  "Codename Jody Theme", "My Crush", "Thunder Arcade", and "Love's Escape". This album has perfect outrun sounds, beautiful and lush synthwave vibes, and incredible collaborations with the likes of Hubrid, Megan McDuffee, and By Forever.  

Beyond Stars by Syst3m Glitch

DG: Beyond Stars tells the story of two lovers risking everything to escape a ravished city that’s on the brink of destruction. It’s an over-the-top synthwave rock opera of epic proportions that delivers on incredible storytelling, imagery, and epic guitar solos.

While it’s an album that delivers lots of great songs and a great storyline, diversity is where this album shines. You get a full-on Bon Jovi power ballad on “I Remember”, only to be followed up by some straight-up sci-fi bangers like “Lightspeed” featuring Shadowrunner. The album covers a wide range of concepts from killer synthwave power tracks to intimate piano ballads. It has something for everyone.

Speaking of features, the “who’s who” on this album alone is worth the purchase. You get some amazing collabs from synthwave greats like Turbo Knight, Dimi Kaye, Van Derand, and of course, Shadowrunner. It even has some fun voice-over work by Nightride FM’s own Kaarin Zoe Lee. These collabs offer even more diversity and make the album shine.

Grab this album today and soak up the fantastic music and storytelling. If you’re looking for more, we can accommodate that. Check out Nightride FM’s exclusive story-driven broadcast that ties everything together into one epic experience.

We have to admit, there were an incredible number of albums released this year, and they were nothing but quality.  The following list is our "honorable mentions", but in reality, they drove us nuts trying to decide which fell into the top ten.  Thus, if we could do a top 100, they'd all make the cut.

In no particular order, these are albums you absolutely, definitely, positively MUST acquire:

Highway Superstar - Contraband

Honey Beard - Oneiros

The Midnight - Horror Show

Droid Bishop - Into the Abstract

Timecop1983 - Faded Touch

Icarus - Dancing In The Dark

AT 1980 - Late Night Calls

Von Kaiser - Animals

Lukhash - We are Stardust

The G - Wanderers

FM Attack - The Never Ending

Megan McDuffee - Inner Demons

Phaserland - Heart Plaza

Power Rob - Monsterman

Young Empress - Lost Time

Shades of Thunder - Flight of Fancy

Cassetter - Robot Era

New Arcades - In The Deepest of Dreams

LeBrock - Fuse

Observer Drift - The Outsider

A Dollar Underwater - Hereafter

Laura Dre - Moving Spaces

Dryve - Seulement L’amour

Signal Void - Jaded Shadow

Primo The Alien - Heart On The Run/Rock Professor

Sebastian Gampl - GAMPL

Sandor Gavin - Primeval

Zenith Volt - Timekeeper

Night Leather - Night Leather

Shadowrunner - The Stranger

Bunny X - Young and In Love

The Last Concorde - Dream Machine

Ghostfeeder - Invited To The Murder

Ian Cowell - Exceptional Goblins

Don Dellpeiro - Believe In Magic

Beckett - From City To Beachfront

OSC - Yume No Machi

Jay Diggs - Jams

DEADLIFE - God In The Machine

Yatte - Yecco Emecco

Diamond Field - Diamond Field

Jacket. - Volume 1: Dream

Sheaf - Daybreak

Alpha Chrome Yayo - Page Me

Street Cleaner - EDGE

Dimi Kaye - Soulkiller

Millennium Falck - Fall Of The Titans

Rogue VHS - I am: Rogue VHS

Oblique - Past Times

Jordan F - Eurowave

Andrew Lesynt - Second Chance [2021]

Morphoice - Vinyl City

Parallels - Supersymmetry

Micromatscenes - Hot Shots

Starfarer - Multiverse

Cat Temper - Furbidden Planet

Greetings Alex!
Your new album "CONTRABAND" is being released six months after your previous album, "ENDGAME". Was making the new record a tough task?

It was never easy with "CONTRABAND". Some of the songs were in the works for around three years and weren’t really finished yet. It can be very hard at times to get into the working flow and, to be fair, it used to be way easier for me to drop new singles and remixes. I tried to satisfy my urge to release a lot of music and frequently, too, without losing the creative flow of working on the album. I also kept receiving fun musical projects to take part in-- like the shows in Moscow and Saint-Petersburg. How could I say no to that? With COVID, though, I could forget about any shows at all, and it was a bit easier for me to focus on making the album.

What is it about "CONTRABAND" that is unique to the album? What should we prepare for?

I think that my new album is much more varied musically. This time around, I allowed myself to experiment with different styles and mix them up with retrowave. Some of these elements have never appeared before in Highway’s music. For example – "Down This Road" has live drums and bass guitar for the first time. This song feels like an 80s indie-rock tune. That’s why I had to carefully work on it stylistically. There are also two songs in the tracklist with my own vocals! Even though it’s my second album that I try myself on as a singer, it’s still all new and fresh for me.

Oh, by the way, I think the new album is, I don’t know – more of a solo act? I mean, it doesn’t have that many synthwave artists featured like Dana Phoenix or Sebastian Gampl. Why did you decide to drop the big names off to collaborate with lesser-known artists?

Allow me to disagree!

Feel free to!

There are plenty of big names on the record, like the Scandinavian duo Sally Shapiro; I was able to work with them a few times before. Also, Doubleboy, who is known for his collaborations with Robert Parker on songs like "End of the Night" and "A Light in the Dark". I’ll use your question as an opportunity to give a shoutout to the lovely Daria Donatelli-– I have become great friends with her lately. She performs incredibly on the album’s finishing track – "Time".

Though you’re right to an extent. In a way, the album turned out more intimate because of fewer artists contributing to it. I consider almost every collaborator a friend of mine and value their talents highly. Though sometimes I want to try something brand new and work with interesting artists! I love collaborating and being free to choose who I should work with and perform with.

Which Pangea did you dedicate your single to?

The supercontinent, of course! Actually, it’s more about the dream of Pangea-- the ability to visit and explore all things mythical and phantastic. Because, apart from the depths of the oceans, new discoveries on our planet have become super rare-– that’s why you have to make stuff up every now and then.

Alright, let’s digress from your new album for a moment. How huge is the Israeli synthwave community, which you represent, at the moment? What does its future look like?

It’s fairly small and very young. It’s usually less than 150 people who show up at synthwave parties and you can count the number of producers on one hand! However, there are many people who know of the art of the biggest producers. I got to play DJ sets at private parties and people seemed to love the music without even knowing much about the genre! But it’s nothing to be surprised by if you consider that the first synthwave party was held in Tel Aviv like three years ago. I hope it changes soon.

The "Rosso Corsa Records" label that you and Miami Nights 1984 run together hasn’t released anything major yet. Is it the “calm before the storm” of sorts, or something totally different?

Lately many synthwave producers who released on Rosso Corsa with me in the 2010s release music by themselves, myself included (though Electronic Purification Records help me with the release of the vinyl and CD editions). I think it shows the progress that’s been made and the age of our scene. Many labels have closed or become inactive-- like Girlfriend Records, Telefuture, Aphasia Records, and Kiez Beats. However, new people and labels will always appear after a while-– music should always come first.

Your track "Careful Shouting" was featured in Kung Fury, the new cult classic movie. Tell us more about your work on the movie. Will your tracks be featured in the sequel?

David Sandberg, the Swedish producer, director, and the leading actor of the movie contacted me back in 2014. Initially, there were plans for two tracks to be included in the movie – one of them being "Easy Ride", which was released on the vinyl OST of the movie. Eventually neither of the tracks were featured in the movie. David asked me to make a brand-new piece for the scene, which ended up being "Careful Shouting". My task was to make something romantic with a humorous shade. I met Ilya Skabinski, a very talented sax player and composer, who helped me with the song. Speaking of the sequel, I know nothing yet, but I keep in touch with David. Hopefully it all gets clearer soon.

It’s time for the question we ask everyone! Will you ever leave all of the jazzy synthwave behind to make an earth-shattering darksynth release?

Not a surprising question at all! First things first, I’ve released plenty of darksynth-y tracks, latest of them being "Run", featured on the "In Search Of Darkness Pt.2" compilation by NewRetroWave. Though I always try not to make the tracks way too dark. Never say never though! I’m a born metalhead after all! I made a song for the Israeli doom metal band, Tomorrow’s Rain’s, debut album and also played keys for them. For the Belgian death metal act, Aborted, I made a lot of SFXs for their 2011’s "Global Flatline".

Wow, who would’ve thought that you’re so tightly tied with metal! Back to your latest album, I have one final question. If you ended up on Pangea 250 million years ago, what would you do there?

I think I’d spend an hour trying to figure out where my Wi-Fi and 4G went! Jokes aside, I’d build myself a hut, take a walk, and read all of the books I didn’t have the time for! Maybe try to make a musical instrument of some kind, probably one with strings. Or a wooden flute! And of course, try to be safe from the local fauna.

Thank you so much for the fun interview! Happy release, and best of things to you!

Thank you and all the incredible fans!

Support Highway Superstar

Contraband, by Highway Superstar

13 track album

Highway SuperstarHighway Superstar

Interview taken by Oleg Vasilenko (E:/music/synthwave VK Community)
Edited by HannahB
posted by CYBERTHING!

A recap of the Gap:‌

‌

Hailing from Sweden, Sonic Gap infuses his music with a variety of sounds, which sometimes include ambient, rock, vocal, and retro synth.  His last album "Cosmos" was released in August of 2020.  A veteran of music, he's been at it since the '90s, and he consistently puts out great albums that generally are space themed. This latest one is no different.

‌

A look at Sonic Gap's recent release "Colonizer":‌

‌

"Colonizer" dropped on September 3rd, 2021 AP (After Pandemic). It's a concept album about a girl named Selene (an AI Specialist) who moves to the Moon in 2121 in order to become a colonizer. Several of the songs were released ahead of time as singles, and now the whole story is laid out before us.

Let's check out the album:

"Colonizer" - Arps and cool deep synths (think Total Recall) kick off the album on the titular track, with the lovely narration of Nightride FM's own Kaarin Zoe Lee laying out the story. The song then starts to pick up, evoking a sense of adventure and hope that hint at something darker. At around 2:20, we are treated to some future funk sounds to wrap up this "naïve and innocent" vibe.  

"Machine Learning" - Here we have some cool beats and rhythm as the pace picks up, then just after a minute in, some lovely synth pads join the mélange of arp'd and warped beats.  There are punchy effects throughout the song.

"Weightless" - The third track on the album is one of my favourites. Arpeggiated notes take you on a trip over gliding background synths and slight key changes. The hook in this one is great. You'll be humming it for days.

"Coming Home" - There's some incredible early '80s adult contemporary vibes coming out of this song. If you are a fan of Droid Bishop, you'll thoroughly enjoy Coming Home. I can't decide whether I'm watching reruns of "Welcome Back, Kotter" or listening to Steely Dan. Either way, I'm here for it and the smooth almost jazzy sounds just make everything alright.

"Moonbase Treadmill" - Sonic Gap doesn't usually do heavy montage music or workout music, but this track comes close. It's driving beat, the female voice counting "1,2,3,4" in English and French, the elevated tones, and the breaks/drops all pack some energy while at the same time still feeling "spacey".‌‌

"Late Night In Space" - Let's slow things way down baby. Picture yourself in your cabin on a space station, rotating for the gravity, looking out the window staring at the stars and moon as they whiz past.

‌"Artemis" - Released earlier as a single, Artemis has some very cool effects applied to the synths and basslines. It's got key changes that keep taking this song places.

‌"Rocket" - I love when artists have fun with arpeggiated notes. This tune is so happy and bouncy. The lead melody and it's underlying pads remind me of old French pop tracks from the 80s or 90s.  

"Amazing" - Things get a bit more intense in this song. Something is happening, with our pulse racing, beats and notes flying past us. There are some vocoded "You are amazing" vocals injected into the chorus, reminiscent of Daft Punk.

"Lunar Cruise" - Now we are slowing down again for some 70s/80s yacht rack/jazz fusion. Smooth plucky synths and a slight disco vibe permeate this track.

"Shackleton Crater" - Another slow burn, this features a chill ambient vibe with some neat little vocoded effects used as an instrument. Listen to this with your eyes closed and feel your pulse settle.

‌"Explorer 2121" - The final track feels like the end credits to a space opera, as it should. It calls back to some of the songs earlier in the album using similar melodies and blending a bit of everything. The pace in this is triumphant, poignant, and it just feels like you are leaving your world behind and gliding off into the unknown.

In conclusion,

Sonic Gap's latest release is something you can put on, sit back, close your eyes, and just imagine a story unfolding in space. "Colonizer" hits all the right notes to evoke feelings of adventure, reflection, happiness, and foreboding. This is something the Gap is very good at, and he shows no hint of slowing down or changing something that doesn't need changing.

Follow and support Sonic Gap at the links below:

Spotify‌‌

‌‌Bandcamp‌‌

‌‌Soundcloud‌‌

‌‌Twitter‌‌

‌‌Facebook‌‌

Website

Sup, Tigr3! Glad to have you as a part of our interview series! I’m going to be honest, judging from your rare social media activity, I was doubting that you would be open to an interview. Thank you for joining us to talk about your music, the EL TIGR3 Project, and yourself.

The first question might seem painfully basic, but why exactly is the project named EL TIGR3 and not, say, El Leo or even El Leopardo?

• Simply because Tig3rs are cool and Leopardos are not.

Can you share some details about your collaborative work with Dennaton Games? In your opinion, why did your very first track “She Swallowed Burning Coals” become so massively popular that it became a part of the Hotline Miami 2 soundtrack?

• She Swallowed Burning Coals was the first electronic song I ever wrote. After posting the track online, an anonymous person mentioned it sounded like something from Hotline Miami 1. I wasn’t aware of the game at the time but ended up doing some research and tracked down the game creator. I sent the creator a message asking if they would be interested in using my song in one of the games. This led to it being featured in Hotline Miami 2. I wasn't expecting it, but I’m thankful for the anonymous person who suggested it.

Many tracks from your two most recent albums are hard hitting. Some of them encourage you to rip and tear through your enemies, while the others make you face the unbearable pain of existence (like my favorite, “Waiting To Die”). Does the unpredictability of each track’s mood match your personality, or is there something else that explains why each track is like this?

• On most of my albums, I like to give some flavor of light and dark sounds—aggressive, yet calm. When I started “Waiting to Die”, I was unsure which direction I wanted the track to go, but after meeting my now fiancée, I decided to take on a different approach that didn’t include drums or bass. The song is very relaxing that way, but in order to put it on the album, I still needed to give it a dance feeling. I like to play it both ways live.

Do you implement any physical synthesizers to make the sounds for your music, or are you a firm believer of the convenience of software instruments? What’s your setup like?

• My first few tracks were 100% software based. As the years have gone by, I’ve incorporated more physical synthesizers and analog effects into my music, as nothing can really replicate physical stuff. I mostly use a 1984 Casio Tone 408 chained to various guitar pedals. Any bass is done with Moog, and the drums are a mix of samples. If I do use software, it’s usually something from a free VST website.

There’s only one collaborative track you’ve done in your entire career – “Maimed” -- that was produced with Gurglesplat. How did you guys come up with the project?

• Gurglesplat is one of my good friends. We’ve worked on a few projects in the past, so we figured it was time to write a song together. It’s definitely one of my most unusual and favorite tracks.

Who would you also like to collaborate with?

• I would love to collaborate with someone god-like such as Com Truise.

Regarding your inspirations, could you tell us about the media that you grew up with? Any particular books, movies, or music that shaped the artist that you are now?

• I grew up strictly listening to Death and Black Metal. Without a doubt it’s what gets me inspired to write El Tigr3.

You once tweeted that when you reach a million Soundcloud streams, you’ll get a face tattoo. You have way over a million now, so… did it hurt?

• Oh yeah, but it was totally worth it. It was just a small dot so no one will ever notice it.

Did you know that most of your listeners on Spotify come from Moscow? Why do you think Russian listeners enjoy your music so much? Do you follow any Russian or post-Soviet artists?

• I’m absolutely aware of my effect in the Russian and Post-Soviet countries. They’re probably my biggest and most loyal fan-base. I’ve definitely been listening to a bunch of Russian artists. I’m a huge fan of Garcons. Those dudes know how to lay it down. If you’ve never heard of them, I recommend a listen.

A few years back, you had your first live show in Denver. How would you rate it, 1-10? How did it feel? Maybe you’d like to do another show, say… in Moscow?

• I played a few shows in Denver and San Francisco. I love those cities and would rate it a 10, as performing in front of a live audience brings in a whole new level of energy. El Tigr3 live is the best way to experience the music and the plan was to head out to do a few shows around Europe. Unfortunately, due to the COVID pandemic, I had to put that on pause. Once things settle down, I’m definitely heading out for a live performance again!

Finally, your latest album Kronos was released earlier this year. What makes it special, and how important it is to the El Tigr3 catalog?

• Kronos was put together to pair with a visual piece. I wrote the album from start to finish to sync with a video created by Wonder Science. This is the first time I’ve ever written to be heard and seen. However, I don’t think it will be my last…

Thanks so much for taking the time to answer our questions, dude! Say goodbye to our readers :)

Support El Tigr3:
Bandcamp: https://eltigre.bandcamp.com/
Twitter: https://twitter.com/El_Tigr3098

Interview taken by Oleg Vasilenko (E:/music/synthwave VK Community)
Edited by HannahB
posted by CYBERTHING!

Icarus & Quelle T are finally back with "Machine Heart Pt. II" the anticipated follow-up to Machine Heart.

The song is further developing the theme of losing your humanity in a world rapidly evolving in technology. It is accompanied by a stunning music video shot in abandoned train carts in the dark woods of Sweden.

The multi-talented Icarus who also is a part of the NRFM team recently passed 1 000 000 streams on Spotify and is currently ramping up for the release of his debut album "Dancing In The Dark". His music has been featured in everything from countless videos on youtube to Xbox commercials. He has over the years received support from blogs and radio stations such as POPMUZIK, Indietronica, Eternity Network, AnalogueTrash, Eonity, Newpop, EDMS, Sora Music, Radio Nord Norge, 100FM, Talk About Pop Music, and many more.

Quelle T is a songwriter & artist also hailing from Sweden, besides the work she's done in collaboration with Icarus she's written songs for the Korean supergorup Exile the second, ISA, Maja Amcoff, Too Many Left hands & more.

Together they deliver a melancholic retro-electro flavored song, taking us to familiar places we've never been before!

Julien Pannetier, the French producer known as VIQ, has recently become one of the brightest representatives of the chillsynth genre. During his two-year career, he’s published several mini-compilations, singles, and even two albums. The latest of these, "Crystal Shores", was released recently via Stratford Ct. To celebrate this, we had a short interview with Julien, where he shared his thoughts on the genre and whether or not chillsynth producers listen to anything heavier than Birdsong or Tycho.

***

Bon jour, VIQ! We’re glad to have you as the first chillsynth interview in our #RETROVIEW section. Would you like to introduce yourself to our readers?
Bonjour! My name is Julien, and I’ve been making electronic music under the alias, VIQ, in my studio in France since 2019.

“ORBIT”, the first track you produced, was released in early July 2019. What triggered the start of your music career?
I think I’ve always wanted to make music. My father was a musician at heart, and he pushed me toward music from a young age by giving me a guitar. Later, I became interested in electronic music, but nothing serious, until the day my friends pushed me to make real songs and put them online. “Orbit” was a test for me.

For many people around the world, 2020 was extremely stressful. At the same time, it seems like it was a productive period for you. You released two albums, an EP, and a single. How did you manage to record so much relaxing music during such a tense time?
It’s true that it wasn’t easy for everyone! As for me, I didn't go out much and I had the free time to express myself musically. I managed to stay positive throughout this period. The idea of being locked up with guitars, synths, and a computer was pretty cool for someone who likes to make sound *laughs*.

Many people believe chillsynth is pretty monotonous. What aspects distinguish your music from the work of your colleagues in the genre?
I really like chillwave/chillsynth. It’s not monotonous if you know what to listen to. But like many styles of music, I think sometimes you have to take risks and get out of your comfort zone. It's important for yourself, and I think the listeners appreciate that. Having your own sound-- your own vision-- of music is important. It took me a while to find what I really liked and to try to make it unique.

What track from your discography is your favorite and why? What would you recommend to listeners who want to explore their own creativity?
Oh, I think my favorite is a track from my next album. It’s called "Keep Breathing". I don't know why, but I really like the vibe of it-- more analog and natural. It's not what I usually do, and that's cool!

To explore your own creativity, you have to be interested in everything! There are so many possible sounds and inspirations! Pink Floyd, Claude Debussy, Daft Punk, and Nujabes. I think that's a good start

I’m looking at your Soundcloud and Spotify recently-played lists, and there are only chillsynth, indie pop, and shoegaze tracks. Do you listen to anything heavier? Maybe some metal or darksynth?
Yes, it’s true! I listen to Carpenter Brut and Gojira quite often. I’ve had my metal phase, too, but I listen to it less often than I did before.

The French darksynth community is the largest in the synthwave scene. What about the French chillsynth community? Does it have any influence on the chillsynth scene, or is it only at the development stage?
I think the French chillsynth scene is small but very strong. Artists like A.L.I.S.O.N, Krosia, or LÜNE have had an impact on the genre, that's for sure!

You’re a freelance photographer who’s worked with some publishing offices, including Vogue and Le Figaro. How difficult is the work in general, as well as working with famous personalities?
You are well informed! Indeed, I used to work as a photographer. The hardest thing is to adapt to the person in front of you. It’s not easy and you have to be quick. Famous people impress you at the beginning, but then it becomes a normality.

Does the art of photography influence you musically?

It certainly does! I think photography and music are closely related. For me, expressing myself with a picture or a sound is a common way of expression and creativity.

Do you have any plans for live performances in the future when concerts will be allowed again in Europe?
Not at the moment, but why not!

Your upcoming album will be released in early July. What can we expect from it?

The album will fall somewhere between dreampop, chillsynth, and indie-rock, with collaborations. It will still be with the help of the Stratford Ct. label, and there’s a cool thing I’ll announce soon. :)

Support VIQ:
Bandcamp: https://viqmusic.bandcamp.com/
Twitter: https://twitter.com/Julienpannetier
Instagram: https://www.instagram.com/viqmusic/

Interview taken by Oleg Vasilenko (E:/music/synthwave VK Community)
Edited by Hannah Baird
posted by CYBERTHING!

A little about the artist LAU:

LAU (AKA Lau Fares) has some serious chops when it comes to synthwave. She has over a decade of experience writing and collaborating on hit music for artists such as NINA, touring (with glowing drum sticks), singing, and running Aztec Records alongside some great individuals. I'm one of the lucky ones who has met LAU in person, both when she toured with NINA in North America in 2019, and again in London at an Ollie Wride concert. I would have seen more of her, but 2020 hit, and well...I suppose this allowed her to get cracking on her debut album!

Let's dive into LAU's "Believer":

Releasing Feb 12th, 2021, "Believer" is a 10 track album (18 if you get the deluxe version which features a cover of "Now I'm In It" by HAIM, incredible remixes by artists such as Droid Bishop, Maethelvin, Popcorn Kid, Sunglasses Kid, and more). It features vocal synthwave to tickle anybody's neon soaked fancies. There's contributions from producers such as Ends 84, Brian Skeel, Astrotones, and Maxx Parker throughout.

The tracks:

"Stunning" - The first single released in 2019 from the album, there are some strong similarities to The Weeknd's "Blinding Lights", though this song is by far a more synthpop creation.  LAU's voice sounds a bit like Laura Branigan in places, with the up-tempo beat and lush synths washing over you like warm pacific surf on a hot summer day.  

"We Had Magic" - Right out of the gate, the second single released last year is like the perfect vocal retrowave track. Reverbs, thick pads, and LAU's vocal talent. The singing and lyrics sound like they are right out of the '80s, with the instruments touching on early '90s eurodance or trance.

"True" - If you like your synthwave to sound a bit like Whitney Houston or Annie Lennox, this track is for you. It's the 4th single released ahead of the album, and it's one of my favourite songs on the entire release. With great harmonies and chorus, with some pure retrowave synths and an incredible '80s drum beat. LAU just dropped this video filmed in Barcelona for the song!

"Believer" - The titular song from the album (Kaarin Zoe Lee fans, take a drink), there are some tropical sounds in here before it gets thick with lush and fun synths, some background vocoding, and LAU's soft voice perfectly timed to the bars and notes in the track.  

"The Cards" - The fifth and last single released ahead of the album in 2021, The Cards starts soft, dropping into a catchy beat and lyrics, followed by the first drop into the chorus. The underlying instrumental song is already stellar, with layered synths and a driving beat. It's just made even better with the vocals.  

"Recognise" - The third single released in 2020, this number is another one of my favourites from the album. It's high energy, starts strong, and has subtle arps and synths that coalesce into a symphony of synth and harmonies. LAU's vocals are at their best here, showing some great range while still keeping that soft, welcome feel.  

"Always On My Mind" - Once again hinting at some Annie Lennox, LAU's voice sings softly over a smooth and slightly pop track with really catching bridges. Want some bongo drums to really feel groovy? They appear at 2:18 and really drop this song into the late '80s.

"Emotional" - Glittering synths with a thick kick and snares, the song grooves along with reverbs and layers, smooth breaks to the next bridge, and LAU's soft and smooth vocals making you feel as "content" as can be. This song would not be out of place in Black Mirror's "San Junipero".

"Unable" - I love how the words drop with the kicks in this. Throw in some driving snares and synths that seem to float on their own outside of the other layers, and you have an easy listening masterpiece, with smooth guitars kicking in at the midpoint. Fans of The Midnight will enjoy the pads in this. It's the kind of track that would be a hit played live on stage. Here's hoping this comes to pass.

"What It Takes" - The last track on the album (unless you get the deluxe edition), this song is slow and soft, reminding me somewhat of Wham or Queen in it's ballad-like verse. It's a gentle song with echoes and chorus that tugs at the heartstrings yet still remains upbeat and smooth as synthpop should.

A quick overview of the extra tracks on the deluxe version of the album (I mean...why would anyone not get the deluxe version when these names appear on it?):

"Now I'm In It [HAIM Cover} (Friday Night Firefight Rework)" - Friday Night Firefight are another artist featured on the Aztec label, and here they've partnered up with LAU to create a fun and driving cover of HAIM's popular track. Finger snaps, arps, and fun chorus vocals make this a fun and essential song on the album.

"True (Luke Million Remix)" - Take the original song, add a lounge atmosphere, and throw in some disco/funk effects, and you've got something that you could swear was created by our next featured artist below. Luke Million's take on this '80s track sticks it into the adult contemporary radio zone. Something I'd be listening to while driving home from work back in the day.

"Stunning (Droid Bishop Remix)" - You can hear sweet arps, guitars, and composition that sounds late '70s and early '80s here. Right, well. There's nothing more to be said...it's Droid Bishop. I'm guessing LAU's ability to get this lord of synthwave on the album stems from her experience touring with his brother Sam Sparro. Talk about chiq clique.

"Recognise (Sunglasses Kid 1990 Pump It Up Mix)" - You know if you add Sunglasses Kid into the mix, things are going to go a little late '80s or early '90s R&B/Funk. The Kid shows off his masterful talent here, giving us a version of the song fit for some MTV showcase.

"The Cards (Highway Superstar Boogie Remix)" - Wow...the remixers really know how to send us back to the era of disco or early '80s pop/dance. Mr. Superstar gives LAU some Blondie treatment here. It's one of my favourite remixes on this deluxe album.  

"True (Austin Apologue Remix)" - Breaking from the prior remixes, Austin Apologue creates what I would call a trance remix here. The build and drops with the iced filter effects really make me think of songs that used to feature on the TMF jaarmixes back in the day.

"We Had Magic (Maethelvin Remix)" - Throw in a french producer from the Valerie Collective, and you have a track that sounds like it's from the Drive soundtrack. Distinct Maethelvin synths are added to a slightly stripped down version of LAU's song. At around 2:20 it gets fun, a bit cyperpunk if you ask me.

"Stunning (Popcorn Kid Nocturnal Mix)" - One of the newer artists to join the Aztec family, Popcorn Kid hails from India, and is a classically trained musician. He shows this off with some gentle piano work and atmospheric treatment of LAU's stems. It's as if Kate Bush did a song for a HALO soundtrack.

In summary:

"Believer" is an album chock full of vocal synthpop/retrowave tracks to satisfy everybody. LAU has taken her experience working with other artists and finally devoted that energy to her own music, coming out strong with a debut album (I suppose it's not her first rodeo, so "debut" simply means "solo" in this case) that shows her writing and producing talent (and of course, singing). This release will definitely be floating on the top of sales and charts in the near future.

Follow and support LAU at the links below:

Spotify‌‌
Bandcamp
‌‌Soundcloud‌
‌Twitter
‌‌Instagram‌
‌Youtube
‌Facebook

Follow and support Aztec Records too:

Bandcamp
‌‌Soundcloud‌
‌Twitter‌
‌Youtube
‌Facebook

Our Russian interviewer, Oleg, from the 'E:/Music/Synthwave' VK community, spent some time chatting with one of the most brutal synth musicians to date: Dav Dralleon.

Welcome to the #Retroview, Dav! Glad to have you as our guest! Let`s start with your nickname-- What exactly does DAV DRALLEON mean?

Dav Dralleon is a fictional name. I don't yet know what it means, exactly. Only the people who listen to and appreciate my music will be able to say what Dav Dralleon is.

Despite the fact that 2020 was shitty, you`ve released a lot of stuff, such as the groovy Everflame EP as well as three bad-ass tracks from your upcoming album. Did the apocalyptic atmosphere around the world inspire you?

For sure, but this virus is only the beginning of our worries. Us westerners are living in opulence to the detriment of a good part of the planet. We know it, and we will suffer the consequences

You started your solo project by creating the 8-bit hardcore Black Sky EP. I listened to it specifically for this interview, and it's a pretty cool thing. It’s kind of like a mini soundtrack for a small RPG arcade game. Could you see yourself as an author of a soundtrack for a videogame?

Yes. In the beginning, it was for an indie game which I had prepared the scenario: A dark 2D platform game with a lot of action. I made 4 songs for it that I really liked, but the project never saw the light of day.

You played guitar in the metal band PANGORA for a long time. Why did you decide to start creating darksynth instead of continuing metal music?

Yes, I come from the metal scene. I was a guitarist in PANGORA from 2008 to 2016, and I have always been interested in electro synth music. I discovered Perturbator, and when PANGORA was done, I had plenty of time to get into darksynth.

When someone listens to your entire metalsynth catalog since 2017, the element of increasing rigidity can be seen from D E P T H S to Everflame. How is this effect achieved? What would you call the main feature of your creativity?

Lots of work, never rushing anything, always trying to do what you think, and always following through with your ideas, even if that means to do it all over again. Always look to discover new things and try to get out of your comfort zone. Keep moving forward…

Which of your darksynth colleagues would you like to perform on the same stage with?

A lot (laughs), but I haven't planned to do any concerts yet

The French darksynth community is so large now. Almost every month in France, there are new darksynth musicians appearing like mushrooms after the rain. Why do you think the darksynth genre is so popular in your country?

You have Perturbator, Carpenter Brut, GosT, and Dan Terminus. These are the big bosses in the genre. You also have Volkor X, Fixions, Sierra, Carbon Killer, We Are Magonia... and I probably forgot many others. It possibly motivates French people who like electro and other sub genres to follow this style.

You once said cyberpunk is one of your favorite themes. Do you think we live in cyberpunk times? What would you advise to read / listen to / see etc. to those who like this topic?

Yes, we live in the Cyberpunk Era, but without the flashy side. The dystopia is here, with the oppression from the authorities and a head of government who refuses to listen to his people and often silences them by force and by manipulating the media. We’re in a future where everything is hyper connected. We have too much information and the new technologies seduce our conscience. We become, in a way, a new kind of slaves. You should read Isaac Asimov’s “Foundation”. This guy is a genius in ultra-advanced science fiction.

In reality, are you as tough as your music?

Yes and no. It depends on the situation. You must always adapt, not get stuck, stay active, and face the problems that you encounter straightforwardly.

In your interview with The Infidel Netwerk, you stated that you’re engaged in preserving the environment and protecting animal rights. What, in your opinion, needs to be done in order to resolve the pressing issues in this area?

We are destroying everything: overconsumption of meat, overconsumption of energy, pollution of our oceans, our rivers, our mountains. Our corrupt governments are unable to act, and they make the worst decisions about environmental problems. We must change our behavior. We must come together and move in the same direction to learn to gradually forget our personal comfort. We must be aware of what is at stake and the sacrifices that await us. That our world can have a future less obscure than what is on the horizon…

Surely you are waiting for Cyberpunk 2077 to come out, right? What would you do in the Night City being the main character of the game?

Yes, I cannot wait to play it. I intend to do all the quests possible and stroll around Night City.

For my final question-- When and what can we expect from your new album?

My new album will be released in early 2021, and it will be called "FALL OV MEN". You can expect a dark and brutal album.

Thank you so much for this incredible conversation, and I hope it won`t be our last! Cheers!

Thanks a lot for this interview! Cheers

___
E:\music\synthwave community: https://vk.com/e_retrowave
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Dennis and Neon Fawkes bashed their heads together and decided to name their top 10 albums of the year. 2020 may have been a disaster of a year, but all the artists kept releasing incredible music, probably saving many people from abject misery. While Groot and Fawkes endeavoured to take on the impossible task of selecting only 10 albums for this list, there were so many releases, including singles, that reminded us why we all share this retro love.  

Starting with our most ultimate incredibly super awesome spectacular superlative very favourite album, and then listing our nine other favs in no particular order:

ALBUM OF THE YEAR

"Music" by Droid Bishop

I think I speak for every retro electronic music fan when I declare this release "Album of the Year". This artificial person somehow topped last years album "Rebirth Of The Machine" with an intricately woven tapestry of sound that, dare I say, exhibits depth and variety not seen since Daft Punk's "Random Access Memories". Simply slap this album on, sit back, and marvel at the richness and layers of the songs, and the somewhat jazzy sounds of Mr. Bishop's vocals. I swear I hear hints of Eddy Grant, Dan Fogelberg, and many other '70s/'80s influences in his music.  "The Light", "Future Noir", "The Outliers", "Doin' It Right", "Electric City" are just some of the incredible tracks on this album. Fun little fact: DJP messaged me to give thanks for introducing her to this release. Do yourself a favour. Listen to this album. I won't be surprised if you wind up buying it on digital, vinyl, cassette, and whatever other format we can think of. Then, like me, buy ALL his merch. Heck, we can all stalk him together afterwards.

Neon Fawkes

"Neon Beach" by Thought Beings

Neon Beach is part album, part fashion trend. It's an album that will make you feel as if you just pulled up onto Sunset Boulevard. Neon Beach is a glamorous album that's brimming with creativity and full of warm rich sounds.

It's these sounds that really set this album so high on my list. Neon Beach combines new wave, europop, afro-carribean sounds and with it Though Beings create their own unique musical landscape that is all their own. Thought Beings just showed us that synthwave can still be creative. It's bold, it's sophisticated, and it is very much alive.

Notible tracks include "Satellite", "Mystery School", and "Digital Hideaway."

Dennis G

"The Beginning" by Swayze

For me, 2019 was a seminal year. I experienced incredible synthwave concerts, both at home and abroad. I also met so many incredible artists and fans from all over the world. My "synthlife" exploded. One thing I'll forever be grateful for was discovering Swayze. This cool clown (I consider myself a clown, perhaps that is why I gravitate to this genius) from New Orleans creates music that, at any given time, sounds like '70s funk and '80s glam rock made love on a beach in California and delivered a baby in Motown. In 2020, Swayze released his full length album "The Beginning". It included some of the incredible singles from the year before (bangers like "Overdrive" and "Your Love Is Like a Lone Wolf"), but this year he dropped one of my favourite songs "Sidewalk" and added it to the album. I thought that track was incredible, blending funky and retro synth sounds. I had no idea that the album would drop another bomb on me. I'm speaking of the titular track "The Beginning". It is a perfect window into the talent this jester of synth possesses. It's funky. It's synthy. It has guitars, cool bass lines, and Swayze's vocals really blow me away. At 5:17 into the song...the hairs on my body stand on end. Do I have a man crush on this talented musician? Yes. Yes I do.  

Neon Fawkes

"Hazy Paradise" by Yota

I am absolutely 100% head over heels in love with Hazy Paradise. It's one of those albums where every song sounds better than the previous one. Every song feels polished to perfection with Yota's stunning vocals laying across each track like a string of pearls.

While Yota's pitch perfect performance is plenty enough to prop up this album, it's all the supporting elements that really hit it home for me. The album is alive with a wonderful mix of funky bass, handclaps, shakers, and warm rhythm guitar. Whether it's crooning out a slow burn like "That Song" or moving a thousand miles an hour like "The Runner," Hazy Paradise is just all around amazing to listen to.

Dennis G

"Ghosts of Miami" by Von Kaiser

Von Kaiser's second full length album is nothing short of perfection. For people who love vocal retrowave and yearn for layered pads, incredible harmonies, and scintillating synths, the band is a gift from the heavens. My most listened to song of 2020 was "Wavelengths", the penultimate track from this album.  Von Kaiser is comprised of three talented musicians. When they flex their artistic chops, whether it be on keyboards, guitar, or vocals, absolute ecstasy explodes into your ear canals. Notable songs on the album include "Amber", "J O I", "Sliding Doors", "Misery City Skyline", and "Parkway Tropics". Much like Droid Bishop's album mentioned above, this release is thick with depth, feels, and sounds that take you on a dreamy adventure filled with happiness, sadness, and everything in-between.  

Neon Fawkes

"After Dark" by Essenger

When After Dark dropped it was an addiction to me. It's a perfectly polished album with driving beats and an edgy sound, and some of the best vocoder work I have ever listened to. After Dark is a strong emotionally charged, dark, gritty, cyberpunk influenced album that reaches straight for the gut.

The composition of After Dark is really what makes it stand out for me. It's just full of so many creative and sophisticated sounds. Some of the more interesting sounds include screams, mechanical screeches, crunchy synths and broken beats. Put all of this together with Essenger's signature vocoder work and you have an album that's hard to beat.

After Dark combines everything I love about the genre in one complete package. It's a masterpiece from start to finish, but if I had to pick a few standouts, I would go with "Exopolitan", "Half-life", "Downfall" featuring Lexi Norton and "Offworld" featuring Pylot.

Dennis G

"Calypso Drip FM" by Gryff

Hailing from the farthest reaches of the synthworld (Australia), Gryff creates what I can only describe as "perfect retrowave". The synths, reverbs, composition, and vocals in his music convey the most accurate sense of what "retrowave" is. Comprising of singles from prior years, as well as fresh creations from 2020, the album drops you right onto the boulevards of South Beach. Miami Vice and Vice City team up to slap your face over and over again, as you revel in the tropical feels and nostalgic vibes. Couple this with Gryff's collaborations (Primo is here) and you have a complete work of art geared towards all retro lovers. Songs like "Dreams", "New Religion", "Jessie", "Hotline", "Landslide", and "Reverse" are some of the best tracks on the album. My favourite part of the album? Track #1. Nightride's own Kaarin Zoe Lee introduces the album as a radio DJ straight out of GTA Vice City.

Neon Fawkes

"Into The Night" by L'Avenue

Following up on his smash EP from 2019 "Cherry Crush", L'Avenue decided to dust off his prior unreleased songs and finalize them, unleashing the album "Into the Night" upon us unsuspecting synth fans. Having only registered in the collective consciousness of the synthwave community in mid 2019, he has proven that he knows exactly what we crave. Like some skilled synthwave dealer, he doles out measured doses of synthwave crack that we can't get enough of. Smooth, soft sounds blended with perfect pads and phrasing, we can't help but picture ourselves rocking in a hammock on a beach somewhere. This album has all the synth presets and patches one could ever need to feel that retro relaxation trip. Tracks like "Osaka Drift", "Prom", "Malibu Haze", "Lonely Highway", and the titular song "Into The Night" all seem to represent what it is we synth fans long for.

Neon Fawkes

"City Of Eternal Rain" by DEADLIFE

NewRetroWave artist DEADLIFE dropped two albums this year. The first, in my opinion, is a masterpiece. Lush and powerful sounds wash over you like a cyberpunk orchestra doling out soul shaking auditory orgasms. I think every music lover in the world deserves to experience this album from beginning to end. DEADLIFE's skills with pads, thick layers, crescendos, euphoric progressions, reverse samples, deep reverbs...ah...I could go on. Take a listen to tracks like "Generation Damage", "Downpour", "Rebuild Through Compassion", and, in particular, "Collapse Is Imminent" and "Strands Unravel". That latter song, in my very humble opinion, is DEADLIFE's magnum opus. I think the entire music world should stand up and give him a standing ovation for "Strands Unravel". It makes my loins quiver.

Neon Fawkes

"Dreamer" by Morgan Willis

Released on the first week of January, 2020, this album, to me, is emotionally intense. All of us in the synthwave community share a love of nostalgia, aesthetics, and a fantasy of neon lights, dystopian cities, palm trees, fast cars, and excess. Mr. Willis is an expert in composing music that can be energetic, melancholic, or funky. If you've ever seen the Black Mirror episode "San Junipero", then this album is for you. There are deep bass grooves in "C.O.M.A.", epic long trips in "Forever", and hands that pull at your heart strings with "Rabbit Hole Chasing You". Morgan perfectly encapsulates synthwave's dichotomy of blurring the lines between '80s pop and early '90s trance. I ordered this on vinyl faster than you can say "Dreamer". I had no idea what 2020 had in store for me back then, but I can say one thing...this album made such an impact, it is only fitting that 2020, for good or bad, became something for the history books.

Neon Fawkes

We would be remiss if we didn't list all the other incredible releases that rocked our lives for the better this year. Here's an alphabetically sorted list of album releases to wet your appetite:

2DCAT - Weeks Where Decades Happen
Ace Buchannon - Eye of the Storm
Ace Marino - Digital Memories::Analog Emotions
Alpha Chrome Yayo - 19th Hole
Android Automatic - Canyons
AWITW - Timeless
Baldocaster - Mirage
Beckett - Electric Pillow Talk
Bloodpanic - Holy
Born In '82 - Power Moves
Brandon - Retrochrome II
Cassetter - Entropy
Cat Temper - Feralyzed
Cosmo Cocktail - Time Navigators
Caspro - Making Waves
CHI-EN LEE - Departure
Computronic - Lost and Found
Damokles - Hyperwave
Dana Jean Phoenix & Powernerd - Megawave
Daniel Deluxe  - Exile
Dark Smoke Signal - The Antipope Resurrection
DeltaCity - Tokyo Recall
Dimi Kaye - Mechanical Psyche
Don - Distanced
Dream Shore - Miami
Eden Future - Star Blur
Elay Arson - Dusk Incarnate
Elevate The Sky - Ascend
Francci - Moments
Full Eclipse - Survival II
Gab Manette - Making Waves
Glitch Black - Mechanical Perfection
HeartBeatHero - Retro Heart Island
Hideotronic - Together Forever Alone
Immortal Girlfriend - RIDE
Jordan F - Memory Collision
Jessie Frye - Kiss Me In The Rain
The Last Concorde - The Last Concorde
Let Em Riot - Years Later
Levinsky - Nocturnes
Lost Outrider - Blush
Lukhash - Transient Offworld
M.K. Khan - Weekends On Earth
Magic Sword - Endless
Mark Cooper - Test Drive
Marvel83' - Metropolis
Master Boot Record - Floppy Disk Overdrive
Maxthor - Fiction
Meteor - Chaos Theory
Michael Weber - Downtime:, Vol. 1
MicroMatscenes - Back 2 School
The Midnight - Monsters
Midnight Danger - Chapter 2: Endless Nightmare
Millennium Falck - Neo Helsinki FM
Moonrunner83 - You & Me At The Edge Of The World
Neon Arcadia - This Future
Nevermann - GentleMann
NINA - Synthian (Deluxe Edition)
Occams Laser - New Blood II
Oceanside85 - Neon Dreams
Octal Drive - Reflections
Orax - Film
Peacecraft - The Year Was Still 2120
Peter Zimmermann - Through the Night (Part 1)
Platforms - The Future That Never Happened
Popcorn Kid - Paradise
PRIZM - All Night
Quixotic - Forgotten Gems Vol 1 & 2
Roxi Drive - Electric Heart
Scandroid - The Darkness and The Light
Skimode - Soon Comes Night
Strike Eagle - Inverted
Sung - Monster
Sunglasses Kid - Sophomore
Taurus 1984 - Dream Warriors
Team Sweatwave - Agents of S.W.E.A.T
Thomahawk - II
Turbo Knight - Don't Panic!
Vector Seven - Electric Blood
Vic-20 - Home Computer Age
Violation Drive - NotHumanAnymore
Viperdrive - 1980
Waveshaper - The Disk Hunter
Wolfclub - Runaways
XENNON - Dark of a Distant World
XYLE - XYLE
YORU 夜 - Revisit
Your Sister Is a Werewolf - Captain Video

We'd list our favourite singles from the year, but that would be a very, very, very, long list. Artists such as WICE, Zenith Volt, Advection Stride, Power Rob, Gunship, John Cao, Honey Beard, Palm Lakes, and many more showered us with goodness.

In Japanese, "Shikimo" means "four seasons". I believe this alludes to the fact that his work is suitable for any season. If you want summer enthusiasm - this guy has it. Autumn blues and reverie? “Off-World EP” at your service! Ryan has traveled a thorny path in many genres and has finally arrived at synthwave. Read about this and much more in our new interview:

Greetings, Ryan! We`re glad to have you as a guest in our Retroview rubric! Is this your first interview under the name “Shikimo”?
Hello! Honored to be here, I appreciate you having me. This isn’t, no – I did an interview for an old label I was signed to back in 2015/2016, one for the site Headphones for Robots, and one with Karl Magi (very awesome guy).

This year has been full of new releases for you. You’ve got three beautiful new tracks, the “Virtual Visions” EP, and a magical remix to The Midnight’s “River of Darkness”. Are you planning any more releases before the end of 2020?
Thanks! “Virtual Visions” was one of my favorite projects to date, I had a lot of fun crafting the tracks on that one, and I think it really helped me push my sound forward. That remix contest was a blast too. Shoutout to The Midnight for allowing us producers the opportunity to work with such a legendary track.

I do actually, yes – I have one release planned for October 23rd, and am hoping to have at least one more released after that before the end of 2020. Then after that, who knows? It’s been a while since I put out a big album…but I also really enjoy releasing single after single, as I don’t like to go too long between releases.

About the remix-- have The Midnight guys listened to it? What did they have to say about it?
Haha, I’m not sure if they listened to it to be honest. I would guess that they did – they noted that they did listen to all of the submissions. Unfortunately, though, I’m not sure what they thought of the track. It wasn’t one of the winners, and they didn’t give any feedback outside of the tracks that won. Still a lot of fun to work on the track though!

You began writing music in 2011 when you were introduced to Basshunter. In 2017, you released “Dystopia,” your debut synthwave single. What were you doing during those six years in between?
It was really all over the place – I started off producing trance back in 2011, then transitioned to a wide variety of genres. I did some progressive house back in 2013/2014, transitioned to chillout/ambient from around 2014 – 2016, then started listening to synthwave and the rest is history! But I bounced around genres quite a bit, and never really had a deep passion for making any genre until I discovered synthwave.

Which Blade Runner scene was the inspiration for your album “Off-World”: The original 1982 movie, or the 2049 rendition?
I would say more the 2049 rendition. I absolutely loved everything about that movie – I’d say I drew the most inspiration from any scene where Gosling was on his own, either driving through cities, or walking through the orange wasteland where he found Deckard. I drew a lot of inspiration from the pacing of the movie, and how it really took its time developing each scene and moment.

Almost all of your tracks include “SHIKIMO” spoken in a whisper. Is this your autograph in a way?
Haha, sort of I’d say! I kind of fell out of practice with doing that this year, but it’s fun to throw it in there every now and then. It actually started back when I first started doing synthwave – I had quite a few friends online who produced wave music, and adding artist tags to your tracks is something they do a lot in that scene. The initial reasoning behind it was to prevent other artists from stealing my music, however now it’s just kind of a fun little element that I throw in if I think it fits the track.

You mentioned “Into the Oblivion” is your favorite project that you've done to date. Why?
Hmm, that’s a good question! I think it’s really where I want my music to be – a unique blend of both fierce and relaxing at the same time – somewhere riding on the line between the harder/more intense tracks of the genre, but not quite slowed down/chill enough to where it doesn’t have any energy. I think it’s a good culmination/showing of my different synths I like to use as well, kind of a showcase of my work in general.

You are constantly collaborating with different synthwave artists. Are there any “synthwave stars” you would like to collaborate with in the future?
I just really enjoy making music with people that I like, especially when I think the artist is underrated/underappreciated. I’m not sure, that’s a tough question! I think PYLOT would be fun to write a track with, or Kalax maybe. Dynatron would be another great one, I take a lot of inspiration from him. Honestly though, I’d love to do a collab with some bigger artists in the wave genre, like Skeler or Juche. I think synthwave and wave would be such a cool blend of styles, it would be really neat to see!

Would you ever want to move from releasing relaxing synthwave and write a shocking darksynth release?
Hmmm, I’m not sure, it’s tough to say! I would guess not, as the relaxing synthwave is kind of a reflection of my personality. I’ve tried my hand at making more intense music in the past back when I did trance and such, and it never really worked out. That being said, though, I’d never say never! It would be really fun/a good opportunity to work with someone like Misanthropix on a darksynth release.

Are you looking forward to the release of Cyberpunk 2077? If you could live in-game, what would you do in Night City?
Oh yeah, I am!! I need to update my PC, though. I don’t think my graphics card will be able to handle it right now. I’d probably go for long drives through the neon-drenched city, just taking in the atmosphere and listening to some great music.

You’re on a desert island. What three albums, three films, and three books would you take with you?
Albums: Noah B - South Hills; Tame Impala - The Slow Rush; Jeremy Soule - The Elder Scrolls IV: Oblivion: Original Game Soundtrack
Films: Pulp Fiction; Star Wars IV: A New Hope; The Shawshank Redemption
Books (I’ll be honest, I don’t read very often at all): Harry Potter and the Goblet of Fire; Star Wars: Darth Plagueis; Star Wars: X-Wing Rogue Squadron

Thank you for speaking with me today, Ryan! Any final words for our readers?
No problem at all. Thanks so much for having me! Let’s definitely connect again sometime soon. I’d just like to say thank you so much for all of your support, it really truly is what keeps me going and inspires me to make more music. Be on the lookout for many more releases in the future!

Support Shikimo:
https://www.shikimo.com/
https://www.facebook.com/SHIKIMOMUSIC
https://www.instagram.com/shikimo.official/
https://mobile.twitter.com/officialshikimo